Transcript Pop Song Project

Pop Song Project
Riff
• A repeated phrase usually found in jazz and
popular music.
• Click on a riff below to listen to it’s song!
Click on a riff below to listen to it’s song!
Task 1
• Listen to the following examples and state
whether a riff is present in the music. If a
riff is present, write down the name of the
instrument playing the riff.
Task 2
• Listen to this song by Bruno Mars and
highlight the lyrics where you hear a riff
present. Highlight the middle 8 using a
separate colour.
• Middle 8: In popular music, a section
which provides a contrast to the opening
section. It is often eight bars long.
Composing Task 1
• You are now going to compose your own riff. Remember,
a riff must be short and memorable for your listener. You
should play your riff to your peers to judge how
memorable it is. Remember to include a time signature.
Composing Task 1
Evaluation of Riff
• How memorable is my riff?
• What makes it memorable (rhythm, intervals
used, instrument it is written for, etc)?
• What did other people think of my riff?
• How much help did I need from my teacher
to complete this task?
• Do I like my riff?
• What could I do to improve my riff?
Task 3
• Watch the video from Axis of Awesome on
4 chord songs and in the space below
write down as many songs as you
recognise.
Task 3 continued
• Now think about the pieces that you are
learning in class. Do any of these works
use a repeated chord pattern? In the
space below, write down the names of any
songs you have learned which feature a
repetitive chord structure and the chords
used in that song. Find at least four songs
by discussing your answers with your
peers.
Composing Task 3
• In the space below, write down the key of your
riff, the scale associated with this key and the
notes of the chord in each degree of that scale.
Degrees
of
scale
Chord
Notes of
the
chord
I
ii
iii
m
IV
m
V
vi
vii
m
dim
Composing Task 3
• Key of C major
• No flats or sharps
• Remember to use the same key as your riff!
Degrees
of
scale
Chord
Notes of
the
chord
I
ii
iii
IV
V
C
Dm
Em
F
G
c,e,g
d,f,a
e,g,b
f,a,c
vi
vii
Am Bdim
g,b,d a,c,e
b,d,f
Composing Task 3
• Key of G major
• One sharp (f#)
• Remember to use the same key as your riff!
Degrees
of
scale
Chord
Notes of
the
chord
I
ii
iii
IV
V
vi
vii
G
Am
Bm
C
D
Em
F#dim
g, b, d
a, c, e
b, d, f#
c, e, g
d, f#, a
e, g, b
f#, a, c
Composing Task 3
• Key of D major
• 2 sharps (f# and c#)
• Remember to use the same key as your riff!
Degrees
of
scale
Chord
Notes of
the
chord
I
ii
iii
IV
V
vi
vii
D
Em
F#m
G
A
Bm
C#dim
d, f#, a
e, g, b
f#, a, v#
g, b, d
a, c#, e
b, d, f# c#, e, g
Composing Task 3
• Key of F major
• 1 flat (bb)
• Remember to use the same key as your riff!
Degrees
of
scale
I
ii
iii
IV
V
vi
vii
Chord
F
G
Am
Bb
C
Dm
Edim
f, a, c
g, bb, d
a, c, e
bb, d, f
c, e, g
d, f, a
e, g, bb
Notes of
the
chord
Composing Task 4
• You will now compose an 8-bar chord
progression using the chords found in the
table above. You must:
• Begin and end with chord I.
• Use a mixture of major and minor chords.
• End with a perfect cadence (V-I) to make
the music sound finished.
Composing Task 4
Bar
1
2
3
4
Chord
G
Em
C
D
Imperfect cadence
(Chords IV-V,
sounds
unfinished)
5
6
Em Am
7
8
D
G
Perfect cadence
(Chords V-1,
sounds
finished)
Evaluation of chord progression
• Can I name the key of my piece?
• Can I work out the chords in that key?
• Can I state the names of the notes in my key
signature (flats or sharps)?
• Have I started and ended my chord progression on
chord I?
• Does my chord progression include perfect and
imperfect cadences?
