The_Complete_Idiot%27s_Guide_To_Music_Theory

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238 Part 6: Arranging The topic of orchestration is a big one; if you’re serious about it, there’s a lot you need to know about all the different instruments and voices. If you’re interested in learning more, there are two very good books I can recommend. Samuel Adler’s The Study of Orchestration (W.W. Norton & Company, 3rd Edition 2002) is an extremely comprehensive guide to classical and modern orchestration, one used by many college orchestration classes. And Henry Mancini’s Sounds and Scores: A Practical Guide to Professional Orchestration (Northridge Music Inc., 1973) is an easy-to-read, extremely practical guide to jazz and popular music arranging, from the composer of the Pink Panther theme and tons of other movie scores. Both these books will teach you a lot more about orchestration than I can in this short chapter. If you’re interested in arranging for big bands or jazz ensembles, there are two other books that make my list—and happen to be the two books that I personally learned from, back in the day. These books are David Baker’s Arranging and Composing for the Small Ensemble (Alfred Publishing, 1970; revised edition 1988) and Dick Grove’s Arranging Concepts Complete (Alfred Publishing, 1972; second edition 1989). Both books are still in print, and still very useful. The Least You Need to Know Note ◆ In descending order, the four main voices in the choir are soprano, alto, tenor, and bass (SATB). ◆ The main families of instruments are strings (both bowed and plucked), woodwind, brass, keyboards, and percussion. ◆ Transposing instruments don’t sound in concert pitch; they sound a specified interval above or below the written note. Their parts must be transposed so that the note they play is the proper note in concert pitch. ◆ B♭ instruments (trumpet, clarinet, and soprano and tenor saxes) sound a major second lower than concert pitch; E♭ instruments (alto and baritone saxes) sound a major sixth lower than concert pitch; and F instruments (English horn and French horn) sound a perfect fifth lower than concert pitch.
Exercises Chapter 18: Composing and Arranging for Voices and Instruments Exercise 18-1 Transpose the following melody for trumpet. (Remember to set the transposed key signature!) Exercise 18-2 Transpose the following melody for alto sax. (Remember to set the transposed key signature!) Exercise 18-3 Transpose the following melody for French horn. (Remember to set the transposed key signature!) 239
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Music Theory Second Edition by Mich
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Contents at a Glance Part 1: Tones
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Contents Part 1: Tones 1 1 Pitches
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Finding Your Way ..................
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Instrumental Solo .................
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Good Keys and Bad Keys ............
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During the summer of 2001, I taught
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xvi The Complete Idiot’s Guide to
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xviii The Complete Idiot’s Guide
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xx The Complete Idiot’s Guide to
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xxii The Complete Idiot’s Guide t
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Pitches and Clefs In This Chapter
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Some instruments produce a broader
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If you’re reading ahead and want
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Notes on a Piano Keyboard A good wa
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Above—and Below—the Staff The b
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The grand staff looks like this: Th
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Exercises Exercise 1-1 Write the na
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Intervals In This Chapter ◆ Chang
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Two half steps equal one whole step
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Major and Minor Intervals When you
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Beyond the Octave You don’t have
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And take special note of those inte
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Scales In This Chapter ◆ Putting
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The Intervals of the Major Scale No
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Tip When you’re playing a piece o
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Scale Notes D minor D-sharp minor E
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Scale Notes E minor F minor F-sharp
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Scale Notes F minor F-sharp minor G
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The Intervals of the Ionian Note Ha
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F Lydian mode is relative to the ke
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B Locrian is relative to the key of
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Major and Minor Keys In This Chapte
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Key Key Signature and Scale D Major
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Same as This Scale Notes Major Key
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Accidents Will Happen When you assi
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How to change to the key of C. The
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2 Part Rhythms You don’t have to
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58 Part 2: Rhythms Taking the Measu
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60 Part 2: Rhythms Definition A not
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62 Part 2: Rhythms How to count var
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64 Part 2: Rhythms Tip Another way
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66 Part 2: Rhythms Exercise 5-4 Wri
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68 Part 2: Rhythms Note Classical m
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70 Part 2: Rhythms When you have an
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72 Part 2: Rhythms Tip In most musi
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74 Part 2: Rhythms Exercises Exerci
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Tempo, Dynamics, and Navigation In
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Italian Tempo Terms Tempo Means …
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When you see a fermata, hold the no
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Two accent marks and a marcato. Mor
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Another navigation technique uses a
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writing lots of individual measures
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3 Part Tunes Discover how to put to
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92 Part 3: Tunes The complete melod
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94 Part 3: Tunes The melody for Bac
