The complete idiot's guide to music composition:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Indianapolis, Ind.
Alpha
2005
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index |
| Beschreibung: | XIX, 264 S. Ill., Notenbeisp. |
| ISBN: | 1592574033 9781592574032 |
Internformat
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| 245 | 1 | 0 | |a The complete idiot's guide to music composition |c by Michael Miller |
| 264 | 1 | |a Indianapolis, Ind. |b Alpha |c 2005 | |
| 300 | |a XIX, 264 S. |b Ill., Notenbeisp. | ||
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| 500 | |a Includes index | ||
| 650 | 4 | |a Composition (Music) | |
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Datensatz im Suchindex
| _version_ | 1804135493494898688 |
|---|---|
| adam_text | Contents
Parti: Before You Start I
1
What kind of composer do you want to be?
2
Learn what you need to start writing your own music.
PartZ: Harmonic Composition
3
The easy way to start composing
4
Break out of your rut and learn how to create really cool chord
progressions
Part
5
What makes a great melody sound like a great melody? Read this
chapter to find out!
6
Learn how to base your melody on the notes of the major scale
or the minor scale ...or the blues scale ...or the pentatonic scale
...or the Aeolian mode
7
Even complex melodies are easy when you reduce them to their
most essential tones
8
Jazz up a boring melody with interesting rhythms!
9
What kind of contour should your melody have
10
Add interest to any melody by introducing some sort of tension
and then resolving it.
11
Learn how to put chords to any melody
chords sound more interesting.
Part
12
Where does your composition go after the first
all sorts of ways to create longer compositions.
13
Discover dozens of ways to turn a melodic theme into something
different
14
How do you turn a simple melody line into a composition
tiple instruments? Read this chapter to find out!
Part
15
Learn how to write for various combinations of instruments and
voices.
16
Break free of the major scale, using modulations, chromatics, and
nondiatonic chords.
17
Explore various types of contemporary composition, including
atonalism, serialism, polytonality, and minimalism.
18
Writing a song is just composing with lyrics
Appendixes
A Glossary
В
Index
Contents
Parti: Before You
1 So You Want to Write Your Own Music...
What Is Composition?
Different Approaches to Composition
Harmonic Composition
Melodic Composition
Holistic Composition
Layering
Learning How to Write Your Own Music
Imitation Is More Than Flattery
Learning in the Real World
Further Reading
Careers in Music Composition
2
Essential Music Theory
A Trained Ear
Performance Skills
Conducting Skills
Penmanship
Blank Staff Paper
Transposition Skills
Orchestration Skills
Computers and Other Hardware
Music-Notation Software
Other Music Software
Part
3
Which Chords Can You Work With?
Using Chord Leading to Create Chord Progressions
Which Chords Lead to Which
Creating Chord Progressions with Chord Leading
Working Backward from the Final Chord
Common Chord Progressions
Endinga
Perfect Cadence
Piagai
Impetfect Cadence
Interrupted Cadence
The Key Matters
Chord Progressions in a Minor Key
vi The Complete
Establishing a Harmonic Rhythm
Applying Chord Progressions to Musical Structure
Putting Melody to Your Chords
Exercises
h
Breaking the Rules
Extending the Chords
Inverting the Chords
Using Altered Bass Chords
Using Compound Chords
Working with a Pedal Point
Employing Chord Substitutions
Diatonic Substitutions
Major Chord Substitutions
Minor Chord Substitutions
Dominant Seventh Substitutions
Functional Substitutions
Using
Using Chords as Tonal Centers
Trust Your Ears!
Exercises
Part3: Melodic Composition
5
Melody
Defining Melody
What Makes a Melody Melodic?