• How memorable is my chord progression?
• What could I do to improve my chord
progression?
Accompaniment Patterns
• You are now going to select an accompaniment style to input your
chord progression into the computer using your template on Notion.
Select an accompaniment style from below or compose your own
using the manuscript provided.
Composing Task 5
• Now input this template into Notion and
change the pitches of the notes to match
your chord sequence.
• Instrument playing the accompaniment:
___________________________
Evaluation of accompaniment
pattern
• Do you understand what is meant by an
accompaniment pattern?
• Can you copy an accompaniment pattern
onto your template using Notion software.
• Can you transpose an accompaniment
pattern using Notion software to fit your
chord progression.
• Can you compose your own accompaniment
pattern?
Adding a melody to your chord sequence
You are now ready to add your melody to the chords you
have chosen. You can do this in a number of ways:
1. Add a rhythm to each bar. Remember, each bar
must add up to four beats. Your next step would
then be giving each of your note heads a pitch
using notes of the chord AND passing notes.
2. Experiment with notes of the chord and passing
notes of your chord sequence and invent a rhythm
as you compose using these notes.
3. Sing a melody over your chord sequence played
back on the computer. Record this using a field
recorded and notate the pitches onto the stave.
Task 4: Do melodies repeat?
• Let’s look at the use of repetition in some of the melodies
that you or your peers may have learned in class.
Highlight the use of repetition on the scores shown
below and comment on the structure of the music.
• Click on the score to listen to the song.
• Click on the score to listen to the song.
• Click on the score to listen to the song.
• Click on the score to listen to the song.
Composing Task 6
• Write your eight bar melody in the space provided and
insert it onto your template on Notion.
• Instrument: ______________________
Evaluation of my 8 bar melody
• Have you based my melody on my chord
progression?
• Do you use a mix of notes of the chord and
passing notes?
• Does your melody include repetition? If so,
where?
• Does your melody include a sequence? If so,
where?
• Does your melody move by step or leap?
• Is your melody memorable? How is it memorable?
• What do your peers think of your melody?
• How can you improve your melody?
Counter-melody
•
A melody played against the main melody.
Step 1: Harmonise your melody
1. The first step is to harmonise your melody, demonstrating that you
understand what notes are in your chosen chords. This will give you a
template to work with.
2. Draw two minums (two beat notes) in each bar of your counter-melody.
3. Give each minum in your counter-melody a note of the chord which is
different to the melody note played at the same time. For example, in bar
1 the first note of the counter-melody cannot be ‘g’ as there is a ‘g’ in the
melody. Therefore, your options for the counter-melody are either ‘b’ or
‘d.’ It is up to you to choose the note that you think sounds best.
Counter-melody
Step 2: Adding passing notes
1. The second step is to develop your counter-melody by adding passing
notes.
2. Look for any instances where the notes of the counter-melody are a
third apart (for example ‘b’-‘d’ in bar 1) and insert a passing note in
between these. Remember to alter the rhythm accordingly so that there
is always four beats in a bar.
3. Passing notes are non-harmony notes and so should generally by of a
shorter rhythmical value to harmony notes.
Counter-melody
Step 3: Developing the counter-melody
1. You now want to try and make your counter-melody sound more tuneful.
2. Play over your counter-melody and alter any pitches to improve the tune where
you think it is necessary.
3. Add points of imitation into your counter-melody. For example, in bar 1 the
rhythm of the first two beats of the melody are imitated in last two beats of the
counter-melody. This pattern is continued in bar 2.
Counter-melody
Step 4: Avoid vertical clashes
1.
2.
You should always listen back to your piece to ensure that you like how it
sounds. Play your work to your classmates to evaluate your work.
If you hear any clashes between parts, check that there are no vertical clashes
between the melody and the counter-melody. You cannot harmonise with two
letter names which are adjacent in the alphabet written on top of each other. For
example, if the first ‘b’ in the counter-melody lasted for two beats, it would clash
with the first ‘a’ in the melody as it does in ‘Step 1.’ This is because we have the
notes ‘a’ and ‘b’ playing at the same time. We have avoided this by placing a
passing note in the counter-melody.
