Pac 3) xon- Mechanical /No-Mecénica nical eight-voice arranging poet io sare used for eatin ‘Upper section triads, tension chords based go eee chord. Ex.397/E).397 (onrieen ye So E o ww on DE Fur tr Endy De HH a fon conte ‘ocho vores, 135 En wsedes 92 teceres rearmonizacién “Terceres de ta sezci6n s tension estén basados en los 2c0F685 arregio no-messnico @ O° ia seccion superior $F superior = tos acordes o& originales. Bm km Din FE Le ee CF FE i pawn aews) Dat @ Dp Co Br oT eee =! San 10, Pedal Point /Pedal Pedal point involves holding on a tone belong- ing to the tonality of the music; in most eases such tones are placed in the bass line, When the pedal point is used on higher notes, 4 stronger tension FE ereated than ifit isin the bass. There are many posiblities in choice of chord: ebove the pedal foint, which can be roughly divided into ceveral categories Pedal point is an effective technique, frequent Jy wed in arranging, and it has an extremely side range of applicstions, including introductions, interludes, endings, musical tensions, background, modulated phrases, ete. oF wae Pedal es la erica que consiste en sostener une nota pertenesiente 2 le sonefided: en la mayor parte los casos, dichas notes son fen la tinea del bajo, Cuando se use el pedal en’ notes agudes, se crea tune mayor tension que Is creada en las notes de! bajo. Existen muchas postbilidades de escoper los scordes ‘que pueden userse en el pedal, los que pueden Givigirse, generalmante, en varies categorias. El pedal es ya técnica efective, usade frecuente- mente en los arreslos,y t lidades Ge aoticasiones, que incluyen introducciones, dios, finales, tensiones, fondos, frases de médul exc. (2) Tonic Bass Pedal Point /Pedal de Ténica en el Bajo Tn this ease the main note of the tonal scheme of the eelection is maintained on the bass note, Thie is often used in introductions which begin vith chords other than the tonic. It is also used in backgrounds for quiet and slow themes (most: Iy in the first half), when # feeling of stability is desired in a bounding melody, or when 2 heigh ened feeling. of restlesiness through chord com Linations is wanted, It is aso effective to se in modulated phrases (usually into « subdomivant key) and endings. Also, due to the character of the tonie note, it is often used at # pedal point ow the ssbdorninant chords, En este cas, le note principal del esqueme torat duels sntecisn es monteniga ene ajo. Eso x usado fresvrtementeenncoavesions que comienzan 200 acordescierones Tata, o en fondos para temas ucts y lentos El pedal puede sare tambien, Cuondo ve devs un snimiento de vangulidad en bra melodie salteada, 0 una senuacion de inquetud por medio del vio ee combinaciones de acordes, ‘Tembién es efectwo sv wo, en frses de modulacion (usa en una progrsion de ub ob dominant en finales, a Debido at cardeter de a ténica, también es usado jentemente como pedal de los acordes de dominant 133 Dipindai dengan CamScannera —I Feeling . A) Tonic Pedal Chord Progression with TM = TET 40 ténica idad 1-7 Progresidn de Acordes con Sonoridad £x.398/ 61-398 : 1 = ———F i nr On? coe B) Toxic’ Pedal Chord Progression with ¥—I Feeling Progresién de Acordes con Sonorided iV—1 en Padal de Ténica Ex. 4017). 401 134 Dipindai dengan CamScannerry cone Ex. 4038), 403 ©) Tonic Pedel Chord Progression with I~W—Wm~ I Feeling Progresion de Acordes con Sonoridad de 1—-IV-Wm— 1 en Pedal de Ténica- Ex. 404 /E}.408 Zz = z : = = —= |e o [rar reveiny | & 4 Ex. 405/€). 