Performing and composing ideas
Some of the techniques found in Symphony No.101 can be transferred to performances and composing. By understanding the effects of each may develop musicianship skills. They are shown here in this table.
| In performance | In composing | |
| Attention to detail | Make use of expressive features such as dynamics, phrasing and articulation. | Make use of expressive features such as dynamics, phrasing and articulation. |
| Harmony | Understanding the harmonic structure of the music, in particular the cadence points, can help to give your performance musical shape and a sense of direction. | Compose a melody and harmonise it with the chords I, ii, IV and V and vi. |
| Ornamentation | Use ornamentation to decorate the melody - especially useful in a solo. | Use to show variation in repeating section. |
| Ternary form | The repeated A section in a ternary form piece should be presented differently from the opening A section. Look at how the music has developed in light of the intervening B section. Consider playing the repeated A section in a related but different way, given that the music has moved on into a different place. | Apply this structure to create a contrasting middle section. |
| Modulation | Make sure to pay attention to new sharp and flat notes when moving from one key to another. | A modulation can be used to change the mood of a piece - eg modulating to the relative minor could mean something sad. |
| Dominant 7 chords | A good way to embellish chords and a way to add appropriate dissonance, depending on the voicing. | A traditional way to add colour to chords and a musical tool to modulate from different keys. |
| Attention to detail | |
| In performance | Make use of expressive features such as dynamics, phrasing and articulation. |
| In composing | Make use of expressive features such as dynamics, phrasing and articulation. |
| Harmony | |
| In performance | Understanding the harmonic structure of the music, in particular the cadence points, can help to give your performance musical shape and a sense of direction. |
| In composing | Compose a melody and harmonise it with the chords I, ii, IV and V and vi. |
| Ornamentation | |
| In performance | Use ornamentation to decorate the melody - especially useful in a solo. |
| In composing | Use to show variation in repeating section. |
| Ternary form | |
| In performance | The repeated A section in a ternary form piece should be presented differently from the opening A section. Look at how the music has developed in light of the intervening B section. Consider playing the repeated A section in a related but different way, given that the music has moved on into a different place. |
| In composing | Apply this structure to create a contrasting middle section. |
| Modulation | |
| In performance | Make sure to pay attention to new sharp and flat notes when moving from one key to another. |
| In composing | A modulation can be used to change the mood of a piece - eg modulating to the relative minor could mean something sad. |
| Dominant 7 chords | |
| In performance | A good way to embellish chords and a way to add appropriate dissonance, depending on the voicing. |
| In composing | A traditional way to add colour to chords and a musical tool to modulate from different keys. |