3.

ANALYSIS OF THE GIVEN OPENING

BY VICTORIA WILLIAMS
www.mymusictheory.com

Date of publishing: 26th May 2015

Summary of the Lesson

• It’s essential that you reuse the rhythmic and melodic ideas of the given opening to
construct the rest of the piece.
• Always double check the key signature before you start. The beginning of the melody will fit
with chords I and V (and possibly IV) in the correct key.
• Remind yourself what the time signature represents – how many/what type of beats per
bar.
• Identify the patterns of rhythm used on each beat of the bar. Look in particular for “unusual”
rhythms, such as triplets, dotted rhythms or syncopation.
• Identify whether each beat is constructed using movement based on triads or scales (steps).
• Identify the most likely chords to harmonise each beat of the given opening. The harmony
will probably change with each beat, each half a bar, or each bar. (Don’t forget that bar 1 will
most likely contain a primary chord: I, IV or V).
• Take notice of the performance directions – tempo, dynamics and any articulation (slurs,
staccato and so on).

© Victoria Williams – www.mymusictheory.com 1

Grade 6 Composition Course
3. ANALYSIS OF THE GIVEN OPENING | PRACTICE
For each of the given openings below:

1. Name the key.

2. Explain the time signature as “simple duple” etc.
3. Say what value note equals one whole beat in this time signature.
4. Explain the tempo in English.
5. Note down which types of articulation have been used (e.g. slurs).
6. Choose an adjective (or two) to describe the emotion of the piece e.g. jolly, jokey etc.
7. Draw a circle around all pairs of adjacent notes which do not move by step, within each beat
(i.e. don’t circle notes which move by a leap but are on different beats of the bar).

An example is done for you:

1. F major
2. Simple triple
3. One quaver (8th note)
4. Lively
5. Staccato & slurs
6. Jolly
7. See score
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© Victoria Williams – www.mymusictheory.com 2

Grade 6 Composition Course