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, 190 Copland, Aaron, 269 Dobro guitar, 191 electronic music copyright, 209–210, 230, 261 dominant chords, 112 composing, 236–240 cor anglais, 167–168 dominant seventh chords, software and hardware for, counterpoint, 144, 200–202 100–101 232–235 country music, 147–148, 222 “Don Giovanni” (Mozart), 267 Encore, 233 couplet, 32 Dorian mode, 59 endings of songs, 135–137 Coward, Noel, 258 double bass, 174, 187 English horn, 167–168 Cross, Christopher, 227 down-bow, 180 Eno, Brian, 126, 270 Cubase, 17, 232 Drake, Nick, 188 ensembles, 247–250 Currie, Nicholas, 183 drums, 186, 250–252 episodes, 143 “Du lehnest wider escape tones, 79–80 eine Silberweide” Esquivel, Juan, 270 D (Schoenberg), 150 “Étude in A Minor (op. 25, no. dab (effort shapes), 125 duration, 202 11)” (Chopin), 135 dancing, 50–51 Dylan, Bob, 222 “Every Breath You Take” (The “Das Buch der dynamics (effort Police), 148 Hängenden Gärten” shapes), 122 (Schoenberg), 150 Debussy, Claude, 126, 134 F deceptive cadences, 110 E fakebooks, 242 E flat clarinet, 166–167 demoing compositions, “The Farmer in the Dell,” 140 effort shapes 229–230 Fender, Freddy, 147–148 combining, 127–130 Denny, Martin, 269–270 Fender, Leo, 188 dab, 125 departure, 92 Ferguson, Maynard, 162 flick, 125–126 development, 92, 143 film, 208–211, 261 float, 126 diatonic chords, 98 Film Connection, 218 flow, 124 diatonic melody, 88 Film Music Network, 218 glide, 126 diatonic triads, 93 Finale, 16, 233 overview, 122–123 “Different Trains” (Reich), 154 five-toned scale, 62 press, 126 digital audio flat 5 chords, 104 workstations, 232 punch, 126–127 flick (effort shapes), 125–126 diminished chords, 103 slash, 127 “The Flight of the Bumble space, 124–125 Bee,” 193

Index 309

0005031004.INDD 309 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM float (effort shapes), 126 genres. See also musical chords and melodies, flow (effort shapes), 124 forms 112–113 flugelhorn, 168–169 blues, 146–147 melodies foreground, 268 a cappella, 11 with circle of fifths, 92–94 forms, musical characterized by effort with consonance and shapes, 128 dissonance, 88–92 atonal music, 150–154 classical, 142–145 with pivot notes, 94–95 beginning of songs and, 133–135 country, 147–148 writing lines for, 196–198 blues, 146–148 forms and, 7–8, 145 harp, 175–176 choosing, 224–225 operas, 11 Harvey, P. J., 127 classical, 142–145 rock, 148–149 “Heavy E Phrygian” (Yngwie Malmsteen), 57 combining parts into, rules and, 10 139–142 ghostwriting, 217 heavy vs. light (effort shapes), 123 country, 147–148 Glass, Philip, 72, 126, 145 Hendrix, J., 227 defined, 139–155 glass harmonica, 192 hertz, 202 ending of songs and, glide (effort shapes), 126 “Hey Jude” (The Beatles), 135–137 “The Goldberg Variations” 132, 148 exercises, 137, 154–155 (Bach), 90 Hildegard, Saint, 111 jazz, 149–150 “Good Vibrations” (The Ho, Don, 191 middle of songs and, 135 Beach Boys), 148 “The Hokey Pokey,” 140 overview, 132–133 Goodman, Benny, 165 Holst, G., 127, 128 Forney, Kristine, 267 grace notes, 79 “Honkey Tonk Woman” (The Franklin, Benjamin, 192 “Grand Canyon Suite” (Grofe), 45 Rolling Stones), 148 free reed instruments, Horelick, Steve, 213 192–194 “Greensleeves,” 140 How to Grow as a Musician freedom and limitations, 7–8 Grofe, Ferde, 45 (Anderson), 267–268 French horn, 169–171 Guido, d’Arezzo, 111, 250 Huygens, Christiaan, 107 frequency, 202 guitar tablature, 242–246 fretting, 244 front phrasing, 33–34 H I “I Am”/"I Want” songs, 258 “Frosty the Snowman,” 148 half-cadences, 110–111 “I’m So Lonesome I Could fugue, 144 half-diminished chords, 104 Cry” (Williams), 222 fundamental pitch, 203 hammer-on, 245 imagination, 47–48 fundamental structure, 268 “Happy Birthday,” 140 imperfect consonants, 89 harmonic overtones, 88 improvisation, 49–50, 152 harmonic scales, 62–63 G in tutti, 247 harmonica, 192–193 Gabriel, Peter, 272 independent voices, 198–200 harmonics, 203 Gagné, David, 268 industrial music, 260–261 harmonizing. See also chords GarageBand, 232 inspiration, 9, 120–122

