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Index Numbers Anderson, Reid, 187 back phrasing, 33 Anderson, Sheila E., 267–268 Ball, Ernie, 188 8/12/16/24-bar blues, 146–147 Andrews, Julie, 250 ballad form, 140 anticipation, 80 Bandcamp, 215, 272 A appoggiatura, 78–79 Bartók, Béla, 57, 124, 127, arch form: ABCBA, 142 142, 153 A (verse), 148–149 “Arianna” (Monteverdi), 11 bass, 174, 187–188 a cappella, 11 Armstrong, Louis, 194 bass flute, 173 Ableton, 17, 232 arranging instruments, bassoon, 173–174 accidentals, 97 179–183, 259–260 Baxter, Les, 270 accordion, 193 ASCAP (American Society of The Beach Boys, 148 acoustic instruments Composers, Authors & The Beatles, 132, 148 Publishers), 217 bass guitar, 188 Bechet, Sidney, 194 atonal music, 150–154 electronic instruments Beethoven, L. van vs., 25 Audiosparx, 261 lyrics and, 131–132 guitar, 189–190 augmented chords, 103 pieces by, 31, 71 action drive, 123 authentic cadences, 109 rhythms and, 31–32 Adagio, 30 avant garde, 57 symphonies by, 144 Aeolian mode, 60, 133 Azarm, Ben, 238 beginning of songs, 133–135, air form, 140 225–226 Albini, Steve, 260 B bellows, 193 Allegro, 30 B (chorus), 149 bending, 245–246 Alpert, Herb, 127 B flat clarinet, 164–165, 166 Berg, Alban, 144 alto flute, 162–163 B flat trumpet, 163–164 Biafra, Jello, 270 amen cadence, 109 Bach, Carl Philipp Emanuel, binary form: AB, 140 American Composers 78, 201 Bizet, G., 20 Forum, 218 Bach, Johann Christian, 201 block harmony, 197 American Mavericks (Key, Bach, Johann Sebastian blues, 146–147 Roethe), 269 COPYRIGHTED MATERIAL analysis of, 267 BMI (Broadcast Music American Society of Incorporated), 217 Composers, Authors & counterpoint and, 200–201 Publishers (ASCAP), 217 effort shape and, 126 Bogle, Mike, 150, 182 Amuse, 275 improvisation and, 8–9 “Boléro” (Ravel), 66–67, 115 Analysis of Tonal Music methods used by, 11 “Born to Be Wild” (Cadwallader, pieces by, 90, 142, 267 (Steppenwolf), 57 Gagné), 268 tritones and, 90 bound and free-flowing Andante, 30 viola and, 176 (effort shapes), 124 Index 305 0005031004.INDD 305 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM Bowie, D., 127 school bands and reference for, 271–275 Brahms, Johannes, 131 choirs, 256 rhythmic movement “Brandenburg Concerto” songwriting, 262 for, 106 (Bach), 267 teaching, 262–263 voicings of, 105–106 Brandwein, Naftule, 165 video game scoring, 262 chorus, 227–228 brass instruments, 181–183 “Carmen” (Bizet), 20 chorus-verse, 148–149 B flat trumpet, 163–164 catches, 201 chromatic chords, 98 French horn, 169–171 Cave, Nick, 126 chromatic scale, 53 flugelhorn, 168–169 CDBaby, 215, 273 church modes, 58 piccolo trumpet, 171–172 cello, 177–178 Circle of Fifths, 92–94 tenor slide trombone, 176 cheng, 192 “Clair de Lune” breathing points, 83 choirs, 256 (Debussy), 134 Bretan, Nicholae, 145 Chopin, Frederic, 135 classical music, 142–145 chord changes, 113–116 Broadcast Music “Arianna” (Monteverdi), 11 Incorporated (BMI), 217 chord tones, 112 “Boléro” (Ravel), 66–67 Broder, Andrew, 240 chords. See also melodies; “Brandenburg Concerto” modes; rhythms Brown, Ruth, 268 (Bach), 267 cadences and, 108–111 Brubeck, Dave, 126 “Carmen” (Bizet), 20 chromatic, 98 “Clair de Lune” exercises, 