Music Composition DUMmIES

And, voila, we’ve got a brand-new melody line! Unlike step-wise motion, skip-wiseor disjunctmotion is when the melodic line jump ...

Passing tones are often found above and below the melody, connecting two notes from the basic melody line together. You can use ...

If we take a disjunct leap from a structural tone to a note neighboring the next structural tone and then step to that tone, we ...

Other Melodic Techniques............................................................................ Numerous other neat little ...

Retardation............................................................................................ The opposite of suspensi ...

bass register pedals of the organ. The organ is capable of sustaining long notes, and a lot of organ music takes advantage of th ...

compose a transition that makes its own demands regarding the number of measures required for your musical metamorphosis. How ab ...

88 Part II: Melody and Development ...

Part III Harmony and Structure 14_224212 pt03.qxp 12/18/07 11:18 PM Page 89 ...

In this part... N ow that you have your melody going, you can begin to figure out what the harmonic components of the music will ...

Chapter 9 Chapter 9: Harmonizing with Melodies ......................................................................... In This ...

A single note played on an instrument can generate enough harmonic over- tones to define an entire scale. Harmonic overtoneshapp ...

Intervals that produce perfectconsonant notes include unisons, octaves, and perfect fourths and fifths. Imperfectconsonants incl ...

It is interesting to note that the differences in music from different cultures round the world do not lie in the acceptance or ...

Even though what you play in Figure 9-4 only uses two voices playing three notes, both melody and harmony are present. You can l ...

This second chord progression (in Figure 9-6) is based on the relative minor of the first one (in Figure 9-5): The key of E mino ...

The IV chord often can be used for a sense of departure, while the V chord gives a sense of anticipation, which itself is a kind ...

The 1 (tonic) major: 1, 3, 5 The 2 minor: 2, 4, 6 The 3 minor: 3, 5, 7 The 4 major: 4, 6, 1 (or 8) The 5 major: 5, 7, 2 Th ...

For most composers, staying within the confines of a major scale is too con- fining. The chord families shown in Figures 9-8 and ...

The music in Figure 9-11 sounds a little more interesting, doesn’t it? How did we choose the pivot? Well, the Fmaj7 chord contai ...