1. Pop Song Project

2. Riff A repeated phrase usually found in jazz and popular music. Click on a riff below to listen to it’s song!Click on a riff below to listen to it’s song!

3. Click on a riff below to listen to it’s song!

4. Task 1 Listen to the following examples and state whether a riff is present in the music. If a riff is present, write down the name of the instrument playing the riff.

5. Task 2 Listen to this song by Bruno Mars and highlight the lyrics where you hear a riff present. Highlight the middle 8 using a separate colour.this song Middle 8: In popular music, a section which provides a contrast to the opening section. It is often eight bars long.

6. Composing Task 1 You are now going to compose your own riff. Remember, a riff must be short and memorable for your listener. You should play your riff to your peers to judge how memorable it is. Remember to include a time signature.

7. Composing Task 1

8. Evaluation of Riff How memorable is my riff?How memorable is my riff? What makes it memorable (rhythm, intervals used, instrument it is written for, etc)?What makes it memorable (rhythm, intervals used, instrument it is written for, etc)? What did other people think of my riff?What did other people think of my riff? How much help did I need from my teacher to complete this task?How much help did I need from my teacher to complete this task? Do I like my riff?Do I like my riff? What could I do to improve my riff?What could I do to improve my riff?

9. Task 3 Watch the video from Axis of Awesome on 4 chord songs and in the space below write down as many songs as you recognise.

10. Task 3 continued Now think about the pieces that you are learning in class. Do any of these works use a repeated chord pattern? In the space below, write down the names of any songs you have learned which feature a repetitive chord structure and the chords used in that song. Find at least four songs by discussing your answers with your peers.

11. Composing Task 3 In the space below, write down the key of your riff, the scale associated with this key and the notes of the chord in each degree of that scale. Degrees of scale IiiiiiIVVvivii Chord m m m dim Notes of the chord

12. Composing Task 3 Key of C major No flats or sharps Remember to use the same key as your riff! Degrees of scale IiiiiiIVVvivii Chord C DmEmFGAmB dim Notes of the chord c,e,gd,f,ae,g,bf,a,cg,b,da,c,eb,d,f

13. Composing Task 3 Key of G major One sharp (f#) Remember to use the same key as your riff! Degrees of scale IiiiiiIVVvivii Chord GAmBmCDEm F#dim Notes of the chord g, b, da, c, eb, d, f#c, e, gd, f#, ae, g, bf#, a, c

14. Composing Task 3 Key of D major 2 sharps (f# and c#) Remember to use the same key as your riff! Degrees of scale IiiiiiIVVvivii Chord DEmF#mGABm C#dim Notes of the chord d, f#, ae, g, b f#, a, v# g, b, d a, c#, e b, d, f#c#, e, g

15. Composing Task 3 Key of F major 1 flat (bb) Remember to use the same key as your riff! Degrees of scale IiiiiiIVVvivii Chord FGAmBbCDm Edim Notes of the chord f, a, cg, bb, da, c, ebb, d, fc, e, gd, f, ae, g, bb

16. Composing Task 4 You will now compose an 8-bar chord progression using the chords found in the table above. You must: Begin and end with chord I. Use a mixture of major and minor chords. End with a perfect cadence (V-I) to make the music sound finished.

17. Composing Task 4 Bar 12345678 Chord GEmCD AmDG Imperfect cadence (Chords IV-V, sounds unfinished) Perfect cadence (Chords V-1, sounds finished)

18. Evaluation of chord progression Can I name the key of my piece?Can I name the key of my piece? Can I work out the chords in that key?Can I work out the chords in that key? Can I state the names of the notes in my key signature (flats or sharps)?Can I state the names of the notes in my key signature (flats or sharps)? Have I started and ended my chord progression on chord I?Have I started and ended my chord progression on chord I? Does my chord progression include perfect and imperfect cadences?Does my chord progression include perfect and imperfect cadences? How memorable is my chord progression?How memorable is my chord progression? What could I do to improve my chord progression?What could I do to improve my chord progression?

19. Accompaniment Patterns You are now going to select an accompaniment style to input your chord progression into the computer using your template on Notion. Select an accompaniment style from below or compose your own using the manuscript provided.

