The_Complete_Idiot%27s_Guide_To_Music_Theory

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252 Part 6: Arranging Tip You also can create a condensed score, in which individual parts are collapsed into single staves. This type of score is easier to read, even though it doesn’t contain the part detail necessary for initial rehearsals. Tip You have the option of cutting down the number of staves in the score during long sections of music where fewer instruments are playing. Make the Big Score—for the Symphonic Orchestra Now we’re in the big leagues. Creating a score for full orchestra is a major undertaking, if for no other reason than there are many instruments to deal with. Because of this, most orchestra scores are written on large sheets of paper—11" x 17" or so. Because of the sheer size of the beast, you’ll probably get only four to eight measures on each page, which means the typical orchestral score also is fairly long. As you can see from the example on page 251, instrument families are grouped together in the score in the following order: ◆ Woodwinds: Piccolo, flute (first and second), oboe (first and second), English horn, E♭ clarinet, B♭ clarinet (first and second), bass clarinet, bassoon (first and second), contrabassoon, French horn (first, second, third, and fourth) ◆ Brass: Trumpet (first, second, and third), trombone (first, second, and third), tuba ◆ Percussion: Timpani, percussion (including snare drum, bass drum, marimba, and so on) ◆ Harp ◆ Piano ◆ Strings: Violin (first and second), viola, cello, double bass As with big band scores, you can create orchestral scores in either concert key or transposed keys—whichever works better for you. Because most orchestral pieces are fairly long, it’s important to include proper road mapping in your scores. Number each measure, and designate each section with a new letter. This way musicians (and the conductor!) can easily find their places during the starting and stopping of the rehearsal process—or if they happen to fall asleep during a long rest in a live performance! Use the Computer In the old days, it was a real pain in the rear to create scores for large ensembles. Every part had to be written separately, by hand, and transposed as necessary. That was a lot of writing, and didn’t always result in the most readable pieces of music—especially if your handwriting is as bad as mine!
Today, thanks to computer technology, a lot of this notation process can be automated. Music notation software, available for both Windows and Macintosh operating systems, enables you to create a complete piece of music—including full orchestral scores—from your computer keyboard. The result is a professionallooking piece of music, complete with proper note spacing and notation marks. All music notation programs let you enter notes on the page with either your mouse or computer keyboard. All you have to do is click a position on the staff, and a note appears. Many of these programs also let you connect a MIDI keyboard and input music directly from the keyboard to your computer. The notation program translates the notes you play on the keyboard into corresponding notes on a staff. You can then fine-tune the music onscreen as necessary. There are all different types of music notation programs, although they all perform the same basic functions. Some programs let you include more parts than others, though, and some include more professional notation features. So when you’re shopping for a music notation program, here are some things to look for: ◆ The number of individual staves (instrumental and voice) you can create for a piece of music. ◆ The quality of the printed music. (Look especially for proper note spacing, full extension of note stems, and the automatic avoidance of note collisions, in which a note or marking from one staff overlaps a similar note or marking on another staff.) ◆ The capability to extract individual parts from a score. ◆ The capability to automatically transpose parts. ◆ The capability to include lyrics. ◆ The capability to include guitar tabs. ◆ The capability to write in standard percussion notation. ◆ The inclusion of advanced notation markings and the flexibility to place them wherever you want in the score. ◆ The capability to create notation based on MIDI keyboard input. The two most popular music notation programs today are Finale (www.codamusic. com) and Sibelius (www.sibelius.com). Both programs work in similar fashion, and both cost around $600 for the full package. Fortunately for cost-conscious or outright starving musicians, both programs are also available in lower-priced and/or student versions, so you can get similar (but not identical) functionality at a bargain price. (Finale even offers a free version, called Finale Notepad, that you can download from their website.) Chapter 19: Lead Sheets and Scores 253 Definition MIDI stands for musical instrument digital interface, and is a computer protocol for passing audio information digitally from one electronic device to another.
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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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188 Part 5: Embellishing Note This
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190 Part 5: Embellishing A common c
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192 Part 5: Embellishing Making Har
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194 Part 5: Embellishing Definition
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196 Part 5: Embellishing The lower
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198 Part 5: Embellishing Avoid exte
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200 Exercises Part 5: Embellishing
Page 227 and 228: Chord Substitutions and Turnarounds
Page 229 and 230: Altering the Bass Here’s another
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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
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Page 246 and 247: 222 Part 5: Embellishing Exercise 1
Page 249 and 250: 18 Chapter Composing and Arranging
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
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Page 259 and 260: Instrument Range (Concert Pitch) Wr
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Page 263 and 264: Exercises Chapter 18: Composing and
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: A score for full orchestra. Chapter
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
Page 313 and 314: Exercise 14-2 Exercise 14-3 Exercis
Page 315: Exercise 17-7 Chapter 18 Exercise 1
Page 318 and 319: 294 Appendix D 11. Lesson Two: Inte
Page 320 and 321: 296 Appendix D 31. A 32. C 33. G 34
Page 322 and 323: 298 Appendix D Scale Exercises (Tra
Page 324 and 325: 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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