116–117 (Debussy), 134 C melodies and, 112–113 “Come Out” (Reich), C (bridge), 149 moods of 154, 238 cadences, 136 augmented, 103 “Das Buch der Cadwallader, Alan, 268 Hängenden Gärten” diminished, 103 (Schoenberg), 150 Cage, John, 57, 269, 270 dominant seventh, “Different Trains” cambiata, 81 100–101 (Reich), 154 Capella, 233 major, 99 “Don Giovanni” career opportunities for major seventh, 99–100 (Mozart), 267 composers major sixth, 101 “Du lehnest wider business conventions, 261 minor, 99 eine Silberweide” concert composition and minor 7, flat 5 / half- (Schoenberg), 150 performances, 259 diminished, 104 “The Flight of the Bumble film scoring, 261 minor ninth, 102–103 Bee,” 193 industrial music, 260–261 minor seventh, 100 “The Goldberg Variations” (Bach), 90 music for advertising, minor sixth, 101 260–261 “It’s Gonna Rain” (Reich), ninth, 102 music for television, 257 154, 238 overview, 98–99 music libraries, 261 “L’incoronazione di Poppea” suspended fourth, 102 (Monteverdi), 11 musical theater, 257–258 overview, 97–98 “Moonlight Sonata” producer/arranger, (Beethoven), 71 259–260 progressions of, 107–108, 134–135 306 Music Composition For Dummies 0005031004.INDD 306 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM “The Nutcracker Suite” Beethoven, L. van Larson, Jonathan, 258 (Tchaikovski), 120, 126 expansion and, 71 Mackey, Steve, 269 “Ode to Joy” (Beethoven), 31 lyrics and, 131–132 mentality of, 8–12, 20 “Orfeo” (Monteverdi), 11 motifs and, 67 Morricone, Ennio, 68, 127 “Pavane for Une Infante peices by, 31, 71, 142 Mozart, W. A., 124–125, Defunte” (Ravel), 68, 133 rhythms and, 31–32 143, 267 “Piano Concerto No. 2” symphonies by, 144 Murphy, John, 235 (Bartók), 142 Berg, Alban, 144 musicians and, 216 “The Rite of Spring” Albini, Steve, 260 (Stravinsky), 128 Bizet, G., 20 Alpert, Herb, 127 “Ronda alla Turca” Brahms, Johannes, 131 (Mozart), 143 Bretan, Nicholae, 145 Anderson, Reid, 187 “Symphony No. 5” Broder, Andrew, 240 Armstrong, Louis, 194 (Beethoven), 71 Cage, John, 57, 269, 270 Azarm, Ben, 238 “Violin Concerto No. 2” career opportunities for Ball, Ernie, 188 (Bartók), 142 business conventions, 261 Baxter, Les, 270 “Waltz of the Flowers” Bechet, Sidney, 194 (Tchaikovski), 126 concert composition and performances, 259 Biafra, Jello, 270 “William Tell Overture” (Rossini), 134 film scoring, 261 Bogle, Mike, 150, 182 Cline, Patsy, 222 industrial music, 260–261 Bowie, D., 127 Cohen, Leonard, 222 music for advertising, Brandwein, Naftule, 165 260–261 “Cold, Cold Heart” Broder, Andrew, 240 (Williams), 135 music for television, 257 Brown, Ruth, 268 “Come Out” (Reich), 154, 238 music libraries, 261 Brubeck, Dave, 126 composers musical theater, 257–258 Cadwallader, Alan, 268 atonal music and, 152–153 producer/arranger, Cave, Nick, 126 259–260 Bach, Carl Philipp Emanuel, Cline, Patsy, 222 school bands and 78, 201 Cohen, Leonard, 222 choirs, 256 Bach, Johann Christian, 201 Coward, Noel, 258 songwriting, 262 Bach, Johann Sebastian Cross, Christopher, 227 teaching, 262–263 analysis of, 267 Currie, Nicholas, 183 video game scoring, 262 counterpoint and, Denny, Martin, 269–270 200–201 Chopin, Frederic, 135 Drake, Nick, 188 effort shape and, 126 Copland, Aaron, 269 