Section 3: Chapter 5 Writing for a Small and Large Ensemble Flashcards
(65 cards)
1
Q
Three methods to apply mechanical voicings are, _________________, ___________________, and _____________________.
A
Drop 2, Drop 3, Drop 2+4
2
Q
_____________________ is an arranging method where instruments are voiced, but perform the same rhythms.
A
Concerted Writing
3
Q
Clusters consist of two or more pitches a _______________ or _______________ interval apart.
A
Major 2nd, minor 2nd
4
Q
A brief melodic statement situated in a supporting role underneath a soloist is called a _____________________.
A
Riff
5
Q
A background writing technique where the movement is a step-wise motion of the 3rd and the 7th of chords within a progression is known as ______________________.
A
Background writing – using guide tones
6
Q
_______________________ is the most common method for writing soli sections.
A
Concerted Writing
7
Q
T/F: Softer tutti lines are used in shout choruses.
A
False
8
Q
What is the lower voice limit for an octave?
A
None
9
Q
What is the lower voice limit for a minor second?
A
E3
10
Q
What is the lower voice limit for a major 2nd?
A
Eb3
11
Q
What is the lower voice limit for a minor 3rd?
A
C3
12
Q
What is the lower voice limit for a major 3rd?
A
Bb2
13
Q
What is the lower voice limit for an augmented 4th?
A
Bb2
14
Q
What is the lower voice limits for a perfect 4th?
A
Bb2
15
Q
What are the lower voice limits for a diminished 5th?
A
Bb2
16
Q
What is the lower voice limit for a perfect 5th?
A
Bb1
17
Q
What is the lower voice limits for a minor 6th?
A
G2
18
Q
What is the lower voice limits for a Major 6th?
A
F2
19
Q
What is the lower voice limits for a diminished 7th?
A
F#2
20
Q
What is the lower voice limits for a minor 7th?
A
F2
21
Q
What is the lower voice limits for a major 7th?
A
F2
22
Q
What is the lower voice limits for a minor 9th?
A
E2
23
Q
What is the lower voice limits for a Major 9th?
A
Eb2
24
Q
What is the lower voice limits for a minor 10?
A
C2
25
What is the lower voice limits for a Major 10th?
Bb1
26
How does an arranger begin use mechanical voicing?
An arranger beings with four part harmonic structure, then redistributes those notes to a predetermined group of instruments.
27
How can mechanical voicing be used?
The four part harmony may be constructed as a rhytmic tutti line with the melody, or as an independent harmonic structure in support of a melody.
28
Mechanical voicings include what?
* one close position method, four-way close
* three semi open positions: drop 2, drop 3, and drop 2+4
29
How ican four-way close mechanical be applied to this example?
The arranger would write out the harmonic structure beneath the melody line or lead line without skipping any chord tones.
30
How is drop-2 mechanical voicing applied to this musical example?
* Drop-2 is formed by dropping the second voice by one octave. all others stay the same
* The voicing creates space between the soprano and tenor, making a semi-open position.
31
How is drop-3 applied to this musical example?
* It is formed by dropping the third voice by one octave.
32
How is drop-2+4 applied to this musical example?
The second and fourth voice are dropped by one octave.
33
What is concerted writing?
* an arranging techique where musical passages are voiced and rhythms are identical
34
How does the rhythm section perform in concerted writing?
* a rhythm section can perform with the winds or complement the ensemble by comping
35
How does the process of concerted writing usually begin?
* by writing out the bass section first ensuring the harmonic structure is present.
36
What is coupling?
* coupling referes to writing out parts by using supporting unison or octave lines
37
How does constant coupling occur?
Constant coupling occurs when the arrangement remains consistent with the voicing technique used throughout the concerted passage.
38
How do you start concerted writing with a big band?
Use a melody or lead line with chord changes and establish this as your lead trumpet part.
39
What is the second step in concerted writing for a jazz ensemble?
2. Voice the brass section.
a. Choose one of the mechanical voicing techniques.
b. Ensure that all notes of the harmonic structure are present.
c. Be aware of the practical range of the instruments and the ability of theperformers.
d. Avoid intervals of a second between the top two lines in order to not interferewith the lead voice.
40
What is the third step in concerted writing for a jazz ensemble?
Develop the lead alto saxophone by coupling the second or third trumpet.
41
What is the 4th step in concerted writing when arranging for a jazz ensemble?
