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Jazz Theory-Arrangement > Final > Flashcards

Final Flashcards

1
Q

Eight approaches to Melodic Paraphrase

A 
Rhythmic Alteration (Rhythmic)
Fragmentation (Rhythmic)
Connecting Tones (Melodic)
Neighbor Tones (Melodic)
Fills (Melodic)
Articulations (Nuance)
Dynamics (Nuance)
Ornaments & Inflections (Nuance)
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2
Q 
Rhythmic Alteration (Rhythmic)
(Approach to Melodic Paraphrase)
A

Creation of syncopation using Anticipation and Delay.

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3
Q

Fragmentation (Rhythmic)

Approach to Melodic Paraphrase

A

Shortening of note values for the purpose of creating space in a melody.

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4
Q 
Connecting Tones (Melodic)
(Approach to Melodic Paraphrase)
A

Used to fill gaps between melody tones (diatonic, chromatic, or both).

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5
Q 
Neighbor Tones (Melodic)
(Approach to Melodic Paraphrase)
A

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).

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6
Q

Fills (Melodic)

Approach to Melodic Paraphrase

A

Fragments of newly composed music inserted into periods of inactivity.

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7
Q

Articulations (Nuance)

Approach to Melodic Paraphrase

A

Ensures correct interpretation by defining note length and emphasis.
Types of articulations: legato, staccato, accent, accent w/legato, “cap” accent.

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8
Q

Dynamics (Nuance)

Approach to Melodic Paraphrase

A

Define overall volume (p, mf, f, etc.), gradual changes in volume (crescendos and decrescendos), and attack nuances (fp, sfz, etc.).

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9
Q

Ornaments & Inflections (Nuance)

Approach to Melodic Paraphrase

A
  • Ghost/swallowed note
  • Shake
  • Turn
  • Smear/gliss
  • Short fall and Long fall
  • Rip (upward gliss)
  • Drop
  • Doit
  • Grace note
  • Scoop
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10
Q

Three Types of Tones

A

Basic Tones
Guide Tones
Color Tones

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11
Q

Basic Tones

A

Roots and perfect fifths; epitomize firmness and stability (based on first two overtones of a given note)

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12
Q

Guide Tones

A

Thirds and sevenths (both major and minor) (Diminished fifths in half diminished chords and perfect fourths in dominant sus chords); Define basic chord quality

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13
Q

Color Tones

A

Ninths, elevenths, and thirteenths; Add complexity and density to a chord

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14
Q

Four Types of Movement (Two-part harmonization)

A

Parallel
Similar
Oblique
Contrary

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15
Q

Parallel Movement

A
  • 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

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16
Q

Similar Movement

A

Two voices move in the same direction; intervals can be mixed

17
Q

Oblique Movement

A

One voice moves while the other is stationary

18
Q

Contrary Movement

A

As one voice moves upward, the other moves downward

19
Q

Ways of providing contrast (Countermelody)

A

Relative Motion
Rhythmic Activity
Register
Timbre

20
Q

Relative Motion (Contrast in countermelody)

A

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

21
Q

Rhythmic Activity (Contrast in countermelody)

A

Each line has its own rhythmic pattern

22
Q

Register (Contrast in countermelody)

A

Register of the countermelody may be predetermined by the range and tessitura (general/overall range) of the instrument assigned to play it

23
Q

Timbre (Contrast in countermelody)

A

Aka. Tone color, two instruments with different ranges and timbres will provide greater contrast than two like or two closely pitched instruments

24
Q

Unifying devices in contrapuntal writing

A

Augmentation
Diminution
Inversion
Retrograde

25
Q

Augmentation (contrapuntal writing)

A

Multiplying the note values

26
Q

Diminution (contrapuntal writing)

A

Dividing the note values

27
Q

Inversion (contrapuntal writing)

A

Arranging the intervals in contrary motion (upside down)

28
Q

Retrograde (contrapuntal writing)

A

Beginning with the last note and proceeding to the first (backwards)

29
Q

Three Steps for Writing a Countermelody

A

Melodic Curves
Rhythmic Content
Target Notes

30
Q

Melodic Curves (Writing a Countermelody)

A

Both overall and secondary curves will be identified so that contrasting ones can be employed in the countermelody

31
Q

Rhythmic Content (Writing a Countermelody)

A

Characteristic rhythmic patterns as well as areas of rhythmic activity and inactivity

32
Q

Target Notes (Writing a Countermelody)

A

Harmonizing notes to establish harmonic progression and identifying shifts in tonality.
Will eventually be weakened and potentially abandoned by other forces at work

33
Q

Component Parts of an Arrangement

A
  • Introduction
  • Melody Chorus
  • Interlude
  • Solo Chorus w/ backgrounds
  • Shout Chorus w/ recapitulation
  • Ending
34
Q

5 things for Planning an Arrangement

A 
Choice of Key
Choice of Style and Tempo
Choice of Meter
Melodic Paraphrase
Reharmonization
35
Q

Choice of Key (planning an arrangement)

A

“Standard key” should never be chosen automatically unless there is a very good reason (such as being difficult to play)

36
Q

Choice of Style and Tempo (planning an arrangement)

A
  • 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
37
Q

Choice of Meter (planning an arrangement)

A

Metric modulation=changing tempo through the extension or diminishing of the value of the basic time unit

38
Q

Reharmonization (planning an arrangement)

A
  • 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
39
Q

Formal Structure of an Arrangement

A

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)

Jazz Theory-Arrangement (1 decks)

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