Download File - Mr. Deininger`s Page

Chapter 11
Voicing Chords in Multiple Parts:
Instrumentation
Key Concept on page 184
• Smooth voice-leading in four voice
harmony is based on connection by
step or skip, as in species counterpoint.
• Intervals between pairs of voices in
four-part harmony follow any of the
guidelines for consonance and
dissonance treatment we learned in
Chapter 8.
Key Concept page 184 Example
Jumpy; Unconnected
Connected; Smooth Line
Smooth voice-leading
in four voice harmony
is based on connection
by step or skip, as in
species counterpoint.
What is doubling?
How do you double?
• Doubling is exactly what it sounds
like…you have to repeat a pitch in four
(or more) part harmony with triads or
(7th) chords
• Usually you double the root (safest
technique), or another chord tone if
necessary for voice-leading purposes
Key Concept page 185
Keep in mind the following doubling guidelines for triads.
1.
If the triad is in root position (and major or minor quality), we usually
double the root. Sometimes we double the third or fifth, but these
doubling are much less common.
2.
If the triad is in first inversion, double any chord member that is not a
tendency tone (a scale degree or chord member that music be
resolved) or other altered tone. Doubling the soprano is a common
strategy (for major or minor triads only).
3.
If the triad is in second inversion, double the fifth (the bass). This is
the only standard doubling for second-inversion chords.
4.
Never double a tendency tone. This guideline applies most frequently
to the leading tone of the key (7) and to the seventh of the dominant
seventh chord (4), but includes any tones that must be resolved, such
as chromatic passing tones and altered tones.
5.
For diminished triads (which typically appear in first inversion), double
the third of the chord. Doubling the root emphasizes the dissonance
and causes voice-leading problems (see Chapter 14). Occasionally,
the fifth may be doubled.
Key Concept page 185
Examples for #1
Root
Root
5th
5th
3rd
3rd
Root
Root
Major Triad Root Position
Minor Triad Root Position
Doubled Root
Doubled Root
1. If the triad is in root position (and major or minor quality), we usually
double the root. Sometimes we double the third or fifth, but these
doubling are much less common.
Key Concept page 185
Examples for #2
Root
Root
5th
5th
Root
5th
3rd
3rd
Major Triad - First Inversion
Minor Triad - First Inversion
Doubled the Root
Doubled the 5th
2. If the triad is in first inversion, double any chord member that is not a tendency
tone (a scale degree or chord member that music be resolved) or other altered
tone. Doubling the soprano is a common strategy (for major or minor triads
only).
Mr. Deininger’s advice - “Try to double in the following order: Root, 5th, 3rd.”
Key Concept page 185
Examples for #3
Root
Root
3rd
5th
5th
3rd
5th
5th
Major Triad - Second Inversion
Minor Triad - Second Inversion
Double the 5th
Double the 5th
3. If the triad is in second inversion, double the fifth (the bass).
This is the only standard doubling for second-inversion chords.
Key Concept page 185
Examples for #4
3rd
5th
5th
3rd
3rd
3rd
Root
Root
Major V Triad - Root Position
Minor V Triad (Major in Minor) - Root Position
Double the 3rd
Double the 3rd
DO NOT DO THIS!!
DO NOT DO THIS!
4. Never double a tendency tone. This guideline applies most frequently to the
leading tone of the key (7) and to the seventh of the dominant seventh chord
(4), but includes any tones that must be resolved, such as chromatic passing
tones and altered tones.
Key Concept page 185
Examples for #5
3rd
5th
5th
5th
Root
Root
3rd
3rd
vii in Major Key
Double the 3rd
1st choice
vii in Major Key
Double the 5th
2nd choice
5. For diminished triads (which typically appear in first inversion), double
the third of the chord. Doubling the root emphasizes the dissonance and
causes voice-leading problems (see Chapter 14). Occasionally, the fifth
may be doubled.
Key Concept page 185
#4 & #5 in Layman’s Terms
In V(7) triads/chords
DO NOT DOUBLE THE 3rd
DO NOT DOUBLE THE 7th
In vii triads/chord
DO NOT DOUBLE THE ROOT
In minor ONLY - the ii triad/chords
DO NOT DOUBLE THE ROOT
Writing 7th Chords in 4 Voices
• Check to make sure all 4 tones of the
chord are present
• Make sure all of the parts lie within the
vocal range of each specific voice
• Diminished Chords - Double the 3rd (or
5th) - NOT THE ROOT or 7TH
Analyze Four Part Writing
• We have done this early in the year…
– America the Beautiful
– Amazing Grace
• Steps to analyze for success
– Look at the notes you have in the triad/chord
– Look at the note in the bass
• Does it make sense as the root?
• Is it in an inversion?
– Look at what is doubled?
root is OR if it is in an inversion?)
(Does it help determine what the
Example
• Look at the example below…lets go through it
What notes
What notes
What notes
together
are used
are used
are used
below?
below?
C
E
G
C
I
vi6
V
below?
A
C
A
F
A
C
E
C
Different Small Instrumental Ensembles
• Usually grouped according to sound (timbre), volume
(dynamic range), and make (instrument families)
• Modern ensembles = anything goes
• Tradition groupings:
– Woodwind Quartet (4 players: flute, clarinet, oboe, and
bassoon)
– Woodwind Quintet (5 players: flute, clarinet, oboe,
bassoon, and French horn)
– Brass Quartet (4 players: 2 trumpets, 2 trombones
(sometimes a French horn in place of a trombone)
– Brass Quintet (5 players: 2 trumpets, French horn,
trombone, bass trombone/tuba)
– Duets/Trios/Quartets of like instruments (example a
bassoon quartet is 4 bassoon players (though no one will want to hear that!))
