Final Flashcards
Eight approaches to Melodic Paraphrase
Rhythmic Alteration (Rhythmic) Fragmentation (Rhythmic) Connecting Tones (Melodic) Neighbor Tones (Melodic) Fills (Melodic) Articulations (Nuance) Dynamics (Nuance) Ornaments & Inflections (Nuance)
Rhythmic Alteration (Rhythmic) (Approach to Melodic Paraphrase)
Creation of syncopation using Anticipation and Delay.
Fragmentation (Rhythmic)
Approach to Melodic Paraphrase
Shortening of note values for the purpose of creating space in a melody.
Connecting Tones (Melodic) (Approach to Melodic Paraphrase)
Used to fill gaps between melody tones (diatonic, chromatic, or both).
Neighbor Tones (Melodic) (Approach to Melodic Paraphrase)
Non-harmonic tones inserted between two repeated pitches.
Upper and lower neighbors.
Occur a half or whole step above or below the given pitch.
Changing tone=upper and lower neighbor combined (double neighbor).
Fills (Melodic)
Approach to Melodic Paraphrase
Fragments of newly composed music inserted into periods of inactivity.
Articulations (Nuance)
Approach to Melodic Paraphrase
Ensures correct interpretation by defining note length and emphasis.
Types of articulations: legato, staccato, accent, accent w/legato, “cap” accent.
Dynamics (Nuance)
Approach to Melodic Paraphrase
Define overall volume (p, mf, f, etc.), gradual changes in volume (crescendos and decrescendos), and attack nuances (fp, sfz, etc.).
Ornaments & Inflections (Nuance)
Approach to Melodic Paraphrase
- Ghost/swallowed note
- Shake
- Turn
- Smear/gliss
- Short fall and Long fall
- Rip (upward gliss)
- Drop
- Doit
- Grace note
- Scoop
Three Types of Tones
Basic Tones
Guide Tones
Color Tones
Basic Tones
Roots and perfect fifths; epitomize firmness and stability (based on first two overtones of a given note)
Guide Tones
Thirds and sevenths (both major and minor) (Diminished fifths in half diminished chords and perfect fourths in dominant sus chords); Define basic chord quality
Color Tones
Ninths, elevenths, and thirteenths; Add complexity and density to a chord
Four Types of Movement (Two-part harmonization)
Parallel
Similar
Oblique
Contrary
Parallel Movement
- Two voices move at the same interval in a diatonic fashion
* The quality of the interval (major/minor) may be adjusted to fit the chord-scale of the moment
Similar Movement
Two voices move in the same direction; intervals can be mixed
Oblique Movement
One voice moves while the other is stationary
Contrary Movement
As one voice moves upward, the other moves downward
Ways of providing contrast (Countermelody)
Relative Motion
Rhythmic Activity
Register
Timbre
Relative Motion (Contrast in countermelody)
Refers to the contrasting contours (melodic curves) of the two melodies (Gradual ascent from low to high, Gradual descent from high to low, Ascending line followed by a descending line, Descending line followed by an ascending line).
Cycle progressions=chords that progress via fourths or fifths
Rhythmic Activity (Contrast in countermelody)
Each line has its own rhythmic pattern
Register (Contrast in countermelody)
Register of the countermelody may be predetermined by the range and tessitura (general/overall range) of the instrument assigned to play it
Timbre (Contrast in countermelody)
Aka. Tone color, two instruments with different ranges and timbres will provide greater contrast than two like or two closely pitched instruments
Unifying devices in contrapuntal writing
Augmentation
Diminution
Inversion
Retrograde
Augmentation (contrapuntal writing)
Multiplying the note values
Diminution (contrapuntal writing)
Dividing the note values
Inversion (contrapuntal writing)
Arranging the intervals in contrary motion (upside down)
Retrograde (contrapuntal writing)
Beginning with the last note and proceeding to the first (backwards)
Three Steps for Writing a Countermelody
Melodic Curves
Rhythmic Content
Target Notes
Melodic Curves (Writing a Countermelody)
Both overall and secondary curves will be identified so that contrasting ones can be employed in the countermelody
Rhythmic Content (Writing a Countermelody)
Characteristic rhythmic patterns as well as areas of rhythmic activity and inactivity
Target Notes (Writing a Countermelody)
Harmonizing notes to establish harmonic progression and identifying shifts in tonality.
Will eventually be weakened and potentially abandoned by other forces at work
Component Parts of an Arrangement
- Introduction
- Melody Chorus
- Interlude
- Solo Chorus w/ backgrounds
- Shout Chorus w/ recapitulation
- Ending
5 things for Planning an Arrangement
Choice of Key Choice of Style and Tempo Choice of Meter Melodic Paraphrase Reharmonization
Choice of Key (planning an arrangement)
“Standard key” should never be chosen automatically unless there is a very good reason (such as being difficult to play)
Choice of Style and Tempo (planning an arrangement)
- Ballad to bolero, bossa nova, or medium swing feel=ballad to samba by doubling the note values (32 measures to 64 measures)
- Fast swing to samba or other fast Latin groove=retain the swing feel and decrease the tempo
- Standard to Afro-Cuban=mambo
- Bebop to funk=highly syncopated bebop and be easily converted to funk by syncopating the melody
Choice of Meter (planning an arrangement)
Metric modulation=changing tempo through the extension or diminishing of the value of the basic time unit
Reharmonization (planning an arrangement)
- Start with turnarounds (at the ends of cadences and phrases)
- Expand existing tonicizations
- Look for new areas of possible tonicizations
- Learn to alternate progressions for blues and “rhythm” changes
Formal Structure of an Arrangement
o Introduction
o Setting of melody (exposition)
o Improvisation section (development)
o Ensemble or “shout” section (continuation of development)
o Restatement of the melody, in part or whole (recapitulation)
o Ending (coda)
