PROCESS DIARY:

Friday 22nd of August:

Key figured: E minor- tonality
Relative keys: G major, B minor, A minor
V: B minor: C#, F# and 7th note raise
IV: A minor: No sharps/Flats, 7th note raise
RM: G major: F#
Tonic
-

Key: E minor: F#, 7th note raise

Broken chord accompaniment in LH, Bel Canto
Harmonies using 3rds and 6ths
Character- Melancholy and Forlorn
Basic improvisation using all keys
Neo-Romantic Nocturne form (ABA)
Pitch Range: At least 5 octaves if not, then more
Dynamic Range: pp to f

Tuesday 26th of August

Figured out broken chordal accompaniment in triplets, starting in E minor,
followed by variations:
- Dom.7th chord in 2nd Inversion
- Relative Major: G major
- 7th chord
- Tonic
- Dominant
-

Recurring C and B at the end of all 4-triplet phrases anticipate the

return of E minor.
Pitch Range of 2-3 octaves for LH accompaniment
Creates the mood/character
Utilizes the majority of key relationships
Improvisation
Settlement on an A section with possible modulation to G major
Use of ornamentation and unison octaves in the A theme
Some though into variations in tempo i.e. ritenuto, rallentando and
allargando
Thought into a more changeable harmony of the A section
Possible harmonization using 3rds, 5ths and 6ths
Leaving last 4-5 points for next lesson

Friday 29th of August

-

B section will now have a modulation to G major.

Inclusion of ornamentation and unison octaves
Changed the modulation from G major to B minor
Harmonization of 3rds and 6ths
Chromaticism
Syncopated melody included

Thursday 4th September

-

Reharmonisation of the B section in B minor

Use of delayed semiquavers in chromatics alluding to a glissandi
effect
Short 2-3 bar transition back to the tonic key
Undulating triplet broken chordal accompaniment still prominent in
the LH
Initial use of longer note values for the extraction and highlighting
of melancholy character
Some use of diminished chords in accompaniment
Texture has mainly homophonic with some polyphony in B section

Friday 5th September

-

Wrote down the return of the A section now in octaves

Accompaniment in LH from the beginning is also identical
Ends on the tonic chord in 2nd Inversion in the LH and low tonic note
in the RH
LH crosses over the RH
Piece ends with sustained E in the low bass register