Holdings: The complete idiot's guide to music composition

The complete idiot's guide to music composition:

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Bibliographic Details
Main Author:	Miller, Michael 1958- (Author)
Format:	Book
Language:	English
Published:	Indianapolis, Ind. Alpha 2005
Subjects:	Composition (Music) Komposition > Musik Einführung
Online Access:	Inhaltsverzeichnis
Item Description:	Includes index
Physical Description:	XIX, 264 S. Ill., Notenbeisp.
ISBN:	1592574033 9781592574032

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MARC


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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
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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
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