Arranging (V1 S3) (V2 S2) Flashcards
Types of Transposition
By Scale Degree (Assigning numbers/solfege)
By Interval (transposing every note by interval)
By Key Signature (changing key signature, G->Gb)
Piccolo
An octave higher than concert pitch. Written D4-C7, Sounds D5-C8.
Flute
C4-C7 (Can have B3 extension)
Oboe
Bb3-G6
English Horn
Written B3-G6, Sounds E3-C6. Sounds a P5 lower than concert pitch. The DC Manual has an error for this one.
Eb Clarinet
Written E3-G6, Sounds G3-Bb6. Sounds a minor third higher than written (think an octave above Eb Alto Sax).
Bb Clarinet
Written E3-G6, Sounds D3-F6. Sounds a M2 lower than written.
Bb Bass Clarinet
Written Eb3-G6, Sounds Db2-F5. Sounds M9 Lower than written (octave below clarinet).
Bb Soprano Saxophone
Written Bb3-F#6, Sounds Ab3-E6. Sounds M2 lower than written.
Eb Alto Saxophone
Written Bb3-F#6, Sounds Db3-A5. Sounds M6 Lower than written.
Bb Tenor Saxophone
Written Bb3-F#6, Sounds Ab2-E5. Sounds M9 lower than written
Eb Baritone Saxophone
Written A3-F#6, Sounds C2-A4. Sounds M13 Lower than written
Bassoon
Bb1-Eb5
Trumpet
Written F#3-C6. Sounds E3-Bb5. Sounds M2 Lower than written
Horn
Written C3-C6. Sounds F2-F5. Sounds a 5th Lower than written
Trombone
E2-B4
Bass Trombone
G1-Bb4
Euphonium
C2-Bb4
Tuba
D1-C4
Guitar
writte E3-C6. Sounds E2-C5. Sounds an octave lower than written
Bass Guitar/Upright
Written E2-C5. Sounds E1-C4. Sounds an octave lower than written.
Piano
A0 - C8
Timpani
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
Orchestra Bells
Sounds a P15 higher than written (2 octaves)
Written G3-C6, Sounds G5-C8
Chimes (Tubular Bells)
C4-G5
Xylophone
Sounds an octave higher than written
Written F3-C7, Sounds F4-C8
Marimba
C3-C7
Vibraphone
F3-F6
Solid Arrow in Contemporary Harmonic Analysis
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)
Interpolation
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)
Glissando
Performed between 2 written pitches, length is determined by the notes it is attached to.
Solid Bracket in Contemporary Harmonic Analysis
ii V progression
Shake
Brass - Lip Trill from written note up to next partial
Woodwind - Simulate shake by performing a Trill
Fall (Drop)
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.
Doit
Performed like a fall but in the opposite direction
Flip or Turn
Combines upward glide to a neighboring definite or indefinite pitch and falling downward to the next written note.
Plop
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.
Rip
Performed like a plop, just in the opposite direction. Duration determined by preceding note or rest.
Bend
Performed by starting the written pitch in tune, then lowering it out of tune, and bringing it back in tune.
Scoop
A short glissando from an indefinite note below to the written pitch. Duration determined by preceding note or rest.
Note Stems
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.
Note Beams
Beams go with the direction of the line (the slant, NOT the stems).
Dotted notes notation
ALWAYS on a space
Slur Notation
Always opposite side of notes as stems for the beam. If beams go in different directions for a slur, slur on top.
Lead Sheets contain what
Melody line
chord changes
performance directions
