Official Course Description: MCCCD Approval: 4-25-00 |
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MTC113 2000 Fall – 2010 Summer II |
LEC
1.0 Credit(s) 1.0 Period(s) 1.0 Load
Acad |
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Songwriting
Techniques |
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Introduction
to pop melody writing and harmonic settings. Development of short ideas into
complete songs with the use of contrast, variation, and repetition.
Consideration of the pros and cons of writing songs with a partner or small
group. Prerequisites: MTC110 or permission of Instructor.
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Go to Competencies Go to Outline
MCCCD
Official Course Competencies: |
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MTC113 2000 Fall –
2010 Summer II |
Songwriting Techniques |
1.
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Expand an initial melodic idea into an eight-bar section
of a song or a complete song. (I) |
2.
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Use contrast, variation, or repetition to expand a short
melodic idea into a complete song. (II, III) |
3.
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Select interesting chords or chord progressions to
accompany the melody. (IV) |
4.
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Assessing one’s own strengths and weaknesses as a
songwriter, and describe the characteristics of a productive collaborative
writing team. (V) |
Go to Description Go to top of
Competencies
MCCCD
Official Course Outline: |
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MTC113 2000 Fall –
2010 Summer II |
Songwriting Techniques |
I. Basic Elements of Pop
Melodies A. Short melodic ideas
without much classical development B. Some portion of the
melodic idea, or motive, should repeat at least once C. Melody should be
memorable but have enough variety to withstand repeated listenings
D. May alternate between
two melodic ideas II. Repetition and
Variation Techniques A. Start with a one-bar
phrase and duplicate it B. Use a slight variation
in the repetition of the first phrase C. Alternate two completely
different melodic ideas 1. A completely different
idea is juxtaposed with the original, forming an idea that is then repeated 2. The close alternation of
two ideas serves to link them quickly in the listener’s mind III. Adding Contrast to a
Song for Variety and Interest A. Change the pitch level
of the melodic line B. Change the phrase length
C. Change the rhythmic
patterns D. Change the text E. Begin a second
repetition of the phrase, but then change it unexpectedly IV. Choosing the Harmonic
Foundation for the Melody A. Using simple triads B. Use of seventh chords C. Use of more complex
harmonies 1. Ninth, eleventh and thirteenth
chords 2. Chromatically altered
harmonies 3. Jazz harmonies D. Harmonic progressions 1. Order of the chords 2. Letting the melody help
determine harmony V. Writing in Collaboration
A. A writer may be stronger
as a lyricist or as a composer B. Writing with a
collaborator can provide new and innovative ideas to a writing style C. A collaborator can
provide feedback and critique D. More networking to get
the song published and heard |