Comp Concepts

GENERAL RULES (the ones that are important)

1. Melodies with no harmony or accompaniment should be started and ended on the first

tone of the scale (the tonic) and in the same octave as the first tone.

2. Use 2nds and 3rds freely. Take care with skips and with augmented and diminished

intervals. This rule is an expression of the capabilities of the human voice, from which all

melody derives. And do not exceed a total range of a major 10th: in other words, the

highest and lowest notes of your melody must not be more than a 10th apart

3. The melodies you compose should be written for string instruments or wind

Instruments. Guitar and piano is acceptable for accompaniment.

4. Always specify the tempo and dynamics (including crescendo and decrescendo); indicate

whether the notes are to be played legato (by means of slur-phrase markings) or staccato.

5. Give titles to all of the exercises that are longer than six bars

6. Write mostly in 4/4 and 3/4 meter and use only the basic note values (minum, crotchet, quaver,
semiquaver, crotchet rest). Only group quavers and semiquavers in even groups. Also don’t use a rest
after quavers or semiquavers and don’t use more than 2 rests in succession. No rests other than the
crotchet rest and no ties between notes. You can use a whole note to finish a melody.

7. Don't alter the tempo with ritardandos, accelerandos, or fermatas (also called

''holds'')

Pitch Limitation

- The Cell: A collection of pitches that will be used to write a melody. The melody may repeat notes or
use octaves of the pitches.
- The Row: Given Pitches (Eg A,C,F) must be used in the same order throughout composition. Octaves
permitted.

Parent Scale Composing: Compose a melody (Eg D dorian) where the melody references the note D
to establish the sound of the scale in the listeners ear. Start and finish on D.

Diatonic Progressions:

Basic Rules for Diatonic Chord Progressions

1. Use only diatonic major and minor triads. These may move freely among themselves.

2. The first and last chord must be the triad built on the first step of the scale, the tonic.

3. The root of the second last chord must move to the root of the last chord by an

interval of a 2nd, 4th, or 5th from above or below.

4. Make sure that the roots of the chords (the notes on which each of the chords is

built) form a singable line.

5. Construct your progression so that it points strongly ''back home'' to the tonic.

Non Diatonic and Mixed Mode Chord Progressions

Basic Rules for Mixed Progressions

1. Use only major and minor triads.

2. Begin and end with a tonic triad (for our purposes, this will be C, D minor, or E minor,

from C major, D Dorian, or E Phrygian, respectively).

3. Diatonic triads from within the key may move freely among themselves.

4. A chord of one type may move freely to any other chord of the same type; that

is, a major triad, whether it isa diatonic or non-diatonic triad, may move to any other

major triad, diatonic or non-diatonic.

5. The root of the second last chord must move by 2nd, perfect 4th, or perfect 5th

(from above or below) to the root of the last chord.

6. The roots of the chords must support the tonic, and they must form a singable line.

Non Chord Tones

-A passing tone moves by major or minor 2nd between two chord tones a 3rd apart

- A passing tone must not have a greater duration than a 1/ 4 note.

Neighbouring Tones
- A neighboring tone is a non-chord tone built a major or minor 2nd above or below a chord tone, and
it is preceded by a skip or a rest

Auxiliary Tones

- An auxiliary tone is a non-chord tone that moves from a chord tone by major or minor 2nd and then

returns to the same chord tone:

Anticipation Tones

- The anticipation tone always belongs to the chord that follows it, and it is always repeated (*) at the
beginning of the following chord.

The Differences between the above are pretty minimal. Non chords Tones connect 2 chord tones a
3rd apart. Neighbouring Tones are the same but they don’t need to connect to chord tones a 3 rd
apart (can be from an interval jump etc). Auxiliary Tones come after a chord tone and then go back
to the same chord tone. Anticipation Tones are a chord tone played as a crotchet or quaver
anticipating the next chord. The same note is then played on arrival to the next chord.

Melodic Transformation

- Inflection: which is the addition or subtraction of accidentals. This is often used to find something

different or better, sometimes to fit a harmony.

- Transposition: Is where you transpose a melody a certain interval. The following is called an exact

transposition because the entire phrase is transposed up a major second.

