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RTM > Arranging (V1 S3) (V2 S2) > Flashcards

Arranging (V1 S3) (V2 S2) Flashcards

1
Q

Types of Transposition

A

By Scale Degree (Assigning numbers/solfege)

By Interval (transposing every note by interval)

By Key Signature (changing key signature, G->Gb)

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2
Q

Piccolo

A

An octave higher than concert pitch. Written D4-C7, Sounds D5-C8.

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3
Q

Flute

A

C4-C7 (Can have B3 extension)

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4
Q

Oboe

A

Bb3-G6

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5
Q

English Horn

A

Written B3-G6, Sounds E3-C6. Sounds a P5 lower than concert pitch. The DC Manual has an error for this one.

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6
Q

Eb Clarinet

A

Written E3-G6, Sounds G3-Bb6. Sounds a minor third higher than written (think an octave above Eb Alto Sax).

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7
Q

Bb Clarinet

A

Written E3-G6, Sounds D3-F6. Sounds a M2 lower than written.

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8
Q

Bb Bass Clarinet

A

Written Eb3-G6, Sounds Db2-F5. Sounds M9 Lower than written (octave below clarinet).

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9
Q

Bb Soprano Saxophone

A

Written Bb3-F#6, Sounds Ab3-E6. Sounds M2 lower than written.

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10
Q

Eb Alto Saxophone

A

Written Bb3-F#6, Sounds Db3-A5. Sounds M6 Lower than written.

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11
Q

Bb Tenor Saxophone

A

Written Bb3-F#6, Sounds Ab2-E5. Sounds M9 lower than written

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12
Q

Eb Baritone Saxophone

A

Written A3-F#6, Sounds C2-A4. Sounds M13 Lower than written

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13
Q

Bassoon

A

Bb1-Eb5

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14
Q

Trumpet

A

Written F#3-C6. Sounds E3-Bb5. Sounds M2 Lower than written

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15
Q

Horn

A

Written C3-C6. Sounds F2-F5. Sounds a 5th Lower than written

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16
Q

Trombone

A

E2-B4

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17
Q

Bass Trombone

A

G1-Bb4

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18
Q

Euphonium

A

C2-Bb4

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19
Q

Tuba

A

D1-C4

20
Q

Guitar

A

writte E3-C6. Sounds E2-C5. Sounds an octave lower than written

21
Q

Bass Guitar/Upright

A

Written E2-C5. Sounds E1-C4. Sounds an octave lower than written.

22
Q

Piano

A

A0 - C8

23
Q

Timpani

A

1 - 20 inches, F3-C4

2 - 23 inches, D3-A3

3 - 26 inches, Bb2-F3

4 - 29 inches, F2-C3

5 - 32 inches, D2-A2

24
Q

Orchestra Bells

A

Sounds a P15 higher than written (2 octaves)

Written G3-C6, Sounds G5-C8

25
Q

Chimes (Tubular Bells)

A

C4-G5

26
Q

Xylophone

A

Sounds an octave higher than written

Written F3-C7, Sounds F4-C8

27
Q

Marimba

A

C3-C7

28
Q

Vibraphone

A

F3-F6

29
Q

Solid Arrow in Contemporary Harmonic Analysis

A

Indicates dominant function resolving to a target chord. Can also be drawn over an interruption such as a ii chord (G7 going to Gm7 and C7, G7 is still technically going to C7 even tho its becoming a 2 5 to F)

30
Q

Interpolation

A

insertion of a chord to interrupt normal progression (G7-Gm7-C7-F, Gm7 is the insertion, G7 goes to a ii-V even tho its supposed to just go to the V)

31
Q

Glissando

A

Performed between 2 written pitches, length is determined by the notes it is attached to.

32
Q

Solid Bracket in Contemporary Harmonic Analysis

A

ii V progression

33
Q

Shake

A

Brass - Lip Trill from written note up to next partial

Woodwind - Simulate shake by performing a Trill

34
Q

Fall (Drop)

A

Downward fall from a written note to an indefinite pitch. Duration can be indicated by the length of the symbol and can be long or short.

35
Q

Doit

A

Performed like a fall but in the opposite direction

36
Q

Flip or Turn

A

Combines upward glide to a neighboring definite or indefinite pitch and falling downward to the next written note.

37
Q

Plop

A

Glissando that begins from an indefinite pitch higher than the written note. Duration of the plop is determined by the value of the preceding note or rest.

38
Q

Rip

A

Performed like a plop, just in the opposite direction. Duration determined by preceding note or rest.

39
Q

Bend

A

Performed by starting the written pitch in tune, then lowering it out of tune, and bringing it back in tune.

40
Q

Scoop

A

A short glissando from an indefinite note below to the written pitch. Duration determined by preceding note or rest.

41
Q

Note Stems

A

length of 3 spaces

Goes at least to the center line

Stem down if above middle line

Stem up if below middle line

Middle line typically down but can be up.

Groups of notes that are stacked together (chord) have stems go in the same direction, determined by the placement of the majority of the noteheads.

42
Q

Note Beams

A

Beams go with the direction of the line (the slant, NOT the stems).

43
Q

Dotted notes notation

A

ALWAYS on a space

44
Q

Slur Notation

A

Always opposite side of notes as stems for the beam. If beams go in different directions for a slur, slur on top.

45
Q

Lead Sheets contain what

A

Melody line

chord changes

performance directions

RTM (9 decks)

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