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Revision and Extension of a Melodic Sketch (Extra Credit)

Due October 11 (Extra Credit 5 pts):

Following guidelines given in class, and in Kent Kennan Chs. 4 & Ch. 6, use one of your melodic sketches to construct a parallel period that fulfills the following stylistic characteristics of short 18th-c instrumental compositions*:

  1. Two phrases, of equal length, consisting of basically the same melody, except in that they reach different cadences. In general, the pair should progress from relatively weak (e.g. a half cadence, deceptive cadence, or non-root-position I.A.C.) to relatively strong (a full cadence, either root-position I.A.C. or P.A.C., sometimes in III or V but usually in I).
  2. The melody is shaped in accord with “Whole Melody” guidelines and “Note-to-Note” guidelines adapted from Kennan and Reicha, and discussed in class. 
  3. The relationship between bass and treble “chord tones” prior to the cadence, is primarily made of imperfect consonances and conforms to “Two-part Writing” guidelines adapted from Kennan and C.P.E. Bach.

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