Voice the saxophone section.
a. From the lead alto saxophone line, voice the remaining voices by using oneof the mechanical voicing techniques.
b. Be aware of instrument ranges and low interval limits.
c. Be aware of the practical range of the instruments and the ability of the performers.
42
What are characteristics of non-mechanical writing?
* derived from chord scales
* include concepts of spread voicing, and voicings in fourths and seconds and upper structure triads.
43
What are characteristics of spread voicing?
* built from the botton up begining with the root
* open position structure
* effective as sustaing pads supporting a melody or solo line
* provide independent or tutti rhythmic harmonization with a melody
*
44
What is not recommended in spread voicings?
* large intervals and disjunct motion
45
What outcomes of spread voicing are determined by which factors?
1. **Number of pitches** –When the amount of different pitches are added to the spread, the voicing will become denser.
2. **Spacing** –Larger intervals create a more open sound; smaller intervals will produce the opposite.
3. **Dissonant intervals and tensions** –The greater number of dissonant intervals added to a spread, will yield a more tense sound.
4. **Doubling**s –Will produce a strong and full sound.
5. **Distance from top and bottom pitches** –The greater intervallic distance created between notes, increases the opportunity of using doublings.
6. **Orchestration** –Timbre throughout the range of an individual instrument willimpact the overall sound of spread.
46
When voicing in augmented fourths, what is increased?
dissonance
47
What are characteristics of voicings in fourths?
* the predominant interval between each adjacent note will be a fourth
* slighlty open and evenly spaced
* due to strong resonant and slightly dissonant effect, will have a modern sound
48
What interval is formed when spaced with voicings of a augmented 4th?
a Major 7th
49
What can the augmented 4ths be enharmically spelled as when voicing in that interval?
Diminished 5ths
50
What is voicing in seconds?
* voicings in which the primary interval is second
* also known as clusters
51
What are characteristics of voicings in seconds?
* Due to their tight spacing, clusters can be very dense and dissonant
* when intervals are applied in alongside the clusters, the density and disonance will decrease
*
52
What is an upper-structure triad voicing?
* This type of triad voicing structure has all the notes of the structure represented, with the top three pitches in close position
* sound of the upper triad will be very distinct
* two harmonic thoughts unified
53
The triad in an upper-structure triad voicing will contain what?
at least one available harmonic tension
54
What quality is the triad in an upper triad structure voicing usually?
major or minor
55
What are some common upper-structure triad voicings for Major chords?
1. Major
a. Major triad a whole step above the root.
b. Major triad a perfect fifth above the root.
56
What are some common upper-structure triad voicings for minor chords?
2. Minor
a. Major triad a perfect fourth above the root.
b. Major triad a whole step below the root.
c. Major triad a perfect fifth above the root.
57
What are some common upper-structure triad voicing for dominant chords?
3. Dominant
a. Major triad a whole step above the root.
b. Major triad a minor third above the root.
c. Major triad a tritone above the root.
d. Major triad a minor sixth above the root.
e. Major triad a major sixth above the root.
58
Are augmented and diminshed triads available for upper-structure triad voicings?
Yes
Augmented and diminished triads as upper-structure triads are also possible. However, they do not create the same level of resonance as their major or minor counterparts, due to the absence of the perfect 5th and 4th intervals.
59
Background writing does what for arrangments?
keep arrangements interesting and to provide harmonic and rhythmic support.
Backgrounds should always be written in a manner which does not detract from the soloist.
60
What tones are used when writing backrounds using guide tones?
3 and 7
61
What is the manner of using a motif as a backround?
In this approach, the arranger takes a thematic figure from the piece to develop a background line. Depending on the tempo, style, and intent of the arranger, the motif may be simplified or embellished further.
62
What makes moving through chord tones and tensions unique as compared to guide tones for backrounds?
This technique is similar to using guide tones, with the exception that movement occurs between chord tones and available tensions.
63
What are some examples of shout choruses?
64
When is a shout chorus found in an arrangement?
found at the end of a composition before the recap of the main theme.
65
What are basic characteristics of a shout chorus?
1. Percussive Lead lines.
2. Repeating riffs.
3. Lead trumpet in the upper register.
4. Louder dynamics.
5. Reharmonizing the melody or development of the melody.
6. Call and response between sections.
7. Concerted writing. (All instruments under the lead trumpet.)
8. Special effects such as shakes, falls, and doits.
9. Harmonically dense voicings.
10. Open position voicings spread over multiple octaves.