405 Pa ony au D) Tonic Pedal Chord Progression with I—Nm—I Feeling Progresion de Acordes con Sonoridad de 1 —NVm— I en Pedal de Ténica. Ex. 40676). 406 Ex. 407/8).407 ert ol 7 Dipindai dengan CamScannersin tegen Ves Peck E) Pedal Point Vz Chord Ex, 4087) © ee best to make the Vo,on the tonic pedal an omitted root form, This is effective as 9th or 99th : Eu mejor hacer el Vz 40 peda! an ura forms qal'que '@ fundamental esti Enea at efectivo esardo.@2, 079%. F) Tonic Pedal Cliché/ Cliché en Pedal * 7” : ee SSS 5555 > ce cus \ eo | i Seu Car mur cms — | cme carr ] Dipindai dengan CamScanner- Ex.$12/8) 412 = Em Ex. 418-/6}.413 = S fankor cur) 6 meter A” Fe Gmy | Gtaim Fe re Sw Jotem toe fee SSS —a — Ex 44/8 414 e ce mr ae (2) Bass Dominant Pe Desrnant peal point beneis fom & ESS) deaton of chords than tonic pedsl Poin ‘and of ouree most the tonic Pes progressions sn iNeed Dominant pedal point is one” sed i be aed eminteriades, modulations and cima before the last tonic of the ending Progression with A) Dominant Pedal Chord con Sonoridad de Progresion de Acordes Ex, 4157E)-415 dal Point / Pedal de Dominante en el Bajo i pedal de dominante es mas Otil. poraue 5 ide acordes mas fibre que con et (oun de rica, y, Por supuesto, Puede” USES 8 Previa de les proatesones en. pedal co wonica. El Jesel ae dominante e& usedo frecuentementé 69 Pecadueciones. interludios, modulaciones y cfimax anteriores ala ditima tonice det final ogra una seleccion 1-V Feeling 1 —¥ en Pedal de Dominante Dipindai dengan CamScannertts. ib). ceenesiaameNnN Ee 16/6418 | a= prs Eeslt/G.417 e 3 > B) Dominant Pedal Chord Progression with YI Feéling s Progresién de Acordes con Sonoridad d2 Y—I en Pedal de Deminante Ex. 418/6).413 i 133 Dipindai dengan CamScanneri Pee jnomt Pedal Chord Progression with : with 1-1 Feeling ©) Prpgresion de Acordes con Sonoridad de 1-W en Pedal de Dominante Ex.421/6),421 Em Dm ——— SSE Ex. 422/842 I D) Dominant Pedal Chord Progression with I-IV-V Feeling Progresion de Acordes con ‘Sonoridad de 1-N—Y en Pedal de Dominante Ex. 428/E).423 i ieee FZ SSS - “ye wee cur Ga Fe or mn with I-W—Wm-—V Feeling Progresién de Acordes con Sonorided de 1 —Nm—V en Pedal de Dominante x. 424/8).-424 139 Dipindai dengan CamScanner: 3 lg De Domi F) Dominant Pedal Cliché /Cliché &° Pedal dz De axial chord is Vo 7 Puede war? evardoo 20088 orginal ayy, (Can be used whe e268). 428 Ex, 425/E).425 Ex. 427/61. 427 Ex.428/ 8.428 42t/E. * Can be used when melody is root, ih, 1th Puede usarse cuando la meicdis mantat, 92.,12a, (3) Soprano Tonic Pedal Point/ Pedal de Ténica en el Soprano 5 ured en Ia Pedal point may be employed in the soprano Guarda range as well as the buss Sopraio pedal point | soprano, sreacs provides stronger tension than bass pedal point Te is uswully used in the highest part, but in backs up vocals this is not necessarily so (in fact, middle part is often better). Special attention must soa darse asp22 be paid to the pedal point in voeal arrangemencs 5 scales, <2 incr intervals in vocuts tend to be less stable, Ex AL /E. 431 Dipindai dengan CamScanner| omen Ex. 4328). 