20. Composing Task 5 Now input this template into Notion and change the pitches of the notes to match your chord sequence. Instrument playing the accompaniment: ___________________________

21. Evaluation of accompaniment pattern Do you understand what is meant by an accompaniment pattern?Do you understand what is meant by an accompaniment pattern? Can you copy an accompaniment pattern onto your template using Notion software.Can you copy an accompaniment pattern onto your template using Notion software. Can you transpose an accompaniment pattern using Notion software to fit your chord progression.Can you transpose an accompaniment pattern using Notion software to fit your chord progression. Can you compose your own accompaniment pattern?Can you compose your own accompaniment pattern?

22. Adding a melody to your chord sequence You are now ready to add your melody to the chords you have chosen. You can do this in a number of ways: 1.Add a rhythm to each bar. Remember, each bar must add up to four beats. Your next step would then be giving each of your note heads a pitch using notes of the chord AND passing notes. 2.Experiment with notes of the chord and passing notes of your chord sequence and invent a rhythm as you compose using these notes. 3.Sing a melody over your chord sequence played back on the computer. Record this using a field recorded and notate the pitches onto the stave.

23. Task 4: Do melodies repeat? Let’s look at the use of repetition in some of the melodies that you or your peers may have learned in class. Highlight the use of repetition on the scores shown below and comment on the structure of the music. Click on the score to listen to the song.Click on the score to listen to the song.

27. Composing Task 6 Write your eight bar melody in the space provided and insert it onto your template on Notion. Instrument: ______________________

28. Evaluation of my 8 bar melody Have you based my melody on my chord progression?Have you based my melody on my chord progression? Do you use a mix of notes of the chord and passing notes?Do you use a mix of notes of the chord and passing notes? Does your melody include repetition? If so, where?Does your melody include repetition? If so, where? Does your melody include a sequence? If so, where?Does your melody include a sequence? If so, where? Does your melody move by step or leap?Does your melody move by step or leap? Is your melody memorable? How is it memorable?Is your melody memorable? How is it memorable? What do your peers think of your melody?What do your peers think of your melody? How can you improve your melody?How can you improve your melody?

29. Counter-melody A melody played against the main melody. Step 1: Harmonise your melody 1.The first step is to harmonise your melody, demonstrating that you understand what notes are in your chosen chords. This will give you a template to work with. 2.Draw two minums (two beat notes) in each bar of your counter-melody. 3.Give each minum in your counter-melody a note of the chord which is different to the melody note played at the same time. For example, in bar 1 the first note of the counter-melody cannot be ‘g’ as there is a ‘g’ in the melody. Therefore, your options for the counter-melody are either ‘b’ or ‘d.’ It is up to you to choose the note that you think sounds best.

30. Counter-melody Step 2: Adding passing notes 1.The second step is to develop your counter-melody by adding passing notes. 2.Look for any instances where the notes of the counter-melody are a third apart (for example ‘b’-‘d’ in bar 1) and insert a passing note in between these. Remember to alter the rhythm accordingly so that there is always four beats in a bar. 3.Passing notes are non-harmony notes and so should generally by of a shorter rhythmical value to harmony notes.

31. Counter-melody Step 3: Developing the counter-melody 1.You now want to try and make your counter-melody sound more tuneful. 2.Play over your counter-melody and alter any pitches to improve the tune where you think it is necessary. 3.Add points of imitation into your counter-melody. For example, in bar 1 the rhythm of the first two beats of the melody are imitated in last two beats of the counter-melody. This pattern is continued in bar 2.

32. Counter-melody Step 4: Avoid vertical clashes 1.You should always listen back to your piece to ensure that you like how it sounds. Play your work to your classmates to evaluate your work. 2.If you hear any clashes between parts, check that there are no vertical clashes between the melody and the counter-melody. You cannot harmonise with two letter names which are adjacent in the alphabet written on top of each other. For example, if the first ‘b’ in the counter-melody lasted for two beats, it would clash with the first ‘a’ in the melody as it does in ‘Step 1.’ This is because we have the notes ‘a’ and ‘b’ playing at the same time. We have avoided this by placing a passing note in the counter-melody.

33. Composing Task 7 Write an 8 bar counter-melody to accompany your melody. You must follow steps 1-4, using notes of the chord, passing notes and points of imitation. Write your counter-melody in the space provided and input this into your template on Notion. Instrument: ______________

34. Evaluation of my counter-melody Can you harmonise your melody using notes of the chord?Can you harmonise your melody using notes of the chord? Can you add include passing notes in your counter-melody?Can you add include passing notes in your counter-melody? Can you add points of imitation to your counter-melody?Can you add points of imitation to your counter-melody? Are there any clashes between your counter-melody and your melody?Are there any clashes between your counter-melody and your melody? What do you and your peers think of your counter-melody?What do you and your peers think of your counter-melody?