310 Music Composition For Dummies

0005031004.INDD 310 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM instrumentation, 195–196 intensity, 203 “Kim Gordon’s Panties” instruments internal pedal, 81 (Steve Albini), 133 acoustic vs. electronic, 25 interrupted cadences, 110 Kingsley, Gershon, 269–270 alto flute, 162–163 intervals, 19 Kitt, Eartha, 269 atonal music and, 151–152 Intro AABABC form, 132 B flat clarinet, 164–166 introduction of songs, 148 L B flat trumpet, 163–164 inverted pedal, 81 L., Donovan, 222 bass, 174, 187–188 Iommi, Tony, 89 Laban, Rudolf von, 122 bass flute, 173 Ionian mode, 58 Lang, Lang, 144 bassoon, 173–174 “It’s Gonna Rain” (Reich), language and melodies, brass, 181–183 154, 238 42–45 cello, 177–178 Ives, Charles, 57, 153 lap steel guitar, 191 cheng, 192 Largo, 30 concert flute, 172–173 J Larson, Jonathan, 258 double bass/ Jamkazam, 217 lead sheets, 14, 241–242 contrabass, 174 jazz, 149–150, 194 legato, 123 drums, 186, 250–252 jetè, 181 leitmotifs, 196 E flat clarinet, 166–167 “Jingle Bells,” 140 length of compositions, 229 electric guitar, 190 Jingle Punks, 219 Lennon, John, 216 electric bass guitar, 188 jingles, 136, 260–261 “Leopard-Skin Pill-Box Hat” English horn/cor anglais, (Dylan), 222 “Happy Birthday,” 140 167–168 “Let It Be” (The Beatles), 148 “The Hokey Pokey,” 140 flugelhorn, 168–169 “Let’s Go Crazy” (Prince), 148 “Mary Had a Little free reed, 192–194 Lamb,” 152 “Light My Fire” (The French horn, 169–171 Doors), 57 “Shave and a Haircut,” guitar, 189–192 32–34 “L’incoronazione di Poppea” (Monteverdi), 11 harmonica, 192–193 “Twinkle, Twinkle, Little oboe, 174–175 Star,” 140 linear composition, 236 orchestral harp, 175–176 Johnson, Blind Willie, 190 listening overview, 161–162 “Joy to the World,” 49 for atonality, 153–154 piccolo trumpet, 171–172 “Just Like a Woman” composing and, 8–9, 18–19 playing, 10, 49–51 (Dylan), 222 Locrian mode, 61 shawm, 174–175 Logic Pro X, 17, 232 sheng, 192 K loop composing, 236–238 loops, 18, 232 stringed, 180–181 Keinsinger, George, 196 louré, 181 tenor slide trombone, 176 Keppard, Freddie, 194 Lun, Ling, 192 viola, 176–177 Key, Susan, 269 Lydian mode, 59–60 violin, 177 key signature, 97 woodwind, 181–183 lyrics, 222