432 * Used in modulation, ~ Usado en modulesién Ex. 433 /Fj.433 — * Used ine climax of bridge Usado en un climax del puente o> Pa. FS) Bis * Used in ending / Usode en final 141 Dipindai dengan CamScannerww Jodulation / Modulact6o in ‘compusition and arranging. The mos methods are’ covered below, show chord progressions for modulating t In actual arranging, it ia necesuey 39 Compe phrases to go with the modulation, of (0 Prov ie orchestration, a ‘There are two methods of modulation im ane ranging: without preparation and with peeparahon for smooth transition. The farther 2 tonstcy modulated trom the orginal, the stronger the (ee fof feshnesa and surprise. On the other bands there is a danger of sounding compulsive and ur natural. Especially in accompaniment parts, modula tion is'testicted to the limits of a Sed or a 4thares: esting the -singer's vocal range, “and it is even customary to have semitone modulations. La modulacion €8 U9 elemento muy imp, elo. LOR HLOGOS mds caro tions, Mestando ane sen Prplcables oara cambiar C8 teralidag, ee caceseio. compon modulacién, © que prc siones 2 En.los area! ayan con 18 sé. en dos mbzodes 8 Modulecibn marae sin propraion (aires) ¥ C00 BreEaraion (gyn se ro ms suave). LOSS 8/08 GU Ua tony caggn ofa orginal, 10 AS fears cus g etmiante de s0r0rei8 Y FESCUE. Por oy ja arate at peligro €2 GUE SURE COMPUISIVO 8 nary ‘En los arraglos, 85 NECEs2TIO COMONET frases vayan con 1B mesUaCieN 0 GUE recorcenys cerquescacibn. 7 En fos casos de acom es reavngida per les limites €2 ura 24,0 ura 9, fernando en cuenta la tasitura del cantante, : brag alcad (1) Modulation by Dominant 7th/Modulacion por Dominante 7 Each key possesses 2 dominant 7 ion is performed using its terminating {tendency to progess to the t technique calls for placing the dominant of the new key immediately before the new key, thus ‘eteating the modulation. For convenience in the lanations, the original Key will be C or Cm in all examples. fae (Ensaptes wah Iniepentent Viet ew Rep (Eismoies ge Siodulacen cxn Vin ze! A) CoD» (New Key), ‘ Ee 49676). 633 The Ys of Dr is Nx /Do~Re (Nuevo Tono).. csc sd tiara una Domindate 7, y 1p modulacion 2 s2ctuad3 usarde sus cars ar 2 cabo la meduscién, Ia tnica ebiga ¢ calor ences de [a nusa toraiidad, su Eominans Por concaniaria cra Has aplicacions, I tara rginal en 2240555 sameles, 143 9 Dom. El Vp de Rev es Ar 7 Do~Re... Ee 1ST /Ej. 497 El ¥7 de Re es Ay 2 Dipindai dengan CamScanner> omens The V; of Em ix BYs/Do 7/Do m=Min rm es B £43876) 438 Mirm.....E1 V7 de Mirm es B77 Da Gr The V; of Ein is B;/Do m—Mi m. Ex, 439/6),439 The V: of F is Cz /Do—F: Ex.440/8).420 -Eeimpler wih Original Melody Note Incloed in Wz of Rew Rey dia incluide en el V7 oe fa Nuevé a Tonsidad The ¥; of G is Dz /Do~Sol......El V7 de Sol es D7 Ex. 441 /8).481 ‘ o G) Cm+Fm..uuThe Vi of Fm is C; /Do m—Fa m. Ex, 4426). 442 H) Cm—Gm. Cn of t Sm Dipindai dengan CamScannerx La. 3) C2 The Ve of Ws B00 _ x45 E445 iS L) CoEsnnnThe Ys of E is Br /Do—Mi....£1 V7 de Mi es B7 x Ex. 4hT/§. 487 wacThe Y of & ix Bs /Do—Mi.......E1 V7 de Mi es 87 Ex. HB €).468, 1s Dipindai dengan CamScannergulation by Im; — Vr of the New Key a Mot @) tyodulaci6n por Iimz—Y» de la Nueve Tonalided i z oe is technique involves passing through Im— Esa técnica consste en et paso de 117 oe ayy of the neve Key. after tenminating on the tonie | pa Mee oesoubs de termina 67 aed 7 ge orginal. This is much smoother method | oe is vonsidas ovgial Este inmsiodo mss $082. of ing V2 only but the clement of frsines | gue ot oe ue solamente Ja, pero el elemento Of wn Merce ae lost to 8 degre. Before Tim-V | srpree se piere haste 0) ease. fies season «V7 ech takes the Hm atte | re rere t= ee un Va que tome Fi beaded. como au tonice puese atadis®. ye’ Vr of 1—Ilm7—W in the Key of Dr is B—Em7—A" Boe Re annEl I—Ilm7—V7 del V7 de Ret es B—Em7—A7 Ex.449/8).488 TIm7—W in the Key of G is Atmz—Dh | Tim7—Vr de Sol es Atm7—D'7 Ex. 450/E}.450 a ——— oe : == t c pm or |e her lp ' i === * 7 €) Am=-Pimn..Llmy—Ve in the Key of Fim is Gm: —C7 La m=Fa?thnwEl Iim7—V7 de Faim es Gm7— C7 Ex, 451/6).451 ” = . opt ot! Ip modulation of minor Key, lower the Tim, Sth a semitone and add 2 69 tension to. V; for smoother modulation +e yr yer jacion oe ls tonlidades menores,baje la Sa. del tlm un semitono y afada ae bode tensign para Vz,.con el objeto de obtener una modulacién més suave D) AmoEm. of im—Tm7—W in the Key of Em is Oz —Fimr— Br 7—Vr del V7 de Mim es Cz—Fim7—B7 ‘Note that in the example 2 substitute chord for V> is used Observe que en el ejemplo, se uss un acorde sustituto para V7 Ex. 452/E).452 La m=Mi m.....El im—I mi = ? ae al = SSS (sub eof ctr)" Dipindai dengan CamScannerCadence / is often wsed understood t oe an eement “dominant 7th (3) Modulation by Deceptive In endings a deceptive cadence foc modulation. This techoique i mean adding a substituted chord pouessed by common notes 10 the then modulating by Umy—V x Deceptive Cadence /Cadene! In general, a Vo-T ending dove rather, by terminating with another tively, it provides 2 surpi method is best used in introductions and endings» but is also effective a5 2 ‘modulation technique not occur? chord tentir ‘This Basle Deceptive Cadence Progressions/ DVeS fies, ta) LOPS ine ® © @ mq and © hive 2 common terminating (eadentil) note in the melody for a deceptive cadence within the chord. IE there js no common note the’ melody can be changed. ‘This is true even if the melody ending note is nat the root Modulation by deceptive eadence is done by using the deceptive cadence a5 the starting poiat = foe the ehond poogreion of the new Say. Since geogess & t0 the nest modulation without ad- Faneing to the toni, this eeates a diferent effet than modulation by domiaant 7th in part (1) above. At any rat, this modalatin is quite abrupt and. most be employed with care in order sro resting the moo nd tony oft me Ex. 45, 76).453 Pro: eee Modulacion PO eos sins, ura cadena 22850 En tos BO pra meculacién. Era y ears Paeerd susttUo, un ‘al acorde de dominanta 7 = free sista 20 24 Sos comunas at 222 trodutae porta = 7° En generals gn Vr — 1 ne OCF antativarent® sonido sorores "ean ingroauscion#s Y sive coro tecnica c@ medulecién, resin Basices de Cadencia Deceptive y fresco, Est méiedo es Pero tembis temaia La aenpics @. ©, O any O. 1 na nat aganeal comin en 2 mods, se ve ee cin aacentva cantra el accede, Sia 2 rata comin, a sun la nts final ee la melocia no fonderena. Ls modu regres fue Ia prograsién de la siguiente medule 20 diferan telacién gor Dominance; an ef ejemeto [1] cualquier forma sadulacién es un occa by y ésbe sar erplesds con mucho cuissd0, prevanir un romgimienca dal mado y d8 12 fora! musicals. Leak Sou tsi xin Dipindai dengan CamScanner en es tp0 0 cadenci ean au luge, Vy ' otro acorde, arcporcionanss ta melodia puede cambiaria, Exo Cadencia Decagy, Dtivg re. na —(4) Modulation by Deceptive 52! 13 Modulacién por Cadencia ‘This method calls for modulation BY 2 Tim —V> of the new key at the: tonic PRT. . Th ean ako. be thought of the me BU ‘technique of extracting the tonic from the modi lation and passing through Umi-}9 described in [2] above, except that method must also ‘satisfy the following conditions: @ The terminating cadetisl) melody must Po ‘a strong ending feelin @ The valody'e Cee should be the 6thy major 7th o¢ th of the new Key totic, an thould aio" be the 9th or 11th of the new ey Hy. : ® IF condition @ sbove cannot be sii he cing | jon. ing Um: of the New Key oo” En este iin yo de tg rues toralided. También Burda co, !