DOCSLIB.ORG

Arranging Project F2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arranging Project F2018 Week 7 Arranging Project: Guidelines and Rubric Real-World Application: Your uncle is getting married and, having learned that you are now a music student, decides that you should arrange his favorite song (Billy Joel’s “Piano Man”) for his church string quartet. How do we go about the process of arranging a pop song for a classical ensemble? I. Dates and Times POD meetings: Monday 10/1–Thursday 10/4 (4 days), 8:00–8:50, location of your choice Presentation: Friday 10/5, 8:00–8:50: room 238 (21616), room 123 (21613) II. Project Description. Brief Description: As a POD, choose a pop song,1 transcribe it, then arrange it for an ensemble of your choosing. Play your arrangement on Friday, and talk about why you made the choices you did. Step-by-Step instructions: 1. Bring in a song. Each person of the POD comes in first thing Monday morning with an idea of a song they’d like to arrange. Be able to play these for each other, and convince your POD why they should choose yours. Decide among your POD which of the four pieces to work on (suggested completion=Monday). 2. Working together,2 transcribe the song. See below for a list of the four functional layers of most pieces of music. At minimum, you must transcribe your song’s a) the primary melodic layer and b) the functional bass layer. You must also transcribe the harmonic filler layer using your choice of: c) chord symbols,3 roman numerals, or figured bass; or d) the actual instrument parts. Use an appropriate key signature, time signature, using proper clefs and accurate rhythms (suggested completion Monday or Tuesday). 1 I’m happy for you to pick something we wouldn’t normally call pop—however, you cannot pick a piece for which a score already exists—for example, a classical piece. The goal of the assignment is to transcribe something you hear and put it into musical notation yourself. 2 it might make the most sense for each person to take a part, but work however you see fit. 3 For a list of chord symbols, see http://openmusictheory.com/Graphics/Handouts/ LSandFBsymbols.pdf Music’s four functional layers; examples from both pop and classical Functional layer Pop examples Classical examples primary melodic voice SATB: soprano lead guitar/lead synth string ensemble: violin wind ensemble: trumpet/flute piano: top voice functional bass electric bass SATB: bass piano left hand string ensemble: bass/cello synth wind ensemble: tuba/b. clarinet/ cello/bass bassoon piano: lowest note harmonic filler electric/acoustic guitar chords SATB: tenor/alto piano chords string ensemble: violin 2/viola/ choir/synth/string pads cello (whatever is playing chords) wind ensemble: trombone/horn/ clarinet piano: inner voices explicit beat drum set rare electronic/programed percussion vocal/body percussion 3. Make an arranging table. Decide which ensemble you will arrange for. Some common 3–5 part classical ensembles include string quartet, brass and/or woodwind quartet/quintet, and piano+strings/winds. The only soloist you can choose is solo piano. You may also choose to arrange your pop song for an ensemble of virtual instruments in Garageband. Make a table of how each instrument in the original will map onto your ensemble. For example, here is a Sigur Rós song I arranged for string quartet for my wedding! (suggested completion=Tuesday/Wednesday) A sample arranging table for Sigur Rós’s “Inní mér syngur vitleysingur” (from my wedding!) Functional layer Sigur Rós Pod 3 primary melodic lead vocal violin 1 functional bass bass cello harmonic filler piano/pitched percussion viola/violin 2 explicit beat drum set kick drum 4. Create a score. Using either pencil and paper or a notation program (e.g. Finale, Sibelius, Musescore), create a score for your arrangement. Write everything in an appropriate key signature and clef.4 Turn in one hard copy Friday morning at 8:00am (suggested completion=Wednesday/Thursday). 5. Create a playback.5 If you’ve done your score in an electronic format, you already have a playback—just press play. If you’ve done your score on paper, you’ll need to create a recording or performance on virtual instruments (in Garageband or similar). You may also choose to play it live, in which case you’ll need to rehearse (suggested completion=Thursday). III. Procedure Checking in: So that you can have a private space in which to work, and can easily access any non-portable instruments, meet on rehearsal days wherever you like. To make sure you are all there, on task and on time: 1) email me a “selfie” no later than 8:05 with all band members and, if applicable, their instruments. My email address is <[email protected]> 2) No later than 9:05, email me 2 sentences: what you accomplished today, and what you need to accomplish by tomorrow to stay on schedule. 4 if writing for a transposing instrument (e.g., trumpet, alto sax, etc.), you may either notate it as a transposing part or in concert pitch. Notate on the staff name either “Trumpet in Bb” or “Trumpet (concert pitch).” If notating as a transposing part, be sure to adjust the key signature; for example, if a piece is in concert C, you’d write the trumpet part with two sharps. 