35. Adding a bass line You will now add a bass line to your piece. Try experimenting with the different bass line patterns shown below. Remember, your final bass line must also include examples of passing notes.

36. Using the root of the chord Using the root and 5 th of the chord Using the root, 3 rd and 5 th of the chord Moving by step Bass riff

37. Composition Task 8 Compose an 8 bar bass line to accompany your melody. You should write your bass line using the notes of the bass clef. Notes of the bass clef follow a different set of rhymes to notes in the treble clef: Notes on a space – All Cows Eat Grass Notes on a line – Glasgow Buses Drive Fast Always

38. Evaluation of my bass line Have you demonstrated an understanding of bass clef notation (Higher extension)?Have you demonstrated an understanding of bass clef notation (Higher extension)? Can you select a bass line or compose your own bass pattern and input this onto your template using Notion software?Can you select a bass line or compose your own bass pattern and input this onto your template using Notion software? Can you transpose this pattern to fit the notes of your chord progression?Can you transpose this pattern to fit the notes of your chord progression? What do you and your peers think about how your piece sounds with the bass line added?What do you and your peers think about how your piece sounds with the bass line added?

39. Developing your melody You are now going to write a further eight bars of music by developing your material. This can be done in a number of ways: 1.Sequence: A melodic phrase which is immediately repeated at a higher or lower pitch. 2.Modulation: A change of key. 3.Developing Initial Rhythmic Ideas 4.Incorporate your initial riff into your melodic material

40. Composing Task 9 Write a further 8 bars showing evidence of developing your initial melody. You must include a bass line, counter-melody and accompaniment pattern, following the steps used to create bars 1-8. Create this on Notion (or on manuscript) print your work to staple onto your booklet. Ways in which I have developed my melody in bars 9-12: _____________

41. Evaluation of the development of my melody In what ways have you developed bars 1-8 in bars 9-16?In what ways have you developed bars 1-8 in bars 9-16? Have you composed balanced, question and answer phrases?Have you composed balanced, question and answer phrases? Did you create a coherent chord structure?Did you create a coherent chord structure? Does your piece use perfect and imperfect cadences? Where?Does your piece use perfect and imperfect cadences? Where? Does your counter-melody and bass line use passing notes?Does your counter-melody and bass line use passing notes? Does your counter-melody and bass line use imitation?Does your counter-melody and bass line use imitation? What do you and your peers think about the development of your melody?What do you and your peers think about the development of your melody? How can you improve this development?How can you improve this development?

42. Returning to the riff By this point you should have completed a 16 bar melody which demonstrates and understanding of: 1.Music notation (writing rhythms and pitches on the stave). 2.Keys signatures and how to work out the chords associated with a specific key. 3.Cadences (perfect and imperfect). 4.How to create an effective chord progression. 5.Harmony. 6.Passing notes. 7.Riffs. 8.How to develop a musical phrase using repetition, sequence, imitation and modulation. 9.Music ICT software (Notion).

43. Composing Task 10 You are now going to incorporate your riff into your score on Notion. You may have to change the pitches of the notes depending on your chosen chords. For example, the notes of the riff in Chasing Cars are slightly altered to fit the chords of the melody. A ED A

44. Evaluation of my piece as a whole I have demonstrated an understanding of key signatures and the chords associated with them.I have demonstrated an understanding of key signatures and the chords associated with them. I can invent a riff.I can invent a riff. I can invent a coherent chord structure which demonstrates an understanding of perfect and imperfect cadences.I can invent a coherent chord structure which demonstrates an understanding of perfect and imperfect cadences. I can transpose a riff/accompaniment pattern/bass pattern to fit a chord sequence.I can transpose a riff/accompaniment pattern/bass pattern to fit a chord sequence. I can use notes of the chord and passing notes to invent a melody.I can use notes of the chord and passing notes to invent a melody. I can develop my melody using repetition, sequence and imitation.I can develop my melody using repetition, sequence and imitation. I can use Music ICT (Notion software) to record and reflect upon my work.I can use Music ICT (Notion software) to record and reflect upon my work. I can critically reflect on my work and use this reflection to inform my work.I can critically reflect on my work and use this reflection to inform my work.

45. Rhythm Bank On the beat Off the beat/syncopated