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Vol 2 > Section 2 (Arranging) - Writing for Small and Large Ensemble > Flashcards

Section 2 (Arranging) - Writing for Small and Large Ensemble Flashcards

1
Q

unison/octave lower interval limit

A

none

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2
Q

Minor 2nd major 2nd LIL

A

m2 F3-E3

M2 F3-Eb3

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3
Q

Minor 7th and Major 7th LIL

A

inverted m2 and M2

m7 Eb3-F2
M7 E3- F2

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4
Q

minor 9th and Major 9th LIL

A

Same as M2 and m2 but compounded

m9 F3-E2
M9 F3-Eb2

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5
Q

Minor 3rd and Major 3rd LIL

A

m3 Eb3-C2

M3 D3-Bb2

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6
Q

Minor 6th and Major 6th LIL

A

m6 Eb3-G2

M6 D3-F2

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7
Q

similarities between m3 and M3 and m6 and M6

A

m3 and m6 top note is Eb

M3 and M6 top note is D

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8
Q

what is similar between the P4 Aug4 and Dim4

A

bottom note is Bb2

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9
Q

perfect 4th LIL

A

P4 Eb3-Bb2

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10
Q

Aug4th LIL

A

Aug4 E3-Bb2

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11
Q

Dim5th LIL

A

Dim5th Fb3-Bb2

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12
Q

the 5th LIL

A

5th much lower

F2-Bb1

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13
Q

diminished 7th LIL

A

same top note as m7th and bottom note is half step up

Eb3-F#2

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14
Q

how do you verify that you haven’t surpassed the LIL of inverted chords

A

imagine the root of the chord as the bass note

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15
Q

assumed bass can tell you what

A

if youve surpassed lower interval limits

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16
Q

what are mechanical voicings

A

when an arranger begins with the four part harmonic structure and then redistributes those notes to a predetermined group of instruments

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17
Q

what is the one closed position voicing method

A

four way close

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18
Q

what are the three semi open voicing methods

A

drop 2
drop 3
drop 4

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19
Q

what is four way close

A

when the harmonic structure is written beneath the melody or lead line without skipping any chord tones

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20
Q

what is drop 2

A

starting in the 4 way close position and dropping the second voice by one octave.
The other notes remain in the same position

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21
Q

what effect does drop 2 have

A

it creates space between the soprano and alto thus placing the harmonic structure in a semi open position

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22
Q

what is drop 3

A

starting in the 4 way close position and dropping the third voice by one octave.
the other notes remain in the same position

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23
Q

what is drop 2+4

A

starting in the 4 way close position and dropping the second and fourth voices by one octave.
the other notes remain in the same position

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24
Q

what is concerted writing

A

when the musical passage is voiced and the rhythms are identical

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25
Q

what is coupling

A

writing parts by using supportive unison and octave lines

26
Q

what is the 1st step for concerted writing?

A

use a melody or lead line with chord changes and establish that as your lead trumpet part

27
Q

what is step two for concerted writing

A

voice the brass section

28
Q

what are the 4 steps for voicing the brass section

A
  1. choose one of the mechanical voicing technique
  2. ensure all notes of the harmonic structure are present
  3. be aware of the practical range of instruments and ability of performers
  4. avoid intervals of a second between the top two lines in order to not interfere with the lead voice
29
Q

what is the 3rd step for concerted writing

A

develop the lead alto sax by coupling the second trumpet

30
Q

step 4 of concerted writing

A

voice the saxophone section

31
Q

3 parts of voicing the saxophone sections

A
  1. from the lead alto voice the remaining voices by using one of the mechanical voicing techniques
  2. be aware instrument ranges and low interval limits
  3. be aware of the practical range of the instruments and the ability of performers
32
Q

how is a non mechanical voice different from a mechanical voicing

A

they include spread voicings, voicing in fourth, seconds, and upper interval structures.

33
Q

how are spread voicings built

A

from the bottom up beginning with the root, in an open position structure

34
Q

what are spread voices good for

A

sustained pads supporting the melody or solo line

35
Q

how does the number of pitches effect spread voices

A

the voicing will become increasingly dense as more different pitches are added

36
Q

how does the spacing effect spread voices

A

larger intervals create a more open sound; smaller intervals will produce the opposite

37
Q

how do dissonant intervals and tensions effect spread voices

A

the greater number of dissonant intervals added to a spread voicing will yield a more tense sound

38
Q

how does doubling effect spread voices

A

will yield a strong and full sound

39
Q

how does the distance from the top and bottom pitches effect spread voices

A

greater intervallic distance between notes increases the opportunity to use doublings

40
Q

how does the orchestration effect spread voices

A

instrument timbre will impact the overall sound of the spread

41
Q

how does the voicing effect spread voices

A

whenever possible, voice the chord tones 1, 3, 5, 6 or 7 low in the spread structure

42
Q

what does it mean to voice in fourths

A

the predominant interval between each adjacent note in the stack will be a fourth

43
Q

what do voices in fourths sound like

A

strong resonant and slightly dissonant effect

modern sound

44
Q

what are the exceptions to voicing in fourths

A

a non fourth interval can be included

this is done so chord tones are present in the structure to ensure the basic sound of the chord is present

45
Q

what can be added to voicing in 4ths to add dissonance

A

an augmented fourth

creates a major 7th in the chord

46
Q

what is voicing in seconds also known as

A

cluster

47
Q

what does voicing in seconds sound like

A

very dissonant and dense

48
Q

can other intervals be included in voicing seconds and why

A

yes to decrease the density and dissonance

49
Q

what is an upper structure triad

A

a voicing where all of the notes of the chord are represented but the top three pitches are a closed position triad

50
Q

how many tensions do upper structure triads typically contain

A

at least 1

51
Q

what do upper structure triads sound like

A

powerful and an effective way to write a strong sound with great resonance

52
Q

what do backgrounds do

A

keep arrangements interesting and provide harmonic and rhythmic support

53
Q

what is effective for writing backgrounds

A

call and answer

54
Q

what are backgrounds often based off of

A

use guide tones (3rds and 7ths)

55
Q

what is alternative to just guide tone based backgrounds

A

chord tones and tension backgrounds.

moving through chord tones and available tensions

56
Q

what is the 3rd version of writing backgrounds

A

using a motif

by taking a thematic figure from the piece to develop a background

57
Q

what is a shout chorus

A

a climactic section of an arrangement

58
Q

where is the shout chorus often placed

A

end of the piece before the final recap of the main theme

59
Q

what are 10 characteristics of a shout chorus

A
  1. percussive lead lines
  2. repeating riffs
  3. lead trumpet in the upper register
  4. louder dynamics
  5. reharmonizing the melody
  6. call and response between sections
  7. concerted writing (all under lead trumpet)
  8. special effects such as shakes, falls, and doit
  9. harmonically dense voicings
  10. open position voicings spread over multiple octaves
60
Q

what are the two recommended listening’s for shout chorus

A
  1. splanky - count basie orchestra - complete atomic basie

2. stompin at the savoy - stan kenton orchestra - stompin at newport

61
Q

what do solis do

A

provide a nice contrast in flow within a composition

62
Q

whats the most common texture in writing solis

A

concerted writing

Vol 2 (20 decks)

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