PorscheGTIII
August 15th, 2011, 02:49 am
Hey guys and gals!
So I thought it'd be a good idea to start off with some orchestration and arranging lessons to supplement the periodic theory lessons we have going on these days. To start off these orchestration and arranging lessons, I thought we'd dive straight into an introductory exercise.
This exercise comes from a book I once read called "Techniques of Twentieth Century Composition" by Leon Dallin. In the book's preface, Dallin says that students should be encouraged to do free creative writing in the style that is most natural for them at the moment and in the form and for the medium which most appeals to them. Also, Dallin strongly recommends that expressive aspects in writing be emphasized and should be played with a group of students so all can learn from each others mistakes as well as triumphs. Public performance is key as the full cycle of composition has not been achieved until this has happened. Such an experience teaches more than a world of abstract instruction.
Since we really can't play together live, we can produce some kind of recording with notation software or a sequencer. When someone completes this exercise, we should comment on the pros and cons of the completed exercise.
The first assignment for this introductory chapter is as follows...
Since a knowledge of conventional materials and the ability to handle them effectively serves as a point of departure for the study of more recent idioms, demonstrate that ability by harmonizing the following folk song and chorale melody. Use a conventional style in four parts paying particular attention to the choice of harmony, balance of cadences, flow of harmonic changes, melodic value, spacing, and doubling.
Deficiencies in background will be apparent immediately in this familiar idiom, and they should be remedied before proceeding. The underlying principles involved are equally valid for all styles.
Attached is a template for this exercise. You do not have to use this choice of instrumentation, but you should have one part that carries the melody and four parts harmonizing it. You do not also have to use the original chord progression that goes with this folk song; you are free to harmonize this melody as you see fit.
Let's see what you guys and gals come up with. ;)
So I thought it'd be a good idea to start off with some orchestration and arranging lessons to supplement the periodic theory lessons we have going on these days. To start off these orchestration and arranging lessons, I thought we'd dive straight into an introductory exercise.
This exercise comes from a book I once read called "Techniques of Twentieth Century Composition" by Leon Dallin. In the book's preface, Dallin says that students should be encouraged to do free creative writing in the style that is most natural for them at the moment and in the form and for the medium which most appeals to them. Also, Dallin strongly recommends that expressive aspects in writing be emphasized and should be played with a group of students so all can learn from each others mistakes as well as triumphs. Public performance is key as the full cycle of composition has not been achieved until this has happened. Such an experience teaches more than a world of abstract instruction.
Since we really can't play together live, we can produce some kind of recording with notation software or a sequencer. When someone completes this exercise, we should comment on the pros and cons of the completed exercise.
The first assignment for this introductory chapter is as follows...
Since a knowledge of conventional materials and the ability to handle them effectively serves as a point of departure for the study of more recent idioms, demonstrate that ability by harmonizing the following folk song and chorale melody. Use a conventional style in four parts paying particular attention to the choice of harmony, balance of cadences, flow of harmonic changes, melodic value, spacing, and doubling.
Deficiencies in background will be apparent immediately in this familiar idiom, and they should be remedied before proceeding. The underlying principles involved are equally valid for all styles.
Attached is a template for this exercise. You do not have to use this choice of instrumentation, but you should have one part that carries the melody and four parts harmonizing it. You do not also have to use the original chord progression that goes with this folk song; you are free to harmonize this melody as you see fit.
Let's see what you guys and gals come up with. ;)