Index 311

0005031004.INDD 311 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM M nature and, 45–47 Monteverdi, Claudio, 11 neighboring tones and, mood message, 29 Mackey, Steve, 269 78–79 moods major and minor modes, passing tones and, 77–78 54–56 of chords pedal point and, 82 major chords, 99 augmented, 103 phrases with, building, major seventh chords, diminished, 103 68–70 99–100 dominant seventh, playing, 49–51 major sixth chords, 101 100–101 retardation and, 80 Malmsteen, Yngwie J., 57 major, 99 step-wise and skip-wise “Man on the Moon” major seventh, 99–100 motion, 76–77 (R.E.M.), 57 major sixth, 101 structural tones and, 75–76 Marclay, Christian, 238 minor, 99 suspension and, 80 Marley, Bob, 125 minor 7, flat 5 / half- techniques for, 79–82 Marmoset, 219–220 diminished, 104 tritones and, 89–90 Mars, Bruno, 125 minor ninth, 102–103 writing multiple Martinez, Cliff, 235 minor seventh, 100 melodies, 204 “Mary Had a Little minor sixth, 101 mentality of composers, 20 Lamb,” 152 ninth, 102 metronome, 30 math rock, 90 overview, 98–104 microtones, 176 McCartney, Paul, 216 suspended fourth, 102 middle of songs, 135 melodic minor scales, 62–63 exercises for, 36–37, 63–64 MIDI (Musical Instrument melodic phrase, defined, 65 overview, 56–58 Digital Interface), 23, melodies. See also chords; 211, 233 rhythms and harmonizing; modes; minimalism, 145 as communication, 35–36 rhythms minor 7 chords, 104 “Ode to Joy” (Beethoven), anticipation and, 80 31–33 minor chords, 99 appoggiatura and, 78–79 overview, 28–31 minor ninth chords, 102–103 chords and, 112–116 sculpting time into minor seventh chords, 100 conflict and resolution of, music, 28 minor sixth chords, 101 90–92 songwriting and, 226 minuet, 139 crossing lines of, 204 Moog, Robert, 72, 270 Mixolydian mode, 60 escape tones and, 79–80 “Moonlight sonata” exercises, 51–52, 82–83, 95 modes. See also chords; (Beethoven), 71, 142 melodies harmonizing mordents, 124 Circle of Fifths and, 54–56 with Circle of Fifths, 92–94 “More Than a Feeling” defined, 53 with consonance and (Boston), 148 dissonance, 88–92 exercises for, 63–64 Morricone, Ennio, 68, 127 with pivot notes, 94–95 major and minor, 54–56 Mothersbaugh, Mark, 216 imagination and, 47–48 overview, 58–61 motifs, 65–68 language and, 42–45 reference for, 271–275 Mozart, W. A., 124–125, musical framework and, 42 monophonic phase, 111 143, 267

312 Music Composition For Dummies

0005031004.INDD 312 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM multiple voices jazz, 149–150 Currie, Nicholas, 183 counterpoint and, 200–202 middle of songs and, 135 Denny, Martin, 269–270 exercises, 205–206 overview, 132–133 Drake, Nick, 188 independent voices and, rock, 148–149 Dylan, Bob, 222 198–200 ternary, 224 Eilish, Billie, 126 instrumentation and story musical framework, 42 Eno, Brian, 126, 270 lines, 195–196 musical gestures, 50–51 Esquivel, Juan, 270 rules for, 204–205 Musical Instrument Digital Fender, Freddy, 147–148 writing harmony lines, Interface (MIDI), 23, Fender, Leo, 188 196–198 211, 233 Ferguson, Maynard, 162 Murphy, John, 235 musical scale, 97 Gabriel, Peter, 272 music musical scrapbooks, Goodman, Benny, 165 for advertising, 260–261 22–26, 239 Hendrix, J., 227 promoting, 271–275 musical theater, 257–258 Iommi, Tony, 89 sculpting time into, 28 musical tone, 202–204 Johnson, Blind Willie, 190 for television, 257 Musicbed, 219 Lennon, John, 216 terms used in, 92 musicians. See also Malmsteen, Yngwie J., 57 through-composed, 145 composers Marley, Bob, 125 tonal, 61 Albini, Steve, 260 Mars, Bruno, 125 trusting taste in, 12 Alpert, Herb, 127 Martinez, Cliff, 235 The Music Lesson (Wooten), Anderson, Reid, 187 268–269 Armstrong, Louis, 194 McCartney, Paul, 216 music licensing companies, Azarm, Ben, 238 Moog, Robert, 72, 270 219–220 Ball, Ernie, 188 Oliver, Joe, 194 music theory, 19, 50 Baxter, Les, 270 Ory, Kid, 194 musical forms. See also Bechet, Sidney, 194 Paul, Les, 190 genres Biafra, Jello, 270 Redding, Otis, 242 atonal music, 150–154 Bogle, Mike, 150, 182 Segovia, Andrés, 189 beginning of songs and, Bowie, D., 127 Simone, Nina, 127 133–135 Brandwein, Naftule, 165 Thompson, Richard, 188 blues, 146–148 Broder, Andrew, 240 Tripp, Paul, 196 choosing, 224–225 Brown, Ruth, 268 Waller, Fats, 162 classical, 142–145 Brubeck, Dave, 126 Williams, Hank, 135, combining parts into, 147, 222 139–142 Cadwallader, Alan, 268 Williams, Pharrell, 124–125 country, 147–148 Cave, Nick, 126 Willson, Meredith, 258 defined, 139–155 Cline, Patsy, 222 Wooten, Victor L., 268–269 ending of songs and, Cohen, Leonard, 222 musique concrête, 238 135–137 Coward, Noel, 258 “My Country ‘Tis of exercises, 137, 154–155 Cross, Christopher, 227 Thee,” 140