A Good Melody Has Movement
A Good Melody Is Familiar
A Good Melody Sets Up
A Good Melody Has a Center
A Good Melody Repeats Itself
A Good Melody Has Form
A Good Melody Stays in Range
A Good Melody L· Unique
The Building Blocks of Melodic Form
The Motif
The Short Melodic Phrase
The Long Melodic Phrase
Longer Forms
Creating a Shape
Exercises
Contents
Using Scales and Mod«
Basing a Melody on the Notes of the Scale
Major Scale
Minor Scales
Pentatonic Scale
Whole Tone Scale
Diminished Scale
Blues Scale
Bebop Scale
Modes
Choosing the Right Scale or Mode
Picking the Right Notes to Use
Stable and Unstable Tones
Emphasizing Key Scale Tones
Implying Harmonies
Using Step-Wise and Skip-Wise Motion
Remember the Structure
Exercises
Working With a Melodic Outline
Deconstructing a Melody
Composing a Melody
Chord Tones
Key Scale Tones
Stable and Unstable Scale Tones
Working Toward
Approach Notes
Passing Tones
Non-Neighboring Connecting Notes
Embellishing Structural Tones
Repeated Notes
Neighboring Tones
Changing Tones
Working Outside the Major Scale
Chromatic Neighbors
Neighbors from Different Scales
Exercises
Using Rhythm and Syncopation
Changing the Rhythmic Pace
Smooth or Choppy?
Embellishing the Rhythm
Adding Repeated Notes
Adding Embellishing Notes
Employing Syncopation
viii The Complete
Moving the Melody Forward and Backward in Time
Back Phrasing
Front Phrasing
Developing Rhythmic Themes and Variations
Exercises
9
Examining Melodic Shape
Choosing a Melodic Contour
Arch
Inverted Arch
Ascending
Descending
Stationary
Combining Contours to Shape a Longer Melody
Building Toward a Climax
Establishing Melodic Movement
Smooth Movement
Disjunct Movement
Mixed Movement
Exercises
10
Why Tension Is Important
Introducing Tension via Unstable Tones
Introducing Tension in a Chord Progression
Introducing Tension via Dominant Seventh and Diminished
Chords
Introducing Tension via Suspended Notes and Chords
Other Ways to Introduce Tension into a Melody
Larger Intervals
Higher Pitches
Faster Rhythms
Increased Syncopation
Increased Volume
Reduced Repetition
Exercises
11
Fitting Chords to a Melody
Try the Obvious
Use the Melodic Outline
Look for Chord Tones in the Melody
Work Backward.
Start Simple
Determine the Harmonic Rhythm
Don t Assume the Obvious
Contents
Reharmonizing
Make
Use Chord Substitutions
Add Extensions
Beyond Harmonization
Exercises
Part
12
The Importance of Structure in Composition
Working With Motifs and Themes
Building Melodies with Motifs
Establishing a Musical Theme
Writing in Phrases
Symmetry and Asymmetry
Matched and Unmatched Phrases
Creating Multiple-Section Compositions
The Introduction
The Main Sections
The Interlude
The Final Section
The Coda
The Importance of Contrast
Don t Forget the Climax
Creating Even Longer Compositions
Exercises
13
Creating Longer Compositions with Theme and Variation
Repeating the Theme
Varying the Theme
Sequence
Side Slip
Rhythmic Displacement
Inversions
Retrograde Inversion
Permutation
Same Rhythm, Different Pitches
Same Pitches, Different Rhythm
Augmentation
Diminution
Truncation
Expansion
Modulation
ModalMixture
Reharmonization
χ
Thinning
Ornamentation
Varying the Variations
Using Repetition and Variation in Your Compositions
Exercises
V Creating Multiple-Voice Compositions 1S9
Accompanying a Solo Line
Creating a Lead Sheet
Composing an Accompaniment
Employing Two-Part Counterpoint
Types of Contrapuntal Movement.
