In the attempt to maintain the rhythmic and melodic character of the given opening phrase in the
(a) - Melody Writing, many candidates just repeated verbatim the same melodic
phrase from bar 1 to 16 without any melodic or rhythmic variation, forgetting
to the required key. As a result, candidates lost the marks obtainable for correct
answer(s).
Below are some of the useful tips on how to extend the given opening phrase to
form a passage of between 12 and 16 bars.
Example I - 12 – bar passage in ternary form
Section A = 4 bars of 2 + 2 Tonic Key (Fmajor)
“ B = 4 bars of 2 + 2 – contrasting Section
Rel minor (d minor)
“ A = 4 bars of 2 + 2 – Repeat of Section A or Slightly modified
(tonic key)
Example II - 16 bars ABA
(F major) (Dminor) Fmajor)
A B A
8 bars 4 bars 4 bars
115
4 + 4 (2 + 2) (2 + 2)
(2 + 2)(2 + 2) b Repeat a or a, exactly or slightly modified.
Or
Setting text to melody
The given text could be set to a suitable melody in 2, 3 or 4 or even 6 time. Even though the
4 4 4 8
Phrase structure is best as anacrusic, down beat interpretation is possible. Candidates should consider the following basic rhythmic patterns:
.(i)
(ii)
(iii)
Candidates are equally advised to allow the melodic range have an average vocal compass of just an octave as shown below which is quite comfortable for all the voices.
(b) Two – Part Writing
Many candidates did not understand what 2 – part writing is all about and therefore added a dependent part
of the same rhythm and melodic contour just in parallel intervals above or below the given melody. This in
effect contributed to their poor performance.
They were advised to note that: (i) the contour of added part doesn’t usually have the same rhythm and
same note – values as the given part.
(ii) the use of good harmonic progression/devices and phrasing, where applicable is very essential in 2 - Part
essential in 2 – Part Writing.
(iii) They have to avoid the use of too many chords in a bar and treat some notes in both the
given and the added parts as non-harmonic tones in the example below:
In bar I, a is a passing tone, (b) is upper neighbour The (C) in given part is treated as upper neighbour while (d) – (e) are changing notes or Cambiata and (f) in given part is treated as a passing tone candidates were not expected to attain the professional level (as shown above) but they should be taught the basic concepts of Part – Writing.
In (C) four – Part Writing, candidates should note that the harmonization of a given melody does not mean that all the notes in the melody (especially some quavers approached and quitted by step need to have different chords.
They should have treated some notes as non-harmonic and avoid using too many chords in a bar, mostly primary triads i.e. I/i, IV/iv and V/V chords in their root positions and first inversions extensively.
The following useful hints will assist candidates a great deal in future examinations;
- To harmonise ‘doh’ at the beginning or end of a given melody, use only chord I but elsewhere chord I or IV and less of chord vi can be used.
(ii) To harmonise ‘ray’ use more of chord V and less of chord (ii)
(iii) For‘me’ use chord I
(iv) For Fart’ – use chord IV and less of chord ii and sometimes use chord V
(v) Use only chords I or V for ‘solo’
(vi) Use chord IV for ‘lah’ not chord VI
(vii) For ‘te’ use only chord V or V7.
Candidates are advised not to use chords iii or vii at the elementary level. Below is a prototype of the elementary four – part harmony explained above.
