A2 Unit 5 Composition

Brief 1: Sonatina

The brief states that you may adapt Classical sonata form if you wish, but your
composition must follow an exposition/development/recapitulation structure.

TONALITY & KEYS

If youre writing in a Classical style (functional harmony, balanced phrases, music that
sounds rather like Haydn, Mozart, Beethoven), youre best sticking to the Classical rules
regarding tonality/keys you use:

If tonic key is major

EXPOSITION 1st subject tonic 2nd subject dominant

DEVELOPMENT Moving through related keys subdominant, relative minor, supertonic minor,
dominant minor
Dominant pedal to prepare for recap

RECAPITULATION 1st subject tonic 2nd subject tonic

If tonic key is minor

EXPOSITION 1st subject tonic 2nd subject relative major

DEVELOPMENT Moving through related keys subdominant, relative major, submediant, dominant
Dominant pedal to prepare for recap

RECAPITULATION 1st subject tonic 2nd subject tonic major

If youre writing in a more modern style (e.g. neo-Classical, or C20th/modern), you

could allow yourself more freedom: e.g. if youre in a major key, your exposition 2nd
subject could be in a remote (in Classical terms) key such as flattened mediant (that is, a
minor 3rd up from your tonic) modulations to keys a 3rd away are a popular & effective
modern feature.

The essential thing is that the examiner can see well-controlled tonal contrast in your
piece. You need to convince the examiner you are in control of your use of keys, and that
your modulations are effective & successful.

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Once you know your tonic key, and have your melodic material, plot the keys you will be
using, so you know where you have to modulate to and from.
KEY QUESTIONS

Keep these questions in mind as you are working on your composition:

(1) Do I have a clear structure?

(2) Have I achieved a balance between unity and variety?

(3) In my composition is there both repetition and contrast?

(4) Have I explored a full range of textures?

(5) Have I handled my chosen instrumentation effectively & creatively?

(6) Have I planned my use of tonality?

(7) Are my modulations to new keys successful and convincing?

(8) Have I employed interesting harmonic progressions (e.g. a cycle of 5ths)?

(9) Is there effective contrast between my 1st and 2nd subjects

(10) Can the examiner see convincing use and development of melodic fragments in
my development section?

(11) Is there rhythmic variety within the piece?

(12) Does my composition present a sense of wholeness?

If when your piece is finished you can answer yes to each of them youll know you are
maximising your mark.