Analysis and Composition Techniques 1

Students must possess the knowledge acquired in FM1.

Because of the theoretician-practical caracter of the curricular unit, expositive and active methodologies will be used in the presentation of the different contents, appealing to the autonomous, collaborative and cooperative work of the students.

Continuous evaluation:
The pupils who opt to the continuous assessment will be evaluated as follows: The final note will be the result of some works, individual and of group, accomplished inside and outside of the classroom, which will be attributed to one weight in accordance with the effort and difficulty degree.
Composition Techniques Assessments – 50%
Analysis Ratings – 50%

Assessment by exam:
Written exam – 100,0%.

1. To understand and to use the musical codes
2. To recognize the different historical periods and respective musical production
3. To identify, to select and to adapt repertoire to specific musical groups
4. To conceive vocal and instrumental arangements

MODULE I (Composition Techniques)

1. COUNTERPOINT
1.1. Species two voices counterpoint .
1ª, 2ª, 3ª, 4ª and 5ª Species.
1.2. The treatment of the text.
Compose a “Benedictus” or a “Kyrie” for two voices.

MODULE II (Analysis)
1. Functional analysis.
1.1. Tonal relationships.
1.1.1. Degrees of scale and its functions.
1.1.2. Dissonant notes.
1.2. Six-Four Chords.
1.3. Consecutive Six-Three Chords.
1.3.1. Diatonic Sequence.
1.4. Secondary Dominants.
1.4.1. Regular Resolution.
1.4.2. Irregular resolution.
1.4.3. Consecutive Secondary Dominant Sevenths.
1.5. Modulation.
1.5.1. Near-Related.
1.5.2. Distant-Related.
1.6. Chords of diminished and half-diminished seventh.
1.6.1. Modulation using chords of diminished and half-diminished seventh.
1.7. Neapolitan.
1.7.1. Modulations with Neapolitan Chords.
1.8. Augmented Sixth Chords.
1.8.1. Italian Augmented Sixth.
1.8.2. German Augmented Sixth.

• - Analysis Ratings - 50.0%
• - Composition Techniques Assessments - 50.0%

• - Exam - 100.0%

NAO

ALDWELL, Edward / SCHACHTER, Carl (1989): Harmony and Voice Leading, Orlando, Harcourt Brace Javano Publishersvich
Arlim, Mary; Lord, Charles; Ostrander, Arthur e Porterfield, Marjorie – Music Sources, A Collection of Excerpts and Complete Movements (second edition), New Jersy, Prentice Hall.
KOELLREUTTER, Hans Joachim: Contraponto Modal do século XVI (Palestrina), Brasília, Brasília Artes Gráficas
LAMAS, Elisa (2008): Sebenta de Harmonia, Lisboa, Juventude Musical Portuguesa
PISTON, Walter (1984): Orquestácion, Madrid, Real Musical
REGER, Max (1978): Contribuciones al estudio de la modulación, Madrid, Real Musical
SCHOENBERG, Arnold (1974):Tratado de Armonía, Madrid, Real Musical
SCHOENBERG, Arnold (1989): Fundamentos de La Composicion Musical, Madrid, Real Musical