Dylan, Bob, 222 improvisation and, 8–9 Debussy, Claude, 126, 134 Eilish, Billie, 126 methods used by, 11 Glass, Philip, 72, 126, 145 Eno, Brian, 126, 270 peices by, 90, 142, 267 Grofe, Ferde, 45 Esquivel, Juan, 270 tritones and, 90 Holst, G., 127, 128 Fender, Freddy, 147–148 viola and, 176 Horelick, Steve, 213 Fender, Leo, 188 Bartók, Béla, 57, 124, 127, Ives, Charles, 57, 153 Ferguson, Maynard, 162 142, 153 Kingsley, Gershon, 269–270 Index 307 0005031004.INDD 307 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM composers (continued) Schoenberg, Arnold, 57, with lead sheets, 241–242 Gabriel, Peter, 272 150–151 listening skills and, 18–19 Goodman, Benny, 165 Schubert, F., 145 music theory and, 19 Hendrix, J., 227 Stalling, Carl, 72 observing environment Iommi, Tony, 89 Stravinsky, I., 50, 127, for, 120 128, 135 Johnson, Blind Willie, 190 for oneself, 215–216 Tarrega, Francisco, 189 Lennon, John, 216 for orchestras, 214 Tchaikovsky, Pyotr Ilyich, Malmsteen, Yngwie J., 57 with pencil and paper, 120, 126 13–14 Marley, Bob, 125 Vivaldi, Antonio, 201 performance skills and, Mars, Bruno, 125 Warnow, Harry, 72 14–15 Martinez, Cliff, 235 Webber, Andrew Lloyd, resources for, 218, 265–270 Moog, Robert, 72, 270 145, 256 rhythm and, 19–20 Oliver, Joe, 194 Zorn, John, 165 scores, 246–250 Ory, Kid, 194 composing with software, 15–18 Paul, Les, 190 on computers, 236–240 songwriting and Redding, Otis, 242 for drums, 250–252 beginning of song, Segovia, Andrés, 189 with effort shapes 225–226 Simone, Nina, 127 combining, 127–130 building rhythm, 223–224 Thompson, Richard, 188 dab, 125 choosing musical form, Tripp, Paul, 196 flick, 125–126 224–225 Waller, Fats, 162 float, 126 chorus, 227–228 Williams, Hank, 135, flow, 124 lyrics and tempo, 222 147, 222 glide, 126 moods, 226 Williams, Pharrell, overview, 122–123 overview, 221–222 124–125 press, 126 with tablet, 13–14 Willson, Meredith, 258 punch, 126–127 for TV and radio, 212–214 Wooten, Victor L., 268–269 slash, 127 for video games, 211–212 Pärt, Arvo, 126 space, 124–125 composing teams, 216–217 Prokofiev, Sergei, 195–196 story and mood, 127–130 compositions Purcell, Henry, 201, demoing, 229–230 222, 224 time, 123–124 musical gestures as tools Ravel, Maurice, 66–68, weight, 123 for, 50–51 115, 133 wring, 127 scales in, 49–50 resources for, 218, 265–270 for ensembles, 246–250 compound AABA, 148 Riley, Terry, 72 as extension of con legno, 181 Rossini, Gioachino, 134 listening, 8–9 concert composition, 259 Ruggles, Carl, 269 for film, 208–211 concert flute, 172–173 Russell, Armand, 266 gestures and, 121–122 concert pitch, 160–161 Schaeffer, Pierre, 238 with guitar tablature, 242–246 concertina, 193–194 308 Music Composition For Dummies 0005031004.INDD 308 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM concerto, 144 direct and indirect (effort time, 123–124 conductors, 246 shapes), 124–125 weight, 123 conflict and resolution, disjunct pitches, 77 wring, 127 90–92 disjunct tones, 113 Eilish, Billie, 126 conjunct pitches, 76 dissonance, 88–92 electronic instruments conjunct tones, 113 Distrokid, 273–274 acoustic instruments vs., 25 consonance, 88–92 Ditto, 275 bass guitar, 188 contrabass, 174, 187 divertimento, 145 guitar,