Composing Task 7
• Write an 8 bar counter-melody to accompany your
melody. You must follow steps 1-4, using notes of the
chord, passing notes and points of imitation. Write your
counter-melody in the space provided and input this into
your template on Notion.
• Instrument: ______________
Evaluation of my counter-melody
• Can you harmonise your melody using
notes of the chord?
• Can you add include passing notes in your
counter-melody?
• Can you add points of imitation to your
counter-melody?
• Are there any clashes between your
counter-melody and your melody?
• What do you and your peers think of your
counter-melody?
Adding a bass line
• You will now add a bass line to your piece.
Try experimenting with the different bass
line patterns shown below. Remember,
your final bass line must also include
examples of passing notes.
Using the root of the
chord
Using the root and
5th of the chord
Using the root, 3rd and
5th of the chord
Moving by step
Bass riff
Composition Task 8
•
Compose an 8 bar bass line to accompany your melody. You should write
your bass line using the notes of the bass clef.
Notes of the bass clef follow a different set of rhymes
to notes in the treble clef:
• Notes on a space – All Cows Eat Grass
• Notes on a line – Glasgow Buses Drive Fast Always
Evaluation of my bass line
• Have you demonstrated an understanding of
bass clef notation (Higher extension)?
• Can you select a bass line or compose your
own bass pattern and input this onto your
template using Notion software?
• Can you transpose this pattern to fit the
notes of your chord progression?
• What do you and your peers think about
how your piece sounds with the bass line
added?
Developing your melody
You are now going to write a further eight bars of music by
developing your material. This can be done in a number of
ways:
1.
Sequence:
2.
3.
4.
Modulation: A change of key.
Developing Initial Rhythmic Ideas
Incorporate your initial riff into your melodic
material
A melodic phrase which is immediately repeated at
a higher or lower pitch.
Composing Task 9
• Write a further 8 bars showing evidence of
developing your initial melody. You must include
a bass line, counter-melody and accompaniment
pattern, following the steps used to create bars
1-8. Create this on Notion (or on manuscript)
print your work to staple onto your booklet.
• Ways in which I have developed my melody
in bars 9-12: _____________
Evaluation of the development of my
melody
• In what ways have you developed bars 1-8 in bars 9-16?
• Have you composed balanced, question and answer
phrases?
• Did you create a coherent chord structure?
• Does your piece use perfect and imperfect cadences?
Where?
• Does your counter-melody and bass line use passing
notes?
• Does your counter-melody and bass line use imitation?
• What do you and your peers think about the development
of your melody?
• How can you improve this development?
Returning to the riff
By this point you should have completed a 16
bar melody which demonstrates and
understanding of:
1. Music notation (writing rhythms and pitches on the stave).
2. Keys signatures and how to work out the chords associated
with a specific key.
3. Cadences (perfect and imperfect).
4. How to create an effective chord progression.
5. Harmony.
6. Passing notes.
7. Riffs.
8. How to develop a musical phrase using repetition, sequence,
imitation and modulation.
9. Music ICT software (Notion).
Composing Task 10
• You are now going to incorporate your riff into your score
on Notion. You may have to change the pitches of the
notes depending on your chosen chords. For example,
the notes of the riff in Chasing Cars are slightly altered to
fit the chords of the melody.
A
E
D
A
Evaluation of my piece as a whole
• I have demonstrated an understanding of key signatures
and the chords associated with them.
• I can invent a riff.
• I can invent a coherent chord structure which
demonstrates an understanding of perfect and imperfect
cadences.
• I can transpose a riff/accompaniment pattern/bass pattern
to fit a chord sequence.
• I can use notes of the chord and passing notes to invent a
melody.
• I can develop my melody using repetition, sequence and
imitation.
• I can use Music ICT (Notion software) to record and reflect
upon my work.
• I can critically reflect on my work and use this reflection to
inform my work.
Rhythm Bank
On the beat
Off the beat/syncopated