- Inexact transposition: Transposition but altering notes for musical interest.

- Retrograde (palindrome): Is where the rhythms and notes are back to front.

- Exact Inversion: consists of exactly mirroring the original; a major 3rd up in the original requires a
major 3rd down in the inversion, and so forth.

- Inexact Inversion: Mirroring the same interval but adjusting it so that is is within key (eg. A major 3 rd
up might be a minor 3rd down and vice versa)

Rhythmic Transformation

- Displacement: Taking a phrase and starting it off a different beat or changing time signature.

- Augmentation: Doubling the value of each note (eg crotchet becomes minum)

- Diminution: Opposite of Augmentation. Halving the value of each note (eg crotchet becomes
quaver)
Reiteration: Repeating the same tone (two of the same tones next to each other)

Addition and Subtraction: Adding or removing notes from an already existing melody.

Ornamentation: Basically the same as ‘Addition’ but referring more to the jazz context where trills,
grace notes, scoops, are added.

Context: Changing the harmonic progression of a tune (reharm) or adding/changing tempo, dynamics,
instrumentation and articulation. These things make an existing melody sound different.

(end rhythmic transformation)

Subfigurations: A series of tones of reveals subfigurations, or ideas that are drawn out from within an
original phrase. Basically circling any grouping of notes in a phrase and labeling it as its own mini idea.

Motifs: The small theme starts with the motive, which is a series of tones distinct in shape and yet
incomplete; it is usually one or two bars long. Motifs transpose with the chord changes although it is
inexact transposition otherwise known as sequencing. Transpositions of a motive are called
sequences.

Small Theme: The small theme usually has two, three, or four motives .A common arrangement of
motif’s is ABAC, in which A and B pose the question, and A and C answer it. In

jazz we refer to this as ‘call and response’. Another common form is AABA

Large Theme: Think of song form in jazz AABA, where a (usually) 8 bar theme is created and either left
unfinished or resolved, before it is restated. Some examples of this are Satin Doll, I’ve got rhythm,
Round Midnight (32bar AABA with 8 bar themes), There will Never be Another You, Doxy (16 bar form,
4 bar themes) and many other jazz standards. Basically the themes now go from 1 or 2 bars to 4 or 8.
View a small theme of ABAC as now a long theme of A or AA depending on the songs length. Song
Forms: AABA, ABAC, ABA,

Guidelines for Harmonization of the Large Theme

1. Begin each A section with a C chord-the tonic.

2. End the first A section with a C chord, or with D minor, F, or G...... the three chords that push back

to the tonic (I.e. aren’t Tonic function chords).

3. Begin the B section with any of the six available chords, but end it with one of the ''pushing chords''

(D minor, F, or G).

4. If the B section begins with a C chord, end the second A section with a pushing chord or a C chord.
5. If the B section begins with a chord other than a C chord, you must end the second A section with a

C chord.

6. End the last A section with a C chord.

7. If using Mixed Modes of Progression then you may finish each section on any pushing chord that it
a minor/major 2nd, perfect 4th or 5th away. (Eg Db going to C).

Tips for writing Large Themes: Pick a Large song Form first (ABA,AABA,ABAC). Comprise each section
of a large theme with a small theme (So an A section could be a small theme of ABAC). Make A and B
contrast but still relate. Put the highest note of the tune in B section if using song form (AABA).

Pentatonics: As the name implies, a pentatonic scale is a grouping of five different pitches within an
octave; a 5-note scale fragment. Because there are missing pitches, modality is obscure or implied, or
more than one parent modality is represented.

Isomelody: An Isomelody is a series of tones that are repeated one or more times. In an isomelody,
one tone may be used more than once, as in Example B, but each tone of the isomelody

may be used only as originally given (1 2 3 4 5 6 always; never 1 1 2 3 4 4 5 6). You may not use octave

forms of the tones in an isomelody. In these two respects the isomelody is different from the row.