5 You’ll only have a 1/8” stereo cable (e.g., headphone jack in a laptop/iPad/iPhone), or, if you are an Apple user, you can use Apple TV. Have your playback cued up and ready to go—we won’t have time for tech malfunctions. Presentation: Designate one or more members of your group the “presenter(s).” Put your score on the document camera during the playback. After the playback, the presenter(s) will share in just 1 or 2 minutes the arranging choices you made and why you made them. IV. RUBRIC. This assignment is one half of your “projects” column (weighted average=20%). As such, it is worth 10% of your total grade in the course. Grade Broadcast Length Transcription Score/Notation Accuracy A every POD arrangement was transcription score is made of standard member present between 1 and 5 accurately music notation, transcription, and on time, minutes represents the or improvisatory cues appearing on- original song camera at 8:00 with proper both days pitches and rhythm B a member was arrangement was an transcription is score does not relate to the late between 1– inappropriate length for off in either arrangement in a meaningful 5 minutes the material (e.g., pitch or rhythm way repeats way too long or 3–5 times does not develop) C a member was arrangement was more transcription is there is some notation which late more than 5 than 5 minutes off in either is vaguely musical in nature minutes pitch or rhythm 5–10 times D a player was arrangement was less transcription is there is no score absent and/or than 1 minute off in either the broadcast pitch or rhythm was non- more than 10 existent times..
Load more

Recommended publications
  • Transposition Tutorial 1
    Transposition Tutorial 1 Open the transposition menu by clicking the radio button Defaults menus: 1st dropdown menu: To the following key; 2nd dropdown menu: C Major / A minor; Up and All Staves. Transposing by key: From the 2nd dropdown menu showing C Major/A minor, select a key and then choose Up or Down depending on the key. Up or Down indicates direction of the transposition. For best results, when transposing by key choose the direction which results in the smallest interval of change. Click OK to complete the transposition. To return to the original key, click Reload. Transpositions cannot be saved. Closing the selection or the viewer will automatically reset to the original key. Transposing for an instrument: From the 1st dropdown menu select: For a transposing instrument. From the 2nd dropdown menu, now showing Soprano Saxophone select your instrument. If your music is a Piano Vocal sheet, you may want to transpose only the melody by selecting Staff Number(s)1 through 1. You will transpose only the melody for the instrument you choose and the piano will remain in its correct key. Transposition Tutorial 2 Transposing for an Instrument (continued): Once you have transposed the melody line for a specific instrument you may choose to change the octave of just the melody line. For example, Tenor Saxophone transposes up an octave and a 2nd, and the resulting transposition may be too high for the instrument. From the 1st dropdown menu, select By Interval. From the 2nd dropdown menu now showing Minor Second, select Perfect Octave. Select the Down button and to transpose only the melody line select Staff Number(s) (Staff number 1 though 1 is the melody line).
    [Show full text]
  • Reed Instruments About Reeds
    Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb.
    [Show full text]
  • Rāga Recognition Based on Pitch Distribution Methods
    Rāga Recognition based on Pitch Distribution Methods Gopala K. Koduria, Sankalp Gulatia, Preeti Raob, Xavier Serraa aMusic Technology Group, Universitat Pompeu Fabra, Barcelona, Spain. bDepartment of Electrical Engg., Indian Institute of Technology Bombay, Mumbai, India. Abstract Rāga forms the melodic framework for most of the music of the Indian subcontinent. us automatic rāga recognition is a fundamental step in the computational modeling of the Indian art-music traditions. In this work, we investigate the properties of rāga and the natural processes by which people identify it. We bring together and discuss the previous computational approaches to rāga recognition correlating them with human techniques, in both Karṇāṭak (south Indian) and Hindustānī (north Indian) music traditions. e approaches which are based on first-order pitch distributions are further evaluated on a large com- prehensive dataset to understand their merits and limitations. We outline the possible short and mid-term future directions in this line of work. Keywords: Indian art music, Rāga recognition, Pitch-distribution analysis 1. Introduction ere are two prominent art-music traditions in the Indian subcontinent: Karṇāṭak in the Indian peninsular and Hindustānī in north India, Pakistan and Bangladesh. Both are orally transmied from one generation to another, and are heterophonic in nature (Viswanathan & Allen (2004)). Rāga and tāla are their fundamental melodic and rhythmic frameworks respectively. However, there are ample differ- ences between the two traditions in their conceptualization (See (Narmada (2001)) for a comparative study of rāgas). ere is an abundance of musicological resources that thoroughly discuss the melodic and rhythmic concepts (Viswanathan & Allen (2004); Clayton (2000); Sambamoorthy (1998); Bagchee (1998)).