General Rules for Good Counterpoint
Writing for Two Voices
Countersubject
Call and Response
Variations
Contrasting Lines
Parallel Lines (Melodic Coupling)
Similar Lines
Contrary Lines
Oblique Lines
Doubling
Harmonization
Writing Multiple-Part Harmony
Choosing the Notes
Varying the Voicings
Creating Melodic Harmony with Strong Voice Leading
Adding Even More Parts
Exercises
Part
15
Transposing from Concert Key
Learning Ranges and Tonal Characteristics
Strings (Bowed)
Strings (Nonbowed)
Woodwinds
Brass
Keyboards
Percussion
Voices
Choosing Instruments for a Composition
Common Ensembles
Symphonic Orchestra
Chamber Orchestra
Contents xi
String Orchestra
String Quartet
Concert Band
Jazz Band (Big Band)
Choir
Guidelines for Music Scoring
Learning More About Orchestration
Exercises
16
Changing Keys
Modulating Up a Half-Step
Modulating Up a Whole Step
Modulating Down a Fifth (Up a Fourth)
Modulating via Shared Chords
Modulating Abruptly
Creating Melodies from Outside the Scale
Chromatic Notes as Neighboring Tones
Chromatic Substitution Tones
Chromatic Motifs and Variations
Melodies Based on
Creating Nondiatonic Harmony
Nondiatonic Chord Substitutions
Nondiatonic Chord Leading (Circle of Fifths)
Chords Based on
Fitting Melodies to Nondiatonic Chords
Chord-Tone Melodies
Scale-Based Melodies
Moving Toward Atonalism
Exercises
17
Atonality
Twelve-Tone and Serial Music
Indeterminacy
Polytonality
Microtonality
Minimalism
Musique
Other Experimental Forms
Exercises
18
Putting Words to Music
Words and Music
Make the Rhythm Fit the Words
Edit Accordingly
Create
Match the Feel
Writing in the Proper Song Form
Introduction
Verse
Chorus
Bridge
Keep It Simple
A Final Word
Exercises
Appendixes
A Glossary
В
Index
|
| adam_txt |
Contents
Parti: Before You Start I
1
What kind of composer do you want to be?
2
Learn what you need to start writing your own music.
PartZ: Harmonic Composition
3
The easy way to start composing
4
Break out of your rut and learn how to create really cool chord
progressions
Part
5
What makes a great melody sound like a great melody? Read this
chapter to find out!
6
Learn how to base your melody on the notes of the major scale
or the minor scale .or the blues scale .or the pentatonic scale
.or the Aeolian mode
7
Even complex melodies are easy when you reduce them to their
most essential tones
8
Jazz up a boring melody with interesting rhythms!
9
What kind of contour should your melody have
10
Add interest to any melody by introducing some sort of tension
and then resolving it.
11
Learn how to put chords to any melody
chords sound more interesting.
Part
12
Where does your composition go after the first
all sorts of ways to create longer compositions.
13
Discover dozens of ways to turn a melodic theme into something
different
14
How do you turn a simple melody line into a composition
tiple instruments? Read this chapter to find out!
Part
15
Learn how to write for various combinations of instruments and
voices.
16
Break free of the major scale, using modulations, chromatics, and
nondiatonic chords.
17
Explore various types of contemporary composition, including
atonalism, serialism, polytonality, and minimalism.
18
Writing a song is just composing with lyrics
Appendixes
A Glossary
В
Index
Contents
Parti: Before You
1 So You Want to Write Your Own Music.
What Is Composition?
Different Approaches to Composition
Harmonic Composition
Melodic Composition
Holistic Composition
Layering
Learning How to Write Your Own Music
Imitation Is More Than Flattery
Learning in the Real World
Further Reading
Careers in Music Composition
2
Essential Music Theory
A Trained Ear
Performance Skills
Conducting Skills
Penmanship
Blank Staff Paper
Transposition Skills
Orchestration Skills
Computers and Other Hardware
Music-Notation Software
Other Music Software
Part
3
Which Chords Can You Work With?
Using Chord Leading to Create Chord Progressions
Which Chords Lead to Which
Creating Chord Progressions with Chord Leading
Working Backward from the Final Chord
Common Chord Progressions
Endinga
Perfect Cadence
Piagai
Impetfect Cadence
Interrupted Cadence
The Key Matters
Chord Progressions in a Minor Key
vi The Complete
Establishing a Harmonic Rhythm
Applying Chord Progressions to Musical Structure
Putting Melody to Your Chords
Exercises
h
Breaking the Rules
Extending the Chords
Inverting the Chords
Using Altered Bass Chords
Using Compound Chords
Working with a Pedal Point
Employing Chord Substitutions
Diatonic Substitutions
Major Chord Substitutions
Minor Chord Substitutions
Dominant Seventh Substitutions
Functional Substitutions
Using
Using Chords as Tonal Centers
Trust Your Ears!