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96 Part 3: Tunes Definition A passi
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98 Part 3: Tunes A four-measure mel
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100 Part 3: Tunes A simple four-not
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102 Part 3: Tunes Note Ironically,
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104 Part 3: Tunes Simplifying a rhy
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106 Part 3: Tunes You can achieve t
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108 Part 3: Tunes Note See Chapter
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110 Part 3: Tunes Exercise 8-3 Comp
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112 Part 3: Tunes Note The notes of
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114 Part 3: Tunes Note In this and
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116 Part 3: Tunes Chord Extensions
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118 Part 3: Tunes Minor seventh cho
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120 Part 3: Tunes Seventh, ninth, a
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122 Part 3: Tunes Note In classical
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124 Part 3: Tunes Changing chords i
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126 Part 3: Tunes Exercise 9-3 Writ
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128 Part 3: Tunes Let’s use the k
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130 Part 3: Tunes Note These exampl
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132 Part 3: Tunes Let’s put toget
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134 Part 3: Tunes Note In classical
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136 Part 3: Tunes I-ii-IV-V This pr
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138 Part 3: Tunes Note The blues pr
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140 Part 3: Tunes Old Johann was ab
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142 Part 3: Tunes Writing a Melody
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144 Part 3: Tunes Exercise 10-5 Cre
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146 Part 3: Tunes Parts of a Song W
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148 Part 3: Tunes Tip When you have
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150 Part 3: Tunes ◆ Mass A vocal
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152 Part 3: Tunes Exercises Exercis
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12 Chapter Transcribing What You He
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Listening—Actively Before we get
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Hearing Intervals Lesson 2, Track 1
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Interval Song-Specific Phrase Major
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many measures long the melody is, a
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Exercises Exercise 12-1 Play each o
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Accompanying Melodies In This Chapt
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A chord sheet—no melody. Working
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Block Chord Accompaniment The easie
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The benefit of this approach is tha
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Once you’ve figured out the chord
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14 Chapter Transposing to Other Key
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These scenarios are more common tha
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The chord progression transposed to
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or hold to their original pitches.
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5 Part Embellishing Discover how to
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Page 214 and 215: 190 Part 5: Embellishing A common c
Page 216 and 217: 192 Part 5: Embellishing Making Har
Page 218 and 219: 194 Part 5: Embellishing Definition
Page 220 and 221: 196 Part 5: Embellishing The lower
Page 222 and 223: 198 Part 5: Embellishing Avoid exte
Page 224 and 225: 200 Exercises Part 5: Embellishing
Page 227 and 228: Chord Substitutions and Turnarounds
Page 229 and 230: Altering the Bass Here’s another
Page 231 and 232: Replacing the I chord (C Major) wit
Page 233 and 234: Substitution Example (for the G7 ch
Page 235 and 236: Turnaround Example (in C) I-♭III-
Page 237: Exercise 16-6 Add a two-measure tur
Page 240 and 241: 216 Part 5: Embellishing Definition
Page 242 and 243: 218 Part 5: Embellishing Tip If you
Page 244 and 245: 220 Part 5: Embellishing What’s c
Page 246 and 247: 222 Part 5: Embellishing Exercise 1
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Page 251 and 252: Voice Range (Concert Pitch) Write I
Page 253 and 254: Brass Brass instruments typically a
Page 255 and 256: Transposition Range Sounds Instrume
Page 257 and 258: listed (they’re grouped by family
Page 259 and 260: Instrument Range (Concert Pitch) Wr
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Page 265 and 266: Lead Sheets and Scores In This Chap
Page 267 and 268: Make It Simple Even simpler than th
Page 269 and 270: A typical chord sheet. Chapter 19:
Page 271 and 272: A four-part choral arrangement. Jaz
Page 273 and 274: A score for big band. Note A marchi
Page 275 and 276: A score for full orchestra. Chapter
Page 277 and 278: Today, thanks to computer technolog
Page 279 and 280: The Least You Need to Know ◆ Lead
Page 281 and 282: Performing Your Music In This Chapt
Page 283 and 284: That means you need to know a littl
Page 285 and 286: 3 1 Conducting in three. Finding th
Page 287 and 288: Just because you’re done with thi
Page 289 and 290: The Complete Idiot’s Music Glossa
Page 291 and 292: The Complete Idiot’s Music Glossa
Page 293 and 294: key A combination of a tonic and a
Page 295 and 296: pitch The highness or lowness of a
Page 297: transposition Translating pitch. tr
Page 300 and 301: 276 Appendix B
Page 303 and 304: Answers to Chapter Exercises Here a
Page 305 and 306: Exercise 2-3 Exercise 2-4 Exercise
Page 307 and 308: Chapter 4 Answers to Chapter Exerci
Page 309 and 310: Exercise 5-7 Exercise 5-8 Chapter 6
Page 311 and 312: Exercise 9-7 Exercise 9-8 Chapter 1
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Exercise 14-2 Exercise 14-3 Exercis
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Exercise 17-7 Chapter 18 Exercise 1
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294 Appendix D 11. Lesson Two: Inte
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296 Appendix D 31. A 32. C 33. G 34
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298 Appendix D Scale Exercises (Tra
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300 Appendix D Melody Exercises (Tr
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302 Appendix D Chord Exercises (Tra
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Index Symbols/Numbers I chord, 130-
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preparations, 257-258 rehearsal rou
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Lydian mode, 40-41 lyrics melodies,
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performing music, conducting 2/2 ti
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tacet (dynamic marking), 83 tempo,
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