1.  Birds Birds

2. Transitions

3. Analyze  Do your ideas really belong together?  What makes them so?  What do they have in common?  What are their differences?  Where are they going?  What kind of development will they undergo?

4. 1.  Tempo: –Slow down or speed up to arrive at the right tempo for the new idea –This also suggests that the new idea might be in a different tempo than the first idea.

5. 2.  Register –Change register to the register of the new idea –This also suggests that the new idea might be in a different register than the first idea.

6. 3.  Repeat a motive from the first idea to give it the feeling of both ending that idea and preparing a new idea

7. 4.  Stretto a motive from the first theme to give the feeling that change is inevitable

8. 5.  Dynamics –Slowly dim. or cresc to the new idea –This also suggests that the new idea might have a different dynamic than the first idea.

9. 6.  Pivot idea or a new theme between A and B that includes elements of both ideas (similar to a pivot chord used in tonality)

10. 7.  Silence –Add short silences in the transition to indicate that something is about to happen and that the resulting change is inevitable

11. 8.  Rhythm –Choose a rhythm from theme A and vary it until it becomes a rhythm for theme B

12. 9.  Modulate in some way (tonality not necessary, you can use a scale type, chord type, set type, etc. that can work just as well).

13. 10.  Keep some element of A active in B (a rhythm, pitch, etc.) so that B does not sound like an introduced foreign body to the music of A.

14. 11.  If they have anything else in common: Keep the common element between them and morph the rest?

15. 12.  Use whatever contrast they have between them as the vehicle to get from one to the other (i.e. if one is in eighth notes and the other in sixteenth notes [simple example] let the eighth notes change to sixteenths during the transition).

16. 13.  Take one element of A and morph it slowly into B

17. 14.  Foreshadow B in A

18. 15.  Maintain at least one element between the two ideas.

19. 16.  Maintain lots of variety in A so that B will not come as a shock.

20. 17.  Hold a single held note or chord (common between the two ideas for a long enough time so that the new idea seems prepared)

21. 18.  Use a common timbre to get from one idea to another.

22. 19.  Have the cadence of A become the first chord of B

23. 20.  Use A and B together as transition (i.e. overlap them)

24. 21.  Slowly morph the textures between A and B

25. 22.  Slowly add or subtract an articulation to find B

26. 23.  Sleight of hand: point the music away from what you’re doing (e.g. Chopin’s flourishes)

27. 24.  Line up the ducks - –Align all of those elements in common between the two ideas

28. 25.  Develop A until it turns into B

29. 26.  Switch the themes (as a technique, not in reality) for a better point of view

30. 27.  Develop the mystery of what’s coming next

31. 28.  Use a subtle ostinato to underlie both themes and thereby underscore their similarity

32. 29.  Use a pedal tone during the transposition

33. 30.  Balance –Somehow inform the listener that B is now necessary

34. 31.  Create a strong cadence to A so that B seems necessary

35. 32.  Modulate during the transition to inform listeners that something of substance must now occur

36. 33.  Bore them to death with A so they beg for B

37. 34.  Convince the audience that A is a prelude to B

38. 35.  B is really an extension or coda to A (i.e. play with the respective values of A and B)

39. 36.  Intersplice A and B (Stravinsky) as in juggling them at the same time

40. 37.  One voice of A actually becomes B

41. 38.  An over-arching umbrella idea that encompasses both A and B

42. 39.  Grapes into wine - B becomes the resolution of A

43. 40.  Change for a dollar as A becomes B (i.e. different view of the same thing)

44. 41.  Present many ideas in A and one of them becomes B

45. 42.  Grow B from A

46. 43.  Graft B to A (i.e. some aspect of A becomes B)

47. 44.  Somehow musically describe B before it enters so it arrives naturally

48. 45.  Have B become the point of arrival for A (Tchaikovsky)

49. 46.  B is A in a different guise

50. 47.  No transitions can work too, only not as rule.

51. 48.

52. 49.

54. 50.  If all else fails: –Try reversing A and B to see what happens. –Try using a new A or B theme

57. Death and the Maiden  http://www.mfiles.co.uk/scores/death-and- the-maiden3.htm http://www.mfiles.co.uk/scores/death-and- the-maiden3.htm

66. Brahms  http://www.mfiles.co.uk/scores/brahms- intermezzo-op118-no2.htm http://www.mfiles.co.uk/scores/brahms- intermezzo-op118-no2.htm