consideraciones melódicas-diego armando becerra.pdf
Post on 11-Dec-2015
29 Views
Preview:
TRANSCRIPT
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
CONSIDERACIONES MELÓDICAS
Motivo: Es el elemento primario y fundamental de la composición musical. Es la más breve división rítmico-‐melódico de una idea musical y puede definirse como: Fragmento melódico corto con un patrón especifico de notas y ritmo. Dichos motivos son manipulados en una composición con el fin de facilitar el desarrollo de la melodía y contribuir en la unidad, coherencia, lógica y fluidez de la pieza.
En la creación de melodías o arreglos podremos utilizar dos técnicas básicas:
• Progresión.- Es la repetición de un diseño rítmico-‐melódico a distintas alturas y puede tener contactos con otras tonalidades o no (progresión diatónica o cromática). Ejemplos de ello se encuentran en las canciones: Hojas muertas, Black orpheus, Satin doll, etc.
Secuencia melódica de un compás
Secuencia melódica de dos compases
Secuencia melódica de cuatro compases
19
CHAPTER 1 MELODIC CONSIDERATIONS
Phrase repetition—eight measures
This is the basis for standard aaba and abac song form in which the a section is repeatedin conjunction with other complementary but contrasting phrases. (See “Strays,” page 3for aaba form, and “For Bill,” page 141 for abac form.)
SEQUENCE
A sequence occurs when you transpose a melodic fragment or phrase to a different pitchlevel. This transposition may be diatonic (in which case the tonality is not disturbed) orexact (in which case a temporary “key-of-the-moment” may be suggest itself). The useof sequence takes the concept of repetition to the next level and provides for melodic aswell as rhythmic variety.
Motivic sequence
(See also “Strays,” page 3: compare measures 1–2 with 5–6, and 10–11 with 14–15; alsomeasures 16 and 17.)
F6 G–7 C7 A–7 D7 G–7 C7
F6 A –7 D 7 G–7 C7 FMaj7
Medium swing
Medium swing
Diatonic
Exact
a a b a
a b a c
jazz composition 1 5/28/03 4:32 PM Page 19
20
JAZZ COMPOSITION THEORY AND PRACTICE
Two-measure melodic sequence
Note that the chord progression is also sequential. = interval at which thesequence occurs. (See also “Scrooge,” page 147, measures 9–14.)
Four-measure melodic sequence
(See also “Scooter,” page 128, measures 11–14, 15–18.)
Eight-measure melodic sequence
Examples of this are relatively rare, but check out “Joy Spring” by Clifford Brown and“So What” by Miles Davis.
A7( 9)
P4
D7( 9)
P5
Medium fast
B7( 9) E7( 9)
P5
Contrasting phrase
D–6 G–6 D–6 G–6 D–6 E–7( 5) A7(alt)
F6 B 6 F6 B Maj7 F6 A7( 9) D–6
Medium swing
m3
D Dorian D Dorian E Dorian D Dorian1
m2
melody melody repeats melody up aminor second
melody as before
a a a a
a a a a
jazz composition 1 5/28/03 4:32 PM Page 20
20
JAZZ COMPOSITION THEORY AND PRACTICE
Two-measure melodic sequence
Note that the chord progression is also sequential. = interval at which thesequence occurs. (See also “Scrooge,” page 147, measures 9–14.)
Four-measure melodic sequence
(See also “Scooter,” page 128, measures 11–14, 15–18.)
Eight-measure melodic sequence
Examples of this are relatively rare, but check out “Joy Spring” by Clifford Brown and“So What” by Miles Davis.
A7( 9)
P4
D7( 9)
P5
Medium fast
B7( 9) E7( 9)
P5
Contrasting phrase
D–6 G–6 D–6 G–6 D–6 E–7( 5) A7(alt)
F6 B 6 F6 B Maj7 F6 A7( 9) D–6
Medium swing
m3
D Dorian D Dorian E Dorian D Dorian1
m2
melody melody repeats melody up aminor second
melody as before
a a a a
a a a a
jazz composition 1 5/28/03 4:32 PM Page 20
20
JAZZ COMPOSITION THEORY AND PRACTICE
Two-measure melodic sequence
Note that the chord progression is also sequential. = interval at which thesequence occurs. (See also “Scrooge,” page 147, measures 9–14.)
