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*:
- 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).
- The melody is shaped in accord with “Whole Melody” guidelines and “Note-to-Note” guidelines adapted from Kennan and Reicha, and discussed in class.
- 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.