Sleeve Note AS Resit Composition First Draft David Jackson

Explain and comment on form and structure, indicating in particular how

repetition and context are balanced
My composition represents a rivers journey, from where the river begins,
to where it ends, with various sections in-between. I began by drafting out
different stages of a river in which I would represent through music using
different compositional techniques. I began with a rivers source/spring,
which I decided I would represent through the use of a quiet staccato
theme, followed by some use of counterpoint using the same initial theme.
This theme is one I consider my main theme, and would be used again
later on in the piece. Following the counterpoint and introduction of the
first theme, I introduced my second theme, which would represent the
meanders in a rivers journey. I achieved this by slowing down the tempo of
the section, making a switch to the relative major (Bb major) of my initial
key (G minor), and having arpeggio accompaniment that undulated
upwards and downwards to symbolise the twists and turns found in a
rivers meanders. My third section represented the idea of a fairground on
a riverbank in which the river would flow past. It was based on the first
theme, but in the key of Ab major with heavy Chromaticism, giving it the
aura of a fairground ride (or organ). The next section represents the
harshness and ferocity of the lower course of a rivers journey, and is also
loosely based on my first theme. I achieved this through modulating it
back into a minor key (F minor, then back to the initial key of G minor) and
making the melody frequently ascend and descend throughout the
section. My penultimate section is the waterfall part of the river. I
represented this using descending chromatic scales, before finally
preparing for the finale in the tonic major of G major. My final section
symbolises the final part of the rivers journey, or the mouth. It consists of
the main theme, with large grand chords to give it a concluding feel.

Mention four other features of interest. You can refer to any two or more
of the following:

Rhythm
Melodic development
Texture
Handling of instrument(s) and/or voices
Harmony
1. Rhythm Texture: Between the bars of 9-16, I make use of
imitative counterpoint between the right and left hand to
symbolise the different springs from a rivers source.
2. Melodic Development: I use the main theme featured at the
beginning between the bars of 44-58 but in a major key, with
heavy Chromaticism much added chromatic movement, to give
the playful atmosphere of a fairground.
3. Handling of instrument: From the opening of the piece to bar 24,
the music descends down the piano making it lower in pitch, I
did this to symbolise the downhill journey that the river would
take.
4. Harmony: An interesting chord sequence is used with a
descending chromatic bassline in the finale between bars 84-87
before the cadence. I use a German 6th chord in bar 87 before
the final Ic V I.

Refer to pieces from the New Anthology of Music and/or elsewhere to

explain how other pieces of music have influences you in your composition
1. One influence I used in my composition is the use of regular,
periodic phrasing, more specifically the Classical period standard

2+2+4 phrasing seen between bars 1-8 in Haydns String Quartet

The Joke. It can be seen most clearly between bars 9-16 and 1724 in my composition.
2. Between the first two bars of Beethovens Piano Sonata No. 5 you
can see clear ascending arpeggio movement in the tonic of C minor.
I have taken influence from this which can be seen in bars 37-38 of
my composition, in the form of an ascending arpeggio of Eb
major.Is it also in 3rds in the Beethoven?
3. Another influence I have used from Beethovens 5 th Piano Sonata is
the idea of hearing the main theme of the piece in the tonic major
as opposed to the tonic minor. We first see Beethovens first subject
in the opening of the piece in C minor, but we then hear it again in
the tonic major (C major) between bars 106-107. The main theme of
my composition also returns in the form of its tonic major (G major)
between the bars of 80-90.
4. In bar 81, and 83 in Chopins Waltz in B minor, we hear the melody
moving in parallel thirds. I have taken influence from this for my
composition, the melody can be seen also moving in parallel thirds
between bars 33-36 in the meanders section of my piece.
5. The opening section of Bachs 4th Brandenburg Concerto (1 st
Movement) contains constant shifts between tonic and dominant
chords (bars 1-12). The main theme of my piece also features
predominantly tonic and dominant chords, seen clearly between
bars 9-24.
6. The melody of the Fairground section of my composition (bars 4458) features a heavily chromatic melody which helps me achieve
my aims for the section. I have taken influence from Fuciks Entry
of the Gladiators with the chromatic melody, seen between bars
13-21 of Fuciks score.
7. Beethovens Septet features many chromatic scales in order to lead
to new keys/sections, seen specifically between bars 25-26. I have
taken influence from this in my piece between bars 24-25 which
leads to the second section of my piece.
8. One section within Chopins Nocturne No. 11 in G minor features the
use of large chords to establish keys and to aid the melody, seen
clearly between bars 38-62. I have taken inspiration from this for
my composition, seen between bars 64-69.
9. One part of Married Life, a piece composed by Michael Giachinno
for the film Up! includes an ascending chromatic scale that
immediately descends after it has been played (bars 41-44). I have
also used this technique in my composition, seen between bars 5255.
10.Haydn within his piece the 1st movement of his Lamentatione
Symphony uses an arpeggio-orientated bassline to comply with
accompany the melody line above it, seen between bars 1-8 in the
Bassoon part of Haydns score. I have taken influence from this
idea, seen most clearly between bars 17-24 in the left hand.
11.Throughout almost the entirety of Liszts piece Consolation No. 3,
the right hand/melody plays against triplet accompaniment in the
left hand, seen most specifically between bars 3-8. I have used this
idea briefly in my piece, seen on beats 2, 3 and 4 in bar 31, and
between bars 26-27.
12.Chopin uses three chords for a cadence at the end of his Prelude in
E minor (bars 23-24), a variation on the Ic-V-I cadence structure. I

have taken influence from Chopins use of these chords (not entirely
with some modifications) for the end of my piece, seen between
bars 88-90. (The end of your piece is just a standard Ic V I
cadence. Does it need to be modified to be more like the Chopin?)
13.Another influence I have taken from Giachinnos Married Life is
the waltz style accompaniment making up the chords. Seen
between bars 5-12 of his piece, and bars 44-63 of my composition.
14.Between bars 9-16 of my composition, there is heavy use of
counterpoint and imitation. One piece I decided to take great
influence from for this was Bachs Invention No. 8 in which
counterpoint and imitation can be clearly seen in the first opening
four bars.
15.At the end of my piece, I repeat the final cadence chord of G major
twice, in order to emphasize the chord (bars 90-91). I took influence
from the end of Frank Bridges piece: Berceuse in which he
repeats his final cadence chord of Bb major (bars 92-93).
16.The opening of Beethovens piece Fur Elise revolves around two
notes that are only a semitone apart (anacrusis and bar 1) E and
D#. I took indirect influence from this idea for my composition,
which can be seen in the opening section of my composition which
centres on the notes D and Eb (bars 1-8).
You need a couple more points:
How about finding an example of piano music where both hands
play in octaves or parallel augmented 4ths (bars 72-75)?
And what about a descending scale under a dominant pedal or trill
(bars 7-8)? (Waterloo Sunset springs to mind for this one.)
Put the points into chronological order so that the examiner doesnt
have to jump backwards and forwards to find each point in the
score.