Index 313

0005031004.INDD 313 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM N operas, 11 orchestras, 214, 246 optical character recognition “Orfeo” (Monteverdi), 11 natural minor scale, 62 (OCR), 233 Ory, Kid, 194 neighboring tones, orchestra instruments in 78–79, 113 Outschool, 263 alto flute, 162–163 “Neoapplictana” (Azarm), 238 “Over the Rainbow,” 142 atonal music and, 151–152 neumatic music, 111 overtones, 203 B flat bass clarinet, 166 “New” songs, 258 B flat clarinet, 164–165 ninth chords, 102 B flat trumpet, 163–164 P non-chord tones, 112 parallel harmony, 196 bass, 187–188 non-transposing instruments Pärt, Arvo, 126 bass flute, 173 bass flute, 173 partials, 203 bassoon, 173–174 bassoon, 173–174 parts, 14, 139–142 brass, 181–183 cello, 177–178 passing tones, 77–78, 113 cello, 177–178 concert flute, 172–173 Paul, Les, 190 cheng, 192 double bass/ “Pavane for Une Infante concert flute, 172–173 contrabass, 174 Defunte” (Ravel), 68, 133 cor anglais, 167–168 oboe, 174–175 pedal point, 82 double bass, 174 orchestral harp, 175–176 pedal steel guitar, 191 drums, 186 tenor slide trombone, 176 pentatonic scale, 62 E flat clarinet, 166–167 viola, 176–177 percussion instruments, 186 English horn, 167–168 violin, 177 perfect consonant, 89 flugelhorn, 168–169 Noone, Jimmy, 194 performance skills, 14–15 free reed, 192–194 The Norton Scores, Vols. performances, 259 1 and 2, 10th Edition French horn, 169–171 periods, 65, 136 (Forney), 267 guitar, 189–192 Perlman, Itzhak, 144 “The Nutcracker Suite” harmonica, 192–193 (Tchaikovsky), 120, 126 “Peter and the Wolf” oboe, 174–175 (Prokofiev), 195–196 orchestral harp, 175–176 phasing, 154 O overview, 161–162 phrases oboe, 174–175 piccolo trumpet, 171–172 building, 68–70 observation and shawm, 174–175 exercises for, 73 composing, 120 sheng, 192 expansion and, 71 OCR (optical character stringed, 180–181 recognition), 233 overview, 66–68 tenor slide trombone, 176 octaves, 205 of rhythm viola, 176–177 “Ode to Joy” (Beethoven), as communication, 35–36 31–32 violin, 177 displacement of, 70–71 Oliver, Joe, 194 woodwind, 181–183 “Ode to Joy” (Beethoven), one-part form: A, 140 orchestral harp, 175–176 31–33