> Cony ‘cu da obtener 12 tonica €2 la megy @ La malodia cadercial, 050 posse sensaci6n o2 final, una : fe @ ta not firal oe te * mayer, 0.98, 2 23 : (el IN; d2 a neva tonality AS, @ Sila condicién anterior no pus puede ser cambieds, p20 debe os 2 obsenas melody can be changed, but condition Dmust condicién © be observed - Ex. 461/8).481 ) aga, - Ex. $62/E), 482 3 e e = oe 3 oy = ? = Cw oe cw cs Wee Ee 46376) 483 . : ea re) oa Ex t6t/ 6,488 # oe (Root) oo E * SS a a Dipindai dengan CamScannerFt oe Ex. $65/5j,465 (Root) pa Ex. 466/6}.466 an oe) (5) Modulation by Diminished 7th Chord Modulaci6n por Acorde de Séptima Disminuida jon 2 lleva 2 €2b0 This method calls for placing the diminished En este metodo, 1 mos ein nites ‘th chord a semitone higher than the Im, before colocando anes oe my de la nueva ton alidad, the new key Um2—V3, after finishing with the tun acorde oe séptima disminuide, a mas aito, después de finalizar en 12 ténice. Ex $68 /).468 = Aen Amo Dr o ° o Ex.469/5},469, Dipindai dengan CamScannerL ener rcs mar at ba mn me Ex.470 76.470 1 L 9 (6) Modulation by Chromatic Progression ee “ ? Modilacién por Progresion Cromatico This method and modulation by dominant 7th are the simplest types, and are used quite frequently. Esta métedo, ¥ la medulscién gor g, son les métcdes mds sencillos, y son frecueatement®. aes A) From I to the New Key I of a Semitone Above De Ia I, por Segunda Menor Ascendente 17.471 * Modulation with no preparation stall / Moduiacién sin arecaracién B} From Im to the New Key Im of a Semitone Above De Im a.Im, por Segunda Menor Ascendente Ex. 432/€),472 + Modulation with av preparation at all //, an sin precaracién C, From % to the Xe (Major) De V7 a ¥7 por Segunda Mener Ascendente (Mayor) Ex. 13/8.473 159 Dipindai dengan CamScannerry eo prom ¥; to the New Key V: (Minor) 7 9) Vp por S pe ¥ 2 7 Por Segunda Menor A; Beatsyejare endente (Menor) g) Ascending Chromatic Progression (Major) /Progresion Cromética Ascendente (Mayor) Fs. 475 76.475 F) Ascending Chromatic Progression (Minor) Progresion Cromatica Ascendente (Menor) Ex.476/5},476 ; G) Ascending Chromatic Minor 7th Progression Progresion Cromética Ascendente Vienor 7 Ex Att /E,.477 ——37- + yes 4 Eb mrf—Atr- - + ge $$ oo rd = E478 78) 478 —= $e for tm free foo — Se + Thisie not very usual / Este progresién no es muy usual H) Descending Chromatic Minor 7th Progression Progresion Cromatica Descendente Menor 7 Ex. 4796). 478 2 == ee—~ 2 Em —f Ema fir a Ex. 4180/5}. 480 ge—-- — ef tm —} inn oiy St is not very usual / Esta 0 si6n no es muy usual Dipindai dengan CamScanneris) anes nian mirecamenawe rn RS? NT ‘i os, Relative Keys/ Tonalidades Vecinas ae el ie 4/Tonalidades Vecinas OD Relative Ke vias of the | $29 aquellas oe Hos acorces a tr, Keys which take the triads tal voces 02 108 9" a conerponding eal degen of 26ers | A coma au ténica Key ‘as tonic. f Key In Am Key in Key in Dm Parallel Minve/Patsiny 7 at e jna de la tenalidad 2 D0 may" Relative to key of c/vesnage ep p I o c m T : No key saben 5 of | Cas taints 5 43, oe yin fen ning seta eS KeyinGry, ,Serinab of Cm/Vecinas la oe ee" tea. woh Keying Keying + No key takes $5 or 35 .s tonic Las quintas 55 y #5, no aparacen en ningin acorde 4 inten © Semi-Relative Keys /Tonalidades Semi-Vecinas ‘Any keys having the common tonie | Cuslauier taraliaxd ga lam note, apatt from thowe listed above cénica, sparta ¢9 aqualias avistazas The toot is common /Funcarental cain (Minor with same tonie 7 “ener can ta misma téaiea) Key lec iz __Beyinca. Keri wyia Fat Sst The 5th igeommon/ Quinta comin KeylnC. KeyinGm ——Keyin dh eae The 3ed is common / KeyinC 4, Kerina — ge Reine Keyincim 152 ————ee Dipindai dengan CamScannerjal Modulati o, Partial Modulation“ Modulacién Parcial ‘he primany element required in arent 4 otal modulation (e changing the Key in the 4m or from 8 certain phe). : meate tension and surprise Ine purpose i Tnroughout & selection there are many gu ulations, ard recent vendita he i Mot all modulation techniques in music. A ky i of paral modulation i neceary for aang ete well as in composing tions, ines Be 3g introductions, inter. odes and endings. : oo Un elemento importante modulacién rota! (oor e.. et eBrbio CE jonalidad en ‘su propésito es creat €1 coro, en ure cierta frase sorores, En une seleccion existen muchas modulaclonee perciales y les tendencies actuales permiton €) USS Tibre y atrevido de todas las técicas modulators 2 la misies, £leonacimiento de modulaciones parc” tes, es necesrio para hacer artes, asi COMO Pat? 12 compoticién de intreduciones,inerioios ¥ finales q) Partial Modulation by Dominant Motion Modulaci6n Parcial por Movimiento de Dominante Dominant motion refers to the resolation of Gominant 10 tonic, which is basic to all chord proresion. “There is only one Va for any one kes, but vy wine the Vf aneber hey the Ramon 2 ig broadened, Dominant motion it indieated by Ex.481/8).481 set) ae Ex. 482/882 Por movimiento de dominante se entiend® 12 progcesibn de dominante 2 xéniea, que e bésiCe em cezalavier progeesion do acordes Exist solamente un V> Pa pero usindo el Vz de otra tonalided, Erménico es amoliado, El movimiente ce dom 2 indies por —. cuslavier tonalided. ‘el sent eo Lvs et Key io —— —— en [of Key in Am ot Key in F . Foe fe OF ener ee aageecueee - a Torot Key nD —————_ Wve Kevin Lvpef Keyia 6 153 gee Dipindai dengan CamScannerBasic and Substituted Chords / Acordes Basicos ¥ Sustitutos ; Prograsiones con acordes sustitutos, weradas@n e833 s2cci6n. Penge jal 2 [a linea dal ajo, Substituted chord progressions are [ A? contrasted with basic chord progrestions : i atancion ese jn this section. Pay special,dttention €© the bass line er re at Ey— oor Basie Chord Der ar opr eect Pragreesion = Propane diecast A modulatory moving chromatically downward promesion with the root is often done by making a substitution for V5. The following is an example, un aiemeio, (sn Dipindai dengan CamScanner3) Modulation Involing a © Modulecion por Acorga. ono" Chords Gonsider one exam 8 Com, a for Both Keys le of this i 2 ¢ dhord i tonic to the C mgt es atin: 4, “MBS Tonalidades = the doisaat of the G major ga Mes the eae major an end the dons of the F major and F minor sealeg, “* dominany This modulation techy sagt UE we Gords a5 ite medism. The chorg gut, Ommon (lied « “Pivot Chord” i this cane hs 2 ® % Keer Kees Ex. 49476).49¢ = ee xqeo} krack in a Tonalidades Paralelas Existen muchos elenotos de modutscién de una ida mayor 2 su iquier cas0 3 (4) Modulation to a Parallel Key /Modu! There are many example of modulation fom 4 major to its parallel minor er vice vers. 19 Elston hinges on the pivot chord. 187 Dipindai dengan CamScannerthe Same Tonic Misma TO" ica y with a (5) Modulation toa Médulactin a una Tonsided So" la TN ad mec lodtation from the majot N25 CF te | cig nia Se eee sing transici6n s48v8 Sin usar we Ey oxides 2 t Ti Bod. | oursere especial same toric is commonly foun smooth transition without wing ¢ : Ex. 500/6).500 do gens Gano s : a ore 160 Dipindai dengan CamScanner