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Summary of Chapter 10: Music 270 - Music Theory 1 Dr. Karen Sunabacka

This document provides a summary of Chapter 10 from a music theory textbook. It outlines the key elements of composing a triple paraphrase, which involves elaborating on a given melodic line or cantus. The summary includes: 1. Triple paraphrases should use diatonic tonal melodies in a major or minor key with proper key signatures. 2. Four basic rhythmic patterns and three phrase structures can be used, along with specific rules for cadences, melodic figures, repetition, and motion within phrases. 3. A five-step process is provided for composing a triple paraphrase, including preparing the cantus, notating an initial measure and cadence,

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88 views2 pages

Summary of Chapter 10: Music 270 - Music Theory 1 Dr. Karen Sunabacka

This document provides a summary of Chapter 10 from a music theory textbook. It outlines the key elements of composing a triple paraphrase, which involves elaborating on a given melodic line or cantus. The summary includes: 1. Triple paraphrases should use diatonic tonal melodies in a major or minor key with proper key signatures. 2. Four basic rhythmic patterns and three phrase structures can be used, along with specific rules for cadences, melodic figures, repetition, and motion within phrases. 3. A five-step process is provided for composing a triple paraphrase, including preparing the cantus, notating an initial measure and cadence,

Uploaded by

Timothy Cao
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOCX, PDF, TXT or read online on Scribd
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Music 270 - Music Theory 1 Dr.

Karen Sunabacka
Summary of Chapter 10

Diatonic Tonal Melody


1. Will be a TONAL melody, NOT modal – Church modes gone. Which means
Ionian and Aeolian or Major or minor with key signatures
2. Cantus will begin on ^1, ^3 or ^5
3. If in minor and ^6 comes before ^7, then ^6 and ^7 raised…

Rhythmic Patterns
4. Four Rhythmic Patterns Available
a. Trochaic
b. Tribrachic
c. Iambic
d. Dactylic

Formal Design
5. Triple paraphrase must be in one of the following three phrase structures:
a. Antecedent-consequent period
i. Can use symmetrical rhythmic patterns
b. Bar Form
c. Asymmetrical phrase group
6. There are three phrase cadences available
a. Whole note followed by a half rest.
b. dotted whole note followed by a luftpause.
c. whole note followed by a luftpause.
7. Phrase cadences MUST be approached from above or below by step or leap of
third, or by anticipation.
8. There are more possibilities for rhythmic displacement in the triple paraphrase.
But before you use it ask yourself the following questions:
a. Does the new downbeat tone encourage the line’s primary contour?
b. Have you inadvertently created a downbeat-downbeat tritone?
c. Does the melodic figure gained justify the displacement?

Melodic Design
9. Purpose is to ENLARGE the cantus through elaboration. DO NOT ALTER
PRIMARY LINE, but enhance it.
10. LIMIT repetition (melodic figures or Rhyhmic figures) to double or triple
statements.
11. LIMIT Unidirectional motion to the span of an octave.
12. Interchange conjunct and disjunct motion.
13. Do NOT isolate the apogee.
Initial measure
14. Initial measure can start normally with any of the four rhythmic figures.
15. Initial measure can begin with a whole rest followed by a half note anacrusis
16. Initial measure can begin with a half rest and then followed by two half-notes
using a three note melodic figure to complete.
17. Initial measure can begin with a dotted half rest and then followed by a three note
melodic figure in dactylic rhythm.

Final Cadence
18. The cadence must confirm and imply both the ^7-^8 and ^2-^1 of a clausula vera.
The following melodic figures can be used (See page 135):
a. 3-note SS
b. 4-note SS
c. 4-note DS
19. Ascending DS should not occur in minor BECAUSE OF THE TriTONE!
20. The penultimate Cantus tone CANNOT be displaced.
21. ^7 will be raised in minor. If ^6 is directly before it should also be raised! Avoid
downbeat to downbeat cross relations.

Composing a Triple Paraphrase


STEPS:
1. Prepare for triple paraphrase.
a. Sing given (or chosen) cantus
b. NOTATE the cantus on the upper staff of a manuscript paper – space
cantus tones out nicely.
c. On the lower staff write 3/2 meter and bar the staff, lining up the measures
under each cantus tone.
2. Sketch initial measure and cadence
a. Plan the initial measure and notate it.
b. notate the final cadence.
3. Choose and sketch phrase type (Antecedent Consequent, bar form or phrase
group):
a. Determine points for your phrase endings.
4. Sketch rhythmic pattern above staff.
a. Plan the rhythmic pattern of your first phrase – notate above the staff.
b. Plan rhythmic pattern of remaining phrases
5. Compose using appropriate Melodic figures and check for mistakes
a. Plan your contour two or three melodic figures at a time.
b. Check by singing and playing the entire piece. Ask yourself:
i. Does each cantus tone occupy its own measure?
ii. Are phrase cadence points approached by step or leap of third?
iii. Is the pitch contour true to the intent of the cantus?
iv. Does the rhythmic profile support and intensify the melodic
gestures?

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