Exercises
Part3: Melodic Composition
5
Melody
Defining Melody
What Makes a Melody Melodic?
A Good Melody Has Movement
A Good Melody Is Familiar
A Good Melody Sets Up
A Good Melody Has a Center
A Good Melody Repeats Itself
A Good Melody Has Form
A Good Melody Stays in Range
A Good Melody L· Unique
The Building Blocks of Melodic Form
The Motif
The Short Melodic Phrase
The Long Melodic Phrase
Longer Forms
Creating a Shape
Exercises
Contents
Using Scales and Mod«
Basing a Melody on the Notes of the Scale
Major Scale
Minor Scales
Pentatonic Scale
Whole Tone Scale
Diminished Scale
Blues Scale
Bebop Scale
Modes
Choosing the Right Scale or Mode
Picking the Right Notes to Use
Stable and Unstable Tones
Emphasizing Key Scale Tones
Implying Harmonies
Using Step-Wise and Skip-Wise Motion
Remember the Structure
Exercises
Working With a Melodic Outline
Deconstructing a Melody
Composing a Melody
Chord Tones
Key Scale Tones
Stable and Unstable Scale Tones
Working Toward
Approach Notes
Passing Tones
Non-Neighboring Connecting Notes
Embellishing Structural Tones
Repeated Notes
Neighboring Tones
Changing Tones
Working Outside the Major Scale
Chromatic Neighbors
Neighbors from Different Scales
Exercises
Using Rhythm and Syncopation
Changing the Rhythmic Pace
Smooth or Choppy?
Embellishing the Rhythm
Adding Repeated Notes
Adding Embellishing Notes
Employing Syncopation
viii The Complete
Moving the Melody Forward and Backward in Time
Back Phrasing
Front Phrasing
Developing Rhythmic Themes and Variations
Exercises
9
Examining Melodic Shape
Choosing a Melodic Contour
Arch
Inverted Arch
Ascending
Descending
Stationary
Combining Contours to Shape a Longer Melody
Building Toward a Climax
Establishing Melodic Movement
Smooth Movement
Disjunct Movement
Mixed Movement
Exercises
10
Why Tension Is Important
Introducing Tension via Unstable Tones
Introducing Tension in a Chord Progression
Introducing Tension via Dominant Seventh and Diminished
Chords
Introducing Tension via Suspended Notes and Chords
Other Ways to Introduce Tension into a Melody
Larger Intervals
Higher Pitches
Faster Rhythms
Increased Syncopation
Increased Volume
Reduced Repetition
Exercises
11
Fitting Chords to a Melody
Try the Obvious
Use the Melodic Outline
Look for Chord Tones in the Melody
Work Backward.
Start Simple
Determine the Harmonic Rhythm
Don't Assume the Obvious
Contents
Reharmonizing
Make
Use Chord Substitutions
Add Extensions
Beyond Harmonization
Exercises
Part
12
The Importance of Structure in Composition
Working With Motifs and Themes
Building Melodies with Motifs
Establishing a Musical Theme
Writing in Phrases
Symmetry and Asymmetry
Matched and Unmatched Phrases
Creating Multiple-Section Compositions
The Introduction
The Main Sections
The Interlude
The Final Section
The Coda
The Importance of Contrast
Don't Forget the Climax
Creating Even Longer Compositions
Exercises
13
Creating Longer Compositions with Theme and Variation
Repeating the Theme
Varying the Theme
Sequence
Side Slip
Rhythmic Displacement
Inversions
Retrograde Inversion
Permutation
Same Rhythm, Different Pitches
Same Pitches, Different Rhythm
Augmentation
Diminution
Truncation
Expansion
Modulation
ModalMixture
Reharmonization
χ
Thinning
Ornamentation
Varying the Variations
Using Repetition and Variation in Your Compositions
Exercises
V\ Creating Multiple-Voice Compositions 1S9
Accompanying a Solo Line
Creating a Lead Sheet
Composing an Accompaniment
Employing Two-Part Counterpoint
Types of Contrapuntal Movement.