    [Show full text]
  • Pitch Bending and Glissandi on the Clarinet: Roles of the Vocal Tract and Partial Tone Hole Closure
    Pitch bending and glissandi on the clarinet: Roles of the vocal tract and partial tone hole closure ͒ Jer-Ming Chen,a John Smith, and Joe Wolfe School of Physics, The University of New South Wales, Sydney, New South Wales 2052, Australia ͑Received 9 March 2009; revised 15 June 2009; accepted 17 June 2009͒ Clarinettists combine non-standard fingerings with particular vocal tract configurations to achieve pitch bending, i.e., sounding pitches that can deviate substantially from those of standard fingerings. Impedance spectra were measured in the mouth of expert clarinettists while they played normally and during pitch bending, using a measurement head incorporated within a functioning clarinet mouthpiece. These were compared with the input impedance spectra of the clarinet for the fingerings used. Partially uncovering a tone hole by sliding a finger raises the frequency of clarinet impedance peaks, thereby allowing smooth increases in sounding pitch over some of the range. To bend notes in the second register and higher, however, clarinettists produce vocal tract resonances whose impedance maxima have magnitudes comparable with those of the bore resonance, which then may influence or determine the sounding frequency. It is much easier to bend notes down than up because of the phase relations of the bore and tract resonances, and the compliance of the reed. Expert clarinettists performed the glissando opening of Gershwin’s Rhapsody in Blue. Here, players coordinate the two effects: They slide their fingers gradually over open tone holes, while simultaneously adjusting a strong vocal tract resonance to the desired pitch. © 2009 Acoustical Society of America. ͓DOI: 10.1121/1.3177269͔ PACS number͑s͒: 43.75.Pq, 43.75.St ͓NHF͔ Pages: 1511–1520 I.
    [Show full text]
  • Dorico 3.1.10 Version History
    Version history Known issues & solutions February 2020 Steinberg Media Technologies GmbH Contents Dorico 3.1.10 ....................................................................................................................................................................................................... 4 Issues resolved ............................................................................................................................................................................................... 4 Dorico 3.1 ............................................................................................................................................................................................................. 8 New features ................................................................................................................................................................................................... 8 Condensing changes ............................................................................................................................................................................... 8 Dynamics lane ......................................................................................................................................................................................... 11 Bracketed noteheads ............................................................................................................................................................................ 14 Horizontal
    [Show full text]
  • Antolini, Retta Maniera Di Scivere Per Il Clarinetto (1813)
    Francesco Antolini La Retta Maniera di Scrivere per il Clarinetto (The Right Way to Write for the Clarinet) Milan (1813) Translated by Sion M. Honea 1 Translator’s Preface Antolini’s book is an interesting precursor to what would become the standard approach to the treatment of orchestration in the form of the treatises by Georg Kastner, Traité Général d’Instrumentation (1837) and Hector Berlioz Grand Traité d’Instrumentation et d’Orchestration (1843). What makes it interesting is not that it is nearly exclusively devoted to the issues of only one instrument, which was more nearly the earlier norm, but that it represents a time when the evolution of instruments of all types was happening so rapidly and with so many innovations, even so, in regard to physical development of the clarinet Antolini is conservative, advocating the five-key instrument and viewing even the six-key one skeptically. Rather, what makes Antolini’s book particularly interesting is that it is so revealing of a liminal period in which writing for these rapidly developing instruments was still for most composers so mysterious a practice and when the demand for expanded harmonic potential was accelerating. The author does give practical information about range and particular difficulties, especially those associated with different keys for an instrument only just emerging from its diatonic forebears, and for which he finds it only natural to give parallel but separate “diatonic” and “chromatic” fingering charts. The bulk of his treatment, however, centers on the mere technique of writing for the clarinet, of how to figure out the pitch level and key for the written parts of the transposing instrument, a term to which Antolini objects; indeed, it is only this preoccupation with transposition that justifies the inclusion of a section in the appendix on the horn and trumpet.
