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Programme Note: Through Her Eyes Name: Richard Donaldson Level: Higher ________________________________________________________
Stimulus: I liked the concept of having a ground bass in a song as it allows more focus on harmony and melody, rather than a chord progression !ocusing more on harmony and melody meant that I could focus on using more melodic features such as grace notes and repetition Resources/Use of technology" I used my piano to come up with the chord progression and to write out a rough melody line #nce I had the outline I began composing the song using $ibelius % Significant decisions: #ne of the changes I made was the key that the song was in it was originally in &' ma(or but after guidance from my teacher, I changed to )b ma(or, to make the writing process easier once it came to modulation I decided to e*plore orchestral bells to directly imitate the melody line, while the violin played a counter melody I decided to e*plore this to try and add more depth to the piece Process: I began writing down the chord progressions that is featured throughout my piece" +I I,vii vi - I- III I- -. I looped the chords and began writing a basic melody line on paper #nce I had a rough idea of where I wanted to go in terms of the song, I began writing it in $ibelius % /s I was writing onto $ibelius, I decided on the technical details +key signature, tempo, dynamics and modulation. I changed the clef for the viola as it is easier for the violinist to read the music with a treble clef, rather than using a alto clef with notes on higher ledger lines #nce I was finished with the first section, I began using circle of fifths to transition from the tonic to the dominant key /fter the modulation, it is an imitation of the previous section but in relation to the new key

Analysis: Intro section A Transition Section Transition !"#A Section A Section ! "utro

0 to 1 2 to 34 33 to 35 3% to 64 63 to 65 2 to 47 6% to 58 56 to %3

Intro: The ground bass is first set outlining the chord progression. The piano plays triads broken up between the treble and bass pedal is used. The viola and 2nd cello also plays triads broken up between the viola (playing 3rds) and the 2nd cello playing 5ths. Both string instru ents are played legato. The ti e signature is ! ! and the te po starts at 55bp . "s the intro is progresses# it begins to speed up ("ccelerando) until it reaches $2bp . "ll instru ents start of pianissi o. Section A: The piano# viola and %st cello play e&&o piano while the 2nd cello and the double bass plays piano. The double bass takes over the ground bass while the cello plays arpeggiated 5 th's. the bass in the piano also plays arepeggiated 5ths while the treble plays the ain elody. The viola also plays the elody and both the piano and viola play so e phrases legato. "ppoggiaturas are fre(uently used throughout this section. "t bars %3 the 2 nd cello and double bass play e&&o piano. "t bars 2%# the viola plays a counter elody as the orchestral bells play a direct i itation of the elody that was )ust played on the viola. "t this point the orchestral bells# piano and viola play forte while the other instru ents stay at e&&o piano. "t bars 2* the piano plays power chords in the treble and all the instru ents di inuendo. Transition: The piece uses circle of fifths to odulate fro the tonic to the do inant key (Bb +a)or to , a)or) the odulation is arked by a do inant $th chord that is played at the end of the transition. The viola plays a elody that aids the odulation while the %st cello and double bass play root notes of the chords played by the piano. The bass of the piano continues to play arepeggiated 5ths while the 2nd cello plays the inversion of this. Section : The main theme is continued in this section The piano and viola play pianissimo while the other instruments continue me99o piano The double bass plays the ground bass while the cello plays arpeggiated 5th's. The bass in the piano also plays arepeggiated 5ths while the treble plays the ain elody alongside the viola. Both the piano and viola play so e phrases legato. "ppoggiaturas are fre(uently used throughout this section. "t bars !5 the piano and viola play e&&o forte. "t bars !* the orchestral bells play fortissi o. The viola also again plays the counter elody while the orchestral bells play a direct i itation of the elody )ust played.

Transition: The piece uses circle of fifths again to odulate fro the do inant back to the tonic (, a)or to Bb +a)or) the odulation is arked by a do inant $th chord at the end of the transition. The viola plays a elody that aids the odulation while the %st cello and double bass play root notes of the chords played by the piano. The bass of the piano continues to play arepeggiated 5ths while the 2nd cello plays the inversion of this. "ll the instru ents crescendo over the full duration of the transition. !oda: The coda is used to go $ac% to section A& the first theme that occurs Section A: The piano# viola and %st cello play e&&o piano while the 2nd cello and the double bass plays piano. The double bass takes over the ground bass while the cello plays arpeggiated 5 th's. the bass in the piano also plays arepeggiated 5ths while the treble plays the ain elody. The viola also plays the elody and both the piano and viola play so e phrases legato. "ppoggiaturas are fre(uently used throughout this section. "t bars %3 the 2 nd cello and double bass play e&&o piano. "t bars 2%# the viola plays a counter elody as the orchestral bells play a direct i itation of the elody that was )ust played on the viola. "t this point the orchestral bells# piano and viola play forte while the other instru ents stay at e&&o piano. "t bars 2* the piano plays power chords in the treble and all the instru ents di inuendo. Section !: The orchestral bells play e&&o forte while the other instru ents play forte. The viola# treble piano and orchestral bells play the counter elody as the bass piano and 2nd cello play arepeggiated 5ths. Both the double bass and % st cello play a ground bass. This is repeated until the outro. "utro: "t this point# all instru ents slow down (ritardando)# the piano plays both 5 th chords and arpeggiated 5ths. The orchestral bells play 5ths. The viola and 2 nd cello also play arepegiated 5ths but play inverted on one another. The %st cello and double bass play a ground bass. "ll instru ents play e&&o piano. "t bar -* all instru ents play piano and di inuendo until the end. The final chords in bars $3 are arpegiated in the piano and played with a fer ata. The ti e signature changes to 5 ! as the piano plays Bb a)or arpeggios with the orchestral bells playing an inversion of this. The stringed instru ents play the root note for the duration of this bar.