314 Music Composition For Dummies

0005031004.INDD 314 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM tonal displacement and, 72 public domain scores, 261 rhythmic movement for truncation and, 71 “Puff the Magic Dragon” chords, 106 Phrygian mode, 59 (Peter, Paul and rhythmic phrases, 32 Mary), 131 piano, 178 rhythms. See also chords; pull-off, 245 melodies piano accordion, 193 punch (effort shapes), back phrasing, 33 “Piano Concerto No. 2” 126–127 (Bartók), 142 building, 223–224 Purcell, Henry, 201, 222, 224 “Piano Sonata No. 14 in changing, 33–35 C sharp minor” composing and, 19–20 (Beethoven), 142 Q displacing, 70–71 piccolo trumpet, 171–172 quarter tones, 61 exercises for, 36–37 pitch quatrain, 143 feel of, 28–31 as element of musical front phrasing, 33–34 tone, 202 phrases, 31–33, 35–36 of transposing instruments R sculpting time into alto flute, 162–163 “Ramblin’ Man” music, 28 (Williams), 135 B flat bass clarinet, 166 syncopation, 32, 34–35 B flat clarinet, 164–165 Ravel, Maurice, 66–68, 115, 133 Rickenbacker, Adolph, 190 B flat trumpet, 163–164 Raven, Genya, 260 Riley, Terry, 72 E flat clarinet, 166–167 The Real Book (Hal Leonard “The Rite of Spring” English horn/cor anglais, Corporation), 242 (Stravinsky), 50, 128 167–168 recapitulation, 92, 143 rock music flugelhorn, 168–169 Redding, Otis, 242 “Born to Be Wild” French horn, 169–171 (Steppenwolf), 57 refrain, 143 overview, 161–162 “Every Breath You Take” Reich, Steve, 20, 154, 238 piccolo trumpet, 171–172 (The Police), 148 repetition, 68–69, 234 pivot notes, harmonizing “Good Vibrations” (The melodies with, 94–95 RE/Search #14 & #15: Beach Boys), 148 Incredibly Strange Music, pizzicato, 181 “Heavy E Phrygian” (Yngwie Vols. I and II, 269–270 Malmsteen), 57 plagal cadences, 109 resolution and conflict, “Hey Jude” (The Beatles), “The Planets” (Holt), 128 90–92 132, 148 pre-classical period, 201 resonance, 203 “Honkey Tonk Woman” (The press (effort shapes), 126 retardation, 80 Rolling Stones), 148 Presto, 30 ReverbNation, 274 “Just Like a Woman” (Bob producers, 259–260 rhythm instruments Dylan), 222 Prokofiev, Sergei, 195–196 bass, 187–188 “Leopard-Skin Pill-Box Hat” (Bob Dylan), 222 promoting music, 271–275 drums, 186 “Let It Be” (The Beatles), 148 ProTools, 18, 232 guitar, 189–192 “Light My Fire” (The proxy movies, 211 overview, 185–194 Doors), 57

Index 315

0005031004.INDD 315 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM rock music (continued) Schoenberg, Arnold, 57, Society of Motion Picture “Man on the Moon” 150–151 and Television Engineers (R.E.M.), 57 school bands, 256 (SMPTE) time, 210 “More Than a Feeling” Schubert, F., 145 software instruments, 234 (Boston), 148 ScoreCloud, 161 solfege, 14, 111 “Satisfaction” (Rolling scores sonance, 203–204 Stones), 227 composing, 246–250 sonata, 142–143 “Surfer Girl” (The Beach defined, 14 song banks, 261 Boys), 148 in public domain, 261 song form: ABA, 140–142 “War Pigs” (Black Songwriter’s Market (Writer’s Sabbath), 90 scorewriters, 232–233 Digest Books), 262, Scott, Raymond, 72 “Whole Lotta Love” (Led 265–266 Zeppelin), 148 Segel, Jonathan, 116, 216 songwriting, 262 “Yesterday” (The Beatles), Segovia, Andrés, 189 beginning of song, 225–226 132, 148 sequencers, 232 building rhythm, 223–224 “YYZ” (Rush), 61 serial music, 150 choosing musical form, Roethe, Larry, 269 SESAC (Society of European 224–225 The Rolling Stones, 148, 227 Stage Authors and chorus, 227–228 “Ronda alla Turca” Composers), 217 lyrics and tempo, 222 (Mozart), 143 Shakespeare, W., 222 moods, 226 rondo, 143–144 The Shaping of Musical overview, 221–222 Rossini, Gioachino, 134 Elements, Vol. II (Russell, Trubitt), 266 sonnet, 143 Ruggles, Carl, 269 “Shave and a Haircut,” 32–34 Sor, Fernando, 189 Russell, Armand, 266 shawm, 174–175 sound libraries, 234–235 sheet music space (effort shapes), S lead sheets, 241–242 124–125 Sagemusic, 263 website for, 22 spiccato, 181 “Sailing” (Cross), 227 sheng, 192 Spinnup, 274–275 samples, 238 Show.co, 273 Spotify, 215 “Satisfaction” (Rolling Sibelius, 16, 233 staccato, 123–124 Stones), 227 Silence (Cage), 270 Stalling, Carl, 72 scales Simone, Nina, 127 “The Star-Spangled composing with, 49–50 Banner,” 245 slash (effort shapes), 127 defined, 53 steel guitar, 191–192 slide, 245 pentatonic, 62–64 step-wise and skip-wise slur, 180–181 Schaeffer, Pierre, 238 motion, 76–77 Society of European Stage stradella bass system, 193 Schenker, Heinrich, 268 Authors and Composers schenkerian analysis, 268 (SESAC), 217 Stravinsky, I., 50, 127, 128, 135