    [Show full text]
  • Transposing Instruments
    3.5 Transposing Instruments 3.5.1 Introduction What is a transposing instrument? Every instrument has a range of notes it can play. These notes donʹt always fit nice and neat on the treble clef. If we didnʹt do something about it we might end up trying to read the music on a bunch of ledger lines above or below the staff. So, by using this system of notation we can get as many notes as possible on the staff where they are easy to read. Also, if you play an instrument like a sax that comes in different sizes, itʹs nice to learn to read just once and not have to read differently for each size saxophone you pick up. If you learn the fingering for one size of sax and then use that same fingering for a different sized instrument - guess what - the note is different because the instrument is a different physical size. 3.5.2 Guitar and Banjo Are Transposing Instruments Believe it or not, the guitar and the banjo are transposing instruments! When we play the guitar or the banjo, we are not actually playing the notes as written. You may say, ʺYou gottaʹ be kidding me. When I see an ʹAʹ on the staff I play an ʹAʹ, so how can you say Iʹm not playing the note as written?ʺ The simple answer is that we are playing an octave lower than what is written. For guitar and banjo we are pretty lucky. The note names are still the same, but we are playing an octave lower than what is written.
    [Show full text]
  • Keys to Transposition a Sampler
    Keys to Transposition A Method for the Teaching & Learning of Transposition on the Horn A Sampler Pete Nowlen with Brian O’Donnell & Heidi Oros Table of Contents Introduction ...........................................................................................................3 Natural Horn Studies .............................................................................................6 Horn and Bass Clef ................................................................................................7 Scales ......................................................................................................................8 Unit 1 - Horn in C (basso) ...................................................................................10 Unit 2 - Horn in D ...............................................................................................14 Unit 3 - Horn in Eë ..............................................................................................18 Unit 4 - Horn in E ................................................................................................23 Unit 5.1 - Horn in Bë basso .................................................................................29 Unit 5.2 - Horn in Bë alto ....................................................................................35 Unit 6 - Horn in A alto ........................................................................................40 Unit 7 - Horn in G ...............................................................................................47
    [Show full text]
  • February 1943) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 2-1-1943 Volume 61, Number 02 (February 1943) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 61, Number 02 (February 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/231 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. nMsa|f an fl ii as f [ HL'A AM WHY THE BOB JONES COLLEGE DORMITORY STUDENTS CAME AN AVE- RAGE DISTANCE OF 760 MILES THIS YEAR TO ATTEND THIS INSTITUTION If you can attend college for only one or two If You are still in high school years before entering the service of your coun- we advise you to me to the Bob try, we strongly advise your coming to Bob Jones College Academy a year or two of character our-year, Jones College for this fully-accredited high school) for preparation and intellectual and spiritual train- special Christian training before you enter ing so essential now. upon your military service. BOB JONES COLLEGE offers a wide variety of courses leading to Bachelor f A degrees,ses, anaand in tnethe Graduateuraauaie ocnooiSchool 01of neuyiunReligion courses leading s and Bachelor^ucneior ofoi Science to the Mrr t x~k'***'*, M ^ rts year of 1943-44, courses leading to the Doctor of Philosophy ^e ^ree - hi the school degree will D als^beTbe offeredff in the field of religion.
    [Show full text]
  • The Microtones of Bharata's Natyashastra
    The Microtones of Bharata’s Natyashastra John Stephens N about 200 CE, Bharata and Dattila penned closely related Sanskrit treatises on music in I the Natyashastra and Dattilam, respectively (Ghosh 1951, lxv). Inside, they outline the essential intervals and scales of Gandharva music, a precursor to the Hindustani and Carnatic traditions. Their texts are the first known documents from south Asia that attempt to systematically describe a theory of intonation for musical instruments. At the core of their tonal structure is a series of twenty-two microtones, known as sruti-s.1 The precise musical definition of the twenty-two sruti-s has been a topic of debate over the ages. In part, this is because Bharata does not explain his system in acoustically verifiable terms, a hurdle that all interpretations of his text ultimately confront. Some authors, such as Nazir Ali Jairazbhoy and Emmie te Nijenhuis, suggest that Bharata believed the sruti-s were even (twenty-two tone equal temperament, or 22-TET), though they were not in practice (Jairazbhoy 1975, 44; Nijenhuis 1974, 14–16). Jairazbhoy concludes that it is impossible to determine the exact nature of certain intervals in Bharata’s system, such as major thirds. Nijenhuis (1974, 16–19) takes a different approach, suggesting that the ancient scales were constructed using interval ratios 7:4 and 11:10, so as to closely approximate the neutral seconds and quarter tones produced by 22-TET. Prabhakar R. Bhandarkar (1912, 257-58) argues that Bharata’s 22-TET system was approximate and still implied the use of 3:2 perfect fifths and 5:4 major thirds.
    [Show full text]
  • APPROVE): La Minor Fro Feasor Iran of Fcha Sehoosf
    vest HISTORY OF THS rssntm TMMM THE MROQIIB » APPROVE): la Minor Fro feasor *jyuj Iran of fcha SehooSf '®T Ifuaic at* School THE nmmm of mm THSKPET FM MMMA THKSIS Presented to tim Sraiwat® Council of tfao Horth Tmi Stmt® College la Partial FulfilJUMmt of th* Requirement* For fcho Degree of MASTER OF MCSIC by Robert S. Douglaee, B* tf« 1/ Br®@fe®urlig®» Texaa August» 1953 /. ^ PREFACE The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of aneient cultures to the baroque trumpet 011 which were performed the astounding parts composed by the culminating figures of that period, Baoh and Handel# The considerable interest displayed in the music of the baroque period and the recent revival of mch of it in modern performance demands an investigation of the instru- ments upon which it was performed, among which one of the least understood is the trumpet. It is desirable for modem performers using modern instruments in rendering these parts to understand the resouroes and limitations of the instru- ment contemporary with the music* ili TABLE OP CONTENTS fag® nmes . ifi LIST OF ILLtfSTKATIOSS v LIST OF PLATES Chapter I. AHTIQUITY AW THE MIDDLE AOSS ~-o. li^OO) . 1 II. THE RKUAISSAHCK (®. li*00-l600) 28 III* THJS BAROQUE ERA (l600-XT50) |^. IV. MODERN PERFORMANCE OF MSOQl® TRUMPET PARTS . , 138 Appendix I. HOJflJNCLATtJRg OP THB TRUMPKT AS) MOOTHPISCB . Xl|3 II. TABLR OP THE WORKS OF KAHDKL T7SING THUMP® . III. TABLE OF TIES 80BKS OP BACH USING 7RUSEPKT . ISO IV. DIGEST OF 140150 PSE IMPAHARE A SONARS CI TBGSBA.
    [Show full text]
  • MARCH in D MAJORFOR TALKING TECH Bach Easy Pieces in 4:4 BASS CLEF
    What the signs mean: Articulation Markings (green): Other Markings • above or below the note = staccato, short. sim. (blue) means “simile”, IOW, keep doing the - portato = a little bit longer than short, not same thing. This is done so as to not clutter up connected. the chart. slur = legato. Connect the notes. Sometimes this means for bass that we can do hammer- range (orange) ons and pull-offs. In this case focus on The bass is a transposing instrument - it always connecting the notes smoothly by sounds an octave lower than written, the 8 under coordinating left and right hands so there are the bass clef indicates that. (Putting that little 8 no spaces between the notes. there is optional, we always sound an octave lower than written. This is done so that we don’t Dynamics Markings (purple) end up with a ton of harder to read ledger lines!) f: loud The 8va above the “right hand” score indicates mf: medium loud (about speaking voice to play an octave higher than written. This is also level) done to avoid excess ledger lines. It applies to mp: medium soft (soft speaking voice level) the entire upper voice. p: soft Note: If you play six string, you can even play it “hairpins”: two octaves higher than written (you have to crescendo= opens to the right, get take down two notes an octave, though). louder decrescendo= closes to the right, get More information on the ranges of the bass softer and how they overlay with the piano and what it all means for reading music is in my book, Music Theory for the Bass Player, on page 11.
    [Show full text]