Different Large Instrumental Ensembles
• String Orchestra - Just STRING Instruments
– Violins (1st and 2nd), Viola, Cello, and Bass
• Orchestra - Strings, Woodwind (no saxophones), Brass, and
Percussion
– Instrumentation Varies (The “standard” orchestra has
changed over time - the farther you go back in history the
smaller the orchestra. The orchestra for Handel is MUCH
smaller than the orchestra for Wagner or Stravinsky)
• Wind Ensembles (Concert Bands) - Woodwinds (including
saxophones), Brass, and Percussion
• Jazz Bands/Big Bands - Saxophones, Trumpets, Trombones,
Bass, Piano, Drum Set, Guitar
– Varies for style (Latin, Bop, (True) Swing, Funk, etc.)
When Composing/Arranging…
• …skill of players (more advance = more
flexible in writing; beginners need easier/more
basic writing)
• …instruments themselves (range, sound,
function)
• …groupings (having a flute and saxophone
playing together is a different sound than a
flute and trumpet…some describe it as
creating different colors (timbre))
Different Ensemble Scores
• Full Score –
–
–
–
Woodwinds
Brass
Percussion
Strings (if in that ensemble)
• Condensed Score - Shows parts played, not what
each instruments play (Concert Score (C Score))
• Transposed Score
– Shows the notes for each instrument to play, not the
concert pitch
• Concert Score (C Score) - VERY RARE in full
scores (usually in condensed form)
– Has the concert pitches not the pitches written for each
instrument
Transposition
• Non-Transposing Instruments: Piccolo, Flute, Oboe, Trombone,
Bass Clef Baritone, Tuba, Violin, Viola, Cello, Bass, Guitar, Mallet
Percussion, and Harp
• Transposing Instruments - noted pitch are the sounding pitches
• Many transposing instruments play in different keys
– Bb Instruments: Clarinet, Bass Clarient, Contra Bass Clarinet, Soprano
Saxophone, Tenor Saxophone, Trumpet, Treble Clef Baritone/Euphonium,
Teble Clef Trombone
– Eb Instruments: Clarinet, Alto Clarinet, Contra Alto Clarinet, Alto Saxophone,
Baritone Saxophone
– F Instruments: English horn and French horn
– A Instruments: A clarinets
• Clarinets, Trumpets, and French Horns can be written in several
different keys such as C, Bb, A, Eb, or D.
Transposition
Key Concept page 190
• To remember how to transpose for scores, imagine
that the notates pitch is C. When the performers
reads a C, the resulting sounding pitch (or
concert pitch) is that associated with the name of
the instrument - in the case of the Bb clarinet, the
sounding pitch Bb. When you write for transposing
instruments, you need to transpose the players’
parts so that the notes are heard at concert pitch.
What you see is the notated pitch; what you hear is
the concert (sounding) pitch.
SAY WHAT?
In other words When writing out the parts you must
write them in the key of the instrument
playing. If the concert key is Bb, then
Bb instruments will play in C, F
Instruments willing play in F, and Eb
instruments will in G.
How do you transpose?
• There are a few ways to transpose your job is to find a way that works best
for you.
– Transposing by intervals (Have vs. Need)
– Using solfege/scale degree
– Circle of 5ths
– Clef method
Before we begin…we need to know…
Summary on page 192
• Bb instruments: notated key is a whole step
above concert-pitch key
• Eb instruments: notated key is a minor third
below concert-pitch key
• F instruments: notated key is a perfect 5th
above concert-pitch
• A instruments: notated key is a minor third
above concert-pitch key
Transposing by Interval
• Use intervals to find the key
and rewrite each individual
pitch. This is the most
common method.
• Steps for success:
– Use the notated pitch and determine
which direction to transpose
•
If you start in concert-pitch key you must
transpose to instrument key and visa versa
– Once you determine the key, you can
do the intervals between each pitch
the same way
• Have vs. Need
– Determine what instrument (or pitch)
you have
– Determine what instrument (or pitch)
you need
– Transpose by interval
What concert key is this in?
G Major
What key are the Bb
instruments in?
A Major
What key is the Eb
Instruments in?
E Major
What key would an F
D Major
instrument be in?
Lets Try Transposing by Interval
Lets transpose the example below
and use 1 flute, 1 clarinet, 1 alto
saxophone, and bassoon.
Sample Score:
What do we need? VERSUS What do we
have?
What direction? AND What distance?
Example:
Answer:
Lets Transpose Using Solfege
Lets transpose the example to the bottom and
use 2 trumpets, 1 French horn, and 1
trombone.
Example:
Steps:
1. Find the key for each instrument.
2. Use solfege to transpose each pitch.
Practice:
What key would each instrument be in to
keep the same concert key?
Answer:
Summary on page 192
• Bb instruments: notated key is a whole step
above concert-pitch key
• Eb instruments: notated key is a minor third
below concert-pitch key
• F instruments: notated key is a perfect 5th
above concert-pitch
• A instruments: notated key is a minor third
above concert-pitch key
Octaves
• Another thing to consider is the octave in
which you should write. For example, let use
the saxophone section.
– Soprano Saxophone: In Bb. Sounds a Major 2nd
LOWER than the written pitch.
– Alto Saxophone: In Eb. Sounds a Major 6th
LOWER than the written pitch.
– Tenor Saxophone: In Bb. Sounds an octave + a
Major 2nd (Major 9th) LOWER than the written
pitch.
– Baritone Saxophone: In Eb. Sounds an octave +
a Major 6th (Major 13) LOWER than the written
pitch.