316 Music Composition For Dummies

0005031004.INDD 316 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM stringed instruments, tessitura, 205 “Tubby the Tuba” (Tripp and 180–181 Thompson, Richard, 188 Keinsinger), 196 cello, 177–178 three-part form, 140 TuneCore, 274 double bass, 174, 187 through-composed turnaround, 146 guitar, 189–191 music, 145 twelve-string guitar, 190–191 harp, 175–176 timbre, 88, 150, 203 “Twinkle, Twinkle, Little viola, 176–177 time (effort shapes), 123–124 Star,” 140 violin, 177 time code, 210–211 structural tones, 75–76, 112 titling songs, 133–134 U studio engineer, 260 tonal displacement, 72 Udemy, 263 subdominant chord, 112 tonal music, 61 unisons, 191, 205 substitution, 92 tonality, 197 up-bow, 180 Sumac, Yma, 270 tonic chord, 112 upright bass, 174, 187 “Surfer Girl” (The Beach tonic note, 62 U.S. Copyright Office, Boys), 148 Transcribe application, 161 209–210 suspended fourth transients, 203 chords, 102 transposing, 14, 179 suspension, 80 V transposing instruments sustained, 123–124 verse-chorus, 148–149 alto flute, 162–163 symphonium, 193 vibrato, 246 B flat bass clarinet, 166 symphony, 144 Vicentino, Nicola, 107 B flat clarinet, 164–165 “Symphony No. 4” (Ives), 153 viola, 176–177 B flat trumpet, 163–164 “Symphony No. 5” violin, 177 E flat clarinet, 166–167 (Beethoven), 67, 71 “Violin Concerto No. 2” English horn/cor anglais, “Symphony of Psalms” (Bartók), 142 167–168 (Stravinsky), 135 violoncello, 177–178 flugelhorn, 168–169 syncopation, 32, 34–35 Vivaldi, Antonio, 201 French horn, 169–171 voice leading, 204 overview, 160–162 voicings, 105–106 T piccolo trumpet, 171–172 tacet, 204 triad, 105 Tarrega, Francisco, 189 trills W Waller, Fats, 162 Taximusic, 220, 257 defined, 78 “Waltz of the Flowers” Tchaikovsky, Pyotr Ilyich, effort shapes and, 124 120, 126 (Tchaikovsky), 126 Tripp, Paul, 196 teaching music, 262–263 “War Pigs” (Black tritones, 89–90 tempo, 28, 30, 222 Sabbath), 90 Trubitt, Allen, 266 tenor slide trombone, 176 Warnow, Harry, 72 truncation, 71 ternary forms, 224 “Wasted Days and Wasted Nights” (Fender), 148

Index 317

0005031004.INDD 317 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM Webber, Andrew Lloyd, woodwind instruments, 145, 256 181–183 Y “Year Zero” (Apollon and weight (effort shapes), 123 alto flute, 162–163 Muslimgauze), 238 Welk, Lawrence, 165 B flat bass clarinet, 166 “Yesterday” (The Beatles), “White Rabbit” (Jefferson B flat clarinet, 164–165 132, 148 Airplane), 57 bass flute, 173 “Your Cheatin’ Heart” “Whole Lotta Love” (Led bassoon, 173–174 (Williams), 135, 147 Zeppelin), 148 concert flute, 172–173 YouTube, 215, 271–272 “William Tell Overture” E flat clarinet, 166–167 “YYZ” (Rush), 61 (Rossini), 134 English horn/cor anglais, Williams, Hank, 135, 147, 222 167–168 Williams, Pharrell, 124–125 Z oboe, 174–175 Willson, Meredith, 258 Zorn, John, 165 Wooten, Victor L., 268–269 Wolff, Michael, 268 wring (effort shapes), 127

318 Music Composition For Dummies

0005031004.INDD 318 Trim size: 7.375 in × 9.25 in December 11, 2020 4:23 AM