Isorhythm: An isorhythm is a rhythm that is repeated consecutively within a length (eg 1 bar, 2 bar
etc)

Out of sync Isomelody and Isorhythm: If the Isomelody and isorhythm are of different lengths then it
will create an ‘overlap’ where the original form will not occur for X amount of time. This technique is
often used for accompaniment in a piece.

Ostinato: Is where isorhythm and isomelody are synchronised. Again often used as accompaniment in
the bass, tuba, guitar, horn backings etc. In popular music the ostinato usually moves with the chord,
ie. The notes will have the same relationship to the second chord that it has to the first chord, and so
on.

Ostinato also works well when it resists chords too; the chords change but the ostinato keeps
repeating without change. When this is done the ostinato must resolve in the final bar whether it
needs to be transposed to fit the chord or not.

The pentatonic scale is another good way of composing a melody and ostinato without chords,
because it doesn’t contain the tension notes of the 4th and 7th of a scale.

Arpeggio Accompaniments:
- Alberti Bass pattern: Root 5, 3 , 5 of any given chord. If the Root notes of the chords are more than a
2nd apart then you invert the pattern. Example: Em-Am is EBGB - ECAC where Am is in the 2nd
inversion starting off the 5th.

- Other Arpeggio Accompaniments: There are other possible arpeggio accompaniments (cells
consisting of 1,3,5). The main thing is that you should invert the pattern from one chord to another so
that the movement in the line is as small as possible.

Repeated chord accompaniments: Pretty vague but to do with repeating chords in a progression.

Reiterated Tone: Accompanist method where you play the same note through each chord change
either changing with the chords or resisting.

Other accompaniment methods: Basing the accompaniment on a scale or cell rather than an
arpeggio. Or basing the accompaniment on a single chord throughout the piece.

Counterpoint (consonant intervals): Counterpoint consists of two or more melodies sounded at the
same time. The simplest form of counterpoint is made up of two melodies with identical rhythms.
This is called one-to-one counterpoint (or 1:1 counterpoint).

Consonant Intervals

• Perfect unison

• Perfect octave

• Perfect fourth

• Perfect fifth

• Major or minor third

• Major or minor sixth.

Intervals Larger than an octave: Intervals larger than an octave are called compound intervals (eg a
major 10th would be called a compound major 3rd)

Types of movement between voices

- Parallel Motion: Both parts moving in one direction by the same interval
- Similar Motion: Two parts moving in the same direction, but not by identical intervals

- Oblique Motion: One part remaining on the same tone while the other moves up or down

- Contrary Motion: Two parts moving in opposite directions

Care with Counterpoint: Avoid these formations: Successive Octaves, Successive Unison, Similar
motion into unison or octave.

Bitonality: Using a different scale for each voice (Eg E phrygian in the treble, C Lydian Dominant in the
Bass)

Recall Questions

1. Say aloud the 7 general rules for exercises.

2. What is the Cell?

3. What is the Row?

4. What is Parent Scale Composing

5. What are the rules for Diatonic Chord Progressions?

6. What are the rules for Non Diatonic and Mixed Mode Progressions?

7. What are Non Chord tones, Neighbouring tones, Auxiliary tones and Anticipation tones? How do
they differ?

8. Recall and define the 6 Melodic Transformation devices.

9. Recall and define the 7 Rhythmic Transformation devices.

10. What are subfigurations?

11. What are motifs?

12. What is a small theme comprised of?

13. What is a large theme comprised of? How does it differ from a small theme?

14. What are some common song forms?

15. What are the guidelines for harmonization of a large theme?

16. What is a a pentatonic scale?

17. What is an isomelody?

18. What is an isorhythm?

19. What happens if the isomelody and isorhythm are out of sync?

20. What is an Ostinato and how can it be used?

21. What are arpeggio accompaniments?

22. What is the Alberti Bass pattern?

23. What is important to remember about arpeggio accompaniments?

24. What is Reiterated tone accompaniment?

25. What are other accompaniment methods?

26. What is the simplest definition of counterpoint?

27. What are the 6 consonant intervals?

28. What are intervals larger than an octave referred as?

29. What are the 4 types of movements between voices?

30. What should you avoid in counterpoint?

31. What is bitonality in reference to counterpoint?