The_Complete_Idiot%27s_Guide_To_Music_Theory

18
Chapter
Composing and Arranging
for Voices and Instruments
In This Chapter
◆ Learn about the different voices in the choir—and all the instruments in
the orchestra
◆ Discover the playable (and singable) ranges of each instrument and voice
◆ Uncover the best—and the worst—keys to write in
◆ Find out which instruments don’t sound in concert pitch—and how to
transpose their music
You know the theory; now it’s time to put that theory to practice.
The most common application of music theory comes when you compose or
arrange a piece of music for multiple voices or instruments. That could be a
simple presentation for your church choir, a new song for your rock band, a
sophisticated piece for your high school jazz band, or a multipart symphony for
a full orchestra.
Whatever size group you’re writing for, you have to deal with the same issues of
theory, and call on the same set of skills. You also have to know a little bit about
the ranges of each instrument or voice, and how each instrument will play the
notes you write.
This chapter deals with the particular skills necessary for vocal and instrumental
arranging. I recommend you bookmark this chapter; if you do a lot of arranging,
you’ll find the information about ranges and transposition very useful!
Vocal Arranging
A vocal ensemble is probably the easiest type of group to arrange for. That’s
because all the voices reproduce exactly what you write, with absolutely no
transposition. (Well, except for the fact that the tenor voice sounds an octave
lower than written—but that’s an easy one to deal with.)