You know where this is going, don't you.

We're going to compose some music using the major scale. As we move forward keep in mind that in a lot of ways, having more to work with can make it harder to make something that sounds intentional.

Simply picking completely random notes from a small subset of pitches actually has a greater chance of sounding good than using the entire major scale.

Want proof? Check these out:

None of these are really melodies. They're just random notes, but to our ears the ones with three and five pitches sound more cohesive and intentional. The major scale certainly doesn't sound bad, but you have to move with intention and get past 'random pitches' to make the most use of it.

Yep.

We're slowly branching out though, this time you get two pitch cells which combined make up the whole major scale. Write a melody that uses both of them, but not at the same time!

The rules:

1. Write two four-bar phrases, one for each cell. You must only use these notes, but you can play them in any octave (you can play each note in multiple octaves if you choose)
2. The first phrase (using the first cell!) should begin and end on D
3. The second phrase must end on C# (the one just below the starting note of the first phrase)
4. Your whole piece will be structured like this: Phrase 1, Phrase 1, Phrase 2, Phrase 1.
5. Rhythms are up to you, but try to remember what we've done in the past, try to keep things cohesive and intentional.

This time you get the whole thing. We're not going to give you arbitrary and artificial rules about little pitch cells, so feel free to use the WHOLE THING.

We do want to encourage success here though, so we are going to give you some guidelines.

The rules:

Rule zero: take your time! Don't just choose random notes! Really exercise your creativity to create something you can be proud of! BUT: don't overwork it! Try to find the balance between perfectionism, and finishing something!

1. Write a phrase that ends on the first note of the third measure... so a 2 bar phrase with one extra note, like so:

2. You can use any combination of quarter notes and eighth notes.

3. Begin and end on the root note of the scale you've chosen.

4. Use mostly step-wise motion, i.e. the primary interval between notes should be a second.

5. No skips of more than a third.

6. When you've finished this, write another phrase that contrasts with the first one that begins on the root and follows the same rules.

7. Stitch your phrases together into a composition that is 16 bars long using the following pattern:

• Phrase 1
• Phrase 2
• Phrase 1
• Phrase 2 (alternate)

7. If you want, you can alter your Phrase 2 on the second repetition to make it work more nicely as an ending. Don't change it completely, but feel free to vary it just slightly.
8. As always, play or sing your composition!