General Rules for Good Counterpoint
Writing for Two Voices
Countersubject
Call and Response
Variations
Contrasting Lines
Parallel Lines (Melodic Coupling)
Similar Lines
Contrary Lines
Oblique Lines
Doubling
Harmonization
Writing Multiple-Part Harmony
Choosing the Notes
Varying the Voicings
Creating Melodic Harmony with Strong Voice Leading
Adding Even More Parts
Exercises
Part
15
Transposing from Concert Key
Learning Ranges and Tonal Characteristics
Strings (Bowed)
Strings (Nonbowed)
Woodwinds
Brass
Keyboards
Percussion
Voices
Choosing Instruments for a Composition
Common Ensembles
Symphonic Orchestra
Chamber Orchestra
Contents xi
String Orchestra
String Quartet
Concert Band
Jazz Band (Big Band)
Choir
Guidelines for Music Scoring
Learning More About Orchestration
Exercises
16
Changing Keys
Modulating Up a Half-Step
Modulating Up a Whole Step
Modulating Down a Fifth (Up a Fourth)
Modulating via Shared Chords
Modulating Abruptly
Creating Melodies from Outside the Scale
Chromatic Notes as Neighboring Tones
Chromatic Substitution Tones
Chromatic Motifs and Variations
Melodies Based on
Creating Nondiatonic Harmony
Nondiatonic Chord Substitutions
Nondiatonic Chord Leading (Circle of Fifths)
Chords Based on
Fitting Melodies to Nondiatonic Chords
Chord-Tone Melodies
Scale-Based Melodies
Moving Toward Atonalism
Exercises
17
Atonality
Twelve-Tone and Serial Music
Indeterminacy
Polytonality
Microtonality
Minimalism
Musique
Other Experimental Forms
Exercises
18
Putting Words to Music
Words and Music
Make the Rhythm Fit the Words
Edit Accordingly
Create
Match the Feel
Writing in the Proper Song Form
Introduction
Verse
Chorus
Bridge
Keep It Simple
A Final Word
Exercises
Appendixes
A Glossary
В
Index |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Miller, Michael 1958- |
| author_GND | (DE-588)13190471X |
| author_facet | Miller, Michael 1958- |
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| author_sort | Miller, Michael 1958- |
| author_variant | m m mm |
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| callnumber-first | M - Music |
| callnumber-label | MT40 |
| callnumber-raw | MT40 |
| callnumber-search | MT40 |
| callnumber-sort | MT 240 |
| callnumber-subject | MT - Instruction and Study |
| ctrlnum | (OCoLC)61854843 (DE-599)BVBBV021675312 |
| dewey-full | 781.3 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.3 |
| dewey-search | 781.3 |
| dewey-sort | 3781.3 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| format | Book |
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| indexdate | 2024-07-09T20:41:23Z |
| institution | BVB |
| isbn | 1592574033 9781592574032 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-014889606 |
| oclc_num | 61854843 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | XIX, 264 S. Ill., Notenbeisp. |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Alpha |
| record_format | marc |
| spelling | Miller, Michael 1958- Verfasser (DE-588)13190471X aut The complete idiot's guide to music composition by Michael Miller Indianapolis, Ind. Alpha 2005 XIX, 264 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Includes index Composition (Music) Komposition Musik (DE-588)4133320-2 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Komposition Musik (DE-588)4133320-2 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014889606&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Miller, Michael 1958- The complete idiot's guide to music composition Composition (Music) Komposition Musik (DE-588)4133320-2 gnd |
| subject_GND | (DE-588)4133320-2 (DE-588)4151278-9 |
| title | The complete idiot's guide to music composition |
| title_auth | The complete idiot's guide to music composition |
| title_exact_search | The complete idiot's guide to music composition |
| title_exact_search_txtP | The complete idiot's guide to music composition |
| title_full | The complete idiot's guide to music composition by Michael Miller |
| title_fullStr | The complete idiot's guide to music composition by Michael Miller |
| title_full_unstemmed | The complete idiot's guide to music composition by Michael Miller |
| title_short | The complete idiot's guide to music composition |
| title_sort | the complete idiot s guide to music composition |
| topic | Composition (Music) Komposition Musik (DE-588)4133320-2 gnd |
| topic_facet | Composition (Music) Komposition Musik Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014889606&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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