Four-measure melodic sequence
(See also “Scooter,” page 128, measures 11–14, 15–18.)
Eight-measure melodic sequence
Examples of this are relatively rare, but check out “Joy Spring” by Clifford Brown and“So What” by Miles Davis.
A7( 9)
P4
D7( 9)
P5
Medium fast
B7( 9) E7( 9)
P5
Contrasting phrase
D–6 G–6 D–6 G–6 D–6 E–7( 5) A7(alt)
F6 B 6 F6 B Maj7 F6 A7( 9) D–6
Medium swing
m3
D Dorian D Dorian E Dorian D Dorian1
m2
melody melody repeats melody up aminor second
melody as before
a a a a
a a a a
jazz composition 1 5/28/03 4:32 PM Page 20
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
Transformación de motivo: tantas repeticiones puede llegar a ser monótono y aburrido. La transformación del motivo es una herramienta donde se alteran los intervalos de la idea principal o el ritmo de la misma. Se puede dejar intacta la melodía modificando el ritmo o viceversa.
Transformación de intervalos: mismo ritmo, diferentes notas:
Transformación rítmica: mismas notas, diferente ritmo:
21
CHAPTER 1 MELODIC CONSIDERATIONS
MOTIVIC TRANSFORMATION
Sometimes, too much repetition gets to be monotonous. Motivic transformation is adevice that allows you to alter the intervals or the rhythm of a motif in order to preventthe overuse of an idea. You can keep the same rhythm and change the pitches; or youcan keep the same pitches and change the rhythm.
Intervallic transformation: Same rhythm, different pitches.
(See also “Samba de Goofed,” page 155, measures 17–20 vs. 21–24.)
Rhythmic transformation: Same pitches, different rhythm.
(See also “Samba de Goofed,” page 155, measures 1–2 vs. 3–4.)
MOTIVIC EMBELLISHMENT
Motivic embellishment is a device that allows you to activate a simple motif before itbecomes too repetitive and monotonous.
(See also “Samba de Goofed,” page 155, measure 25 vs. 27.)
D–7 G7 D–7 G7
Medium swing
E 6 F–7 B 7 G–7 D 7 C7
F–7 B 7 G–7 C7 F–7 B 7
Fast
G6 B–7( 5) E7( 9)
A–7 D7sus4 B–7 E7( 9) A–7 D7( 9)
Medium swing
jazz composition 1 5/28/03 4:32 PM Page 21
21
CHAPTER 1 MELODIC CONSIDERATIONS
MOTIVIC TRANSFORMATION
Sometimes, too much repetition gets to be monotonous. Motivic transformation is adevice that allows you to alter the intervals or the rhythm of a motif in order to preventthe overuse of an idea. You can keep the same rhythm and change the pitches; or youcan keep the same pitches and change the rhythm.
Intervallic transformation: Same rhythm, different pitches.
(See also “Samba de Goofed,” page 155, measures 17–20 vs. 21–24.)
Rhythmic transformation: Same pitches, different rhythm.
(See also “Samba de Goofed,” page 155, measures 1–2 vs. 3–4.)
MOTIVIC EMBELLISHMENT
Motivic embellishment is a device that allows you to activate a simple motif before itbecomes too repetitive and monotonous.
(See also “Samba de Goofed,” page 155, measure 25 vs. 27.)
D–7 G7 D–7 G7
Medium swing
E 6 F–7 B 7 G–7 D 7 C7
F–7 B 7 G–7 C7 F–7 B 7
Fast
G6 B–7( 5) E7( 9)
A–7 D7sus4 B–7 E7( 9) A–7 D7( 9)
Medium swing
jazz composition 1 5/28/03 4:32 PM Page 21
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
Práctica:
• Escribe secuencias melódicas en cada grado de la escala de acuerdo al fragmento melódico dado.
• Utiliza secuencias melódicas para los siguientes motivos melódicos teniendo en cuenta su armonía:
EXERCISE
22
JAZZ COMPOSITION THEORY AND PRACTICE
(d) Using the same fragment, demonstrate motivic embellishment.
Same pitches, different rhythms
(c) Using the same fragment given in example 1. (a) above, demonstