This process diary outlines the development of a neo-romantic nocturne form piece over several weeks in August and September. Key elements include:
1) The piece is in E minor tonality and explores relative keys of G major and B minor through the harmonic progression.
2) An ABA nocturne form is developed using broken chord accompaniment, melodic ornamentation, and modulation between sections.
3) The work progresses from exploring tonality, melody, and accompaniment figures to developing variations, chromaticism, texture, and harmonization within each section.
4) By early September the piece was fully composed, with the return of the A section in octaves and ending
Original Description:
Original Composition process diary
Industry Standard
This process diary outlines the development of a neo-romantic nocturne form piece over several weeks in August and September. Key elements include:
1) The piece is in E minor tonality and explores relative keys of G major and B minor through the harmonic progression.
2) An ABA nocturne form is developed using broken chord accompaniment, melodic ornamentation, and modulation between sections.
3) The work progresses from exploring tonality, melody, and accompaniment figures to developing variations, chromaticism, texture, and harmonization within each section.
4) By early September the piece was fully composed, with the return of the A section in octaves and ending
This process diary outlines the development of a neo-romantic nocturne form piece over several weeks in August and September. Key elements include:
1) The piece is in E minor tonality and explores relative keys of G major and B minor through the harmonic progression.
2) An ABA nocturne form is developed using broken chord accompaniment, melodic ornamentation, and modulation between sections.
3) The work progresses from exploring tonality, melody, and accompaniment figures to developing variations, chromaticism, texture, and harmonization within each section.
4) By early September the piece was fully composed, with the return of the A section in octaves and ending
Key figured: E minor- tonality Relative keys: G major, B minor, A minor V: B minor: C#, F# and 7th note raise IV: A minor: No sharps/Flats, 7th note raise RM: G major: F# Tonic -
Key: E minor: F#, 7th note raise
Broken chord accompaniment in LH, Bel Canto Harmonies using 3rds and 6ths Character- Melancholy and Forlorn Basic improvisation using all keys Neo-Romantic Nocturne form (ABA) Pitch Range: At least 5 octaves if not, then more Dynamic Range: pp to f
Tuesday 26th of August
Figured out broken chordal accompaniment in triplets, starting in E minor, followed by variations: - Dom.7th chord in 2nd Inversion - Relative Major: G major - 7th chord - Tonic - Dominant -
Recurring C and B at the end of all 4-triplet phrases anticipate the
return of E minor. Pitch Range of 2-3 octaves for LH accompaniment Creates the mood/character Utilizes the majority of key relationships Improvisation Settlement on an A section with possible modulation to G major Use of ornamentation and unison octaves in the A theme Some though into variations in tempo i.e. ritenuto, rallentando and allargando Thought into a more changeable harmony of the A section Possible harmonization using 3rds, 5ths and 6ths Leaving last 4-5 points for next lesson
Friday 29th of August
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B section will now have a modulation to G major.
Inclusion of ornamentation and unison octaves Changed the modulation from G major to B minor Harmonization of 3rds and 6ths Chromaticism Syncopated melody included
Thursday 4th September
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Reharmonisation of the B section in B minor
Use of delayed semiquavers in chromatics alluding to a glissandi effect Short 2-3 bar transition back to the tonic key Undulating triplet broken chordal accompaniment still prominent in the LH Initial use of longer note values for the extraction and highlighting of melancholy character Some use of diminished chords in accompaniment Texture has mainly homophonic with some polyphony in B section
Friday 5th September
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Wrote down the return of the A section now in octaves
Accompaniment in LH from the beginning is also identical Ends on the tonic chord in 2nd Inversion in the LH and low tonic note in the RH LH crosses over the RH Piece ends with sustained E in the low bass register