<music> This is my part, now comes in the trumpet
<music> This is where my saxophone part has to be, the top line only. And it needs to end there.
OK, one thing that I noticed was in the second part we still have this quarter rest and the eighth notes going there, but now we have introduced this rhythm that is off of the beat, these syncopations. I sort of like that, so, I am going to think about doing that as well. So these give me some elements to think about for my last part of the piece here.
So, let’s go to the ending here, and I am going to do the ending first and then work backwards a bit. This is sometimes a very good strategy. Let’s take a close look at the note values. We have a whole note that goes through the whole measure. This is a quarter note, but this is the percussion part. Percussion parts don’t play with a treble or bass clef, they are just simply rhythms, so I am not going to worry about that note value—quarter note. Here in the piano it continues all the way to the end. I want to match the other notes by having the length of note that is appropriate. So, in this case I need to fill up the whole measure with a whole note.
In our compositions in this course, we must end on tonic, which is the note name, which is E flat. So, I am going to end right there. Turn this on with either an “n” on the keyboard or clicking there.
<music, note entry> And there is my whole note there.
Now, the other thing that I was thinking about, is… wouldn’t it be fun… what is going on here, let me click a “5.” There we go. No, I wanted a rest, why did it do that to me? Click that off, delete that. There we go. Now we have a rest here.
I want to take those four eighth notes, and go up and reach this E flat somehow. I don’t have to do them exactly…
<music entry> C, I wanted an eighth note, wrong note value, there we go eighth.
How about…I am getting all sorts of extra notes here! Not good. I am going to turn off the note entry. Click on that, delete, get rid of the one I didn’t want and go back here.
<music entry> C, B flat, C, D. By the way I should have told you that we looked up F minor 7 in our chart and I know that C matches that. This C doesn’t match the chord, but the D does in B flat 7. Let’s look up the B flat 7: Bb, D, F Ab. OK.
<music entry> Let’s go up to E flat. F and then E flat.
OK, this makes use of some of those eighth notes here, not exactly (like the opening) but I have kept those eighth notes and created a whole line that leads to my last note here. I will turn off this note entry tool, click here and have a listen.
<music>
Heh! I think that works just fine. Let’s listen to that again.
<music>
Yeah, see I am using components from the melody that was given to me in the call and creating an ending. I have the right note with the right length. I like it so much I am going to save it immediately—give another copy here. So here is draft 4, save that, good!
So, we have the last two measures done. Now, I have just got a few before. See the trumpet ends here and then I need to fill in three measures. I really liked this syncopated thing going on here. So, let’s do that. So, let’s make up something like that there.
So, we have a C chord. Looking at my website: C, E, G is my chord. Alright. So, the way that syncopated thing started out…. So we have an eighth note, G is part of that chord. Where should I go next? I want quarter notes.
<music F> OK, why don’t we go down there?
<music G> And then I went back up to G. It is still going to match both of these (chords). The C minor 7 has C, Eb, G, and Bb in it. So, although the F is not in this, it is right next to these chord notes, so that is fine. You tend not to leap to non-chord tones, you tend to have them adjacent.
<music Bb> Let’s see ..da, da, da, da. Yeah, let’s listen to that. Turn this off, click on here.
<music>
OK, I am going back one measure earlier. Let’s listen here.
<music> OK, that works alright. Stop… but I like that ending the best.
Maybe here we will do the same sort of idea. Let’s go back to a note entry. There we go. Why does it keep doing that to me? It keeps moving me around. OK, F7. Let’s take a look at our F7 on this chart. F, A, C, Eb is what I am looking at.
<music Ab, C, D, Eb> Let’s see if that works. OK, and that is probably enough. I don’t want to do that more than two measures in a row. Then my thought is, why don’t we go back to the moving eighth notes? Page up, this action here. Let me reverse the direction.
<music note entry F, Eb, D, C, Bb> OK, let’s see how that works. C7, you probably remember from before has a C natural, C, E, G, Bb. I end on a Bb, it is a long tone-the note is in the chord. (Here) the Eb is a long tone, which is in the chord. Alright, I think this might work. Let’s have a listen here. Let’s go page up, turn off that. Let’s get started here and listen.
<music>
OK, that was pretty good! But I just heard one big error, one big “oops” in my part. F7, what is in an F7? F, A, C, Eb. When there are no accidentals after the note name that means that these are naturals. F7 should have an A natural. See that one right there? I need to put that natural on there. That will be just fine. Good, let’s listen to that again. Make sure… click on here and get started.
<music>
Yeah, that is passable. So, now I am going to “save as,” save another draft. Perhaps I want to do a little more work at the end. But, in this case I have done a good job of imitating that part that came before—the call. I have imitated some of these rhythms with the note values that I had here. I have been careful to match the harmony. I have left the saxophone part in a good range, which is generally within the staff. And I have properly ended on the tonic with the right note length.
So, if I am happy with this, I can finally save it as the final copy of my composition number 1. Save it like that, and we are done with the project. Goodbye!