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Composition Checklist

This list should be used for reference when doing the free creative projects suggested in this book. Some of
the following considerations may not apply in the early stages or in Part IV.
I. Form.
A. Sections (tonal, cadential, or thematic) are clearly articulated.
B. Phrases are clear and generally regular.
C. The climax is clear and well placed.
D. Contrast, repetition, and return are used where appropriate.
E. All sections are proportionally balanced.
II. Harmony.
A. Types of cadences are clear, well placed, and prepared.
B. Functional progressions predominate.
C. The harmonic rhythm generally is steady and regular.
D. Altered chords are well placed in the phrase and not overused.
E. Nonharmonic tone use is normal (motivic or sequential).
III. Line.
A. There is a sense of contour (departure, curve, and arrival).
B. There is a clear tonal organization.
C. There is a linear and directional bass line.
D. The outer-voice contrapuntal framework is effective.
E. The motivic control (melodic and rhythmic) is tight.
F. There is thematic clarity and consistency.
IV. Rhythm.
A. There is metrical clarity and consistency.
B. The rhythm is steady and regular, with a clear feeling of pattern.
C. Rhythmic motion continues over weak cadence points.

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V. Other matters.
A. Accompaniment patterns are appropriate and consistent.
B. There is overall textural consistency.
C. There is thematic balance between players, where appropriate.
D. Instrumental and vocal writing is idiomatic.
E. The editing of score and parts is careful and complete.
F. Notation is clear and complete.
G. There is normal word and syllable stress in text-setting.
H. Careful attention is paid to transpositions.
I. There is appropriate use of dynamics and tempo gradations.

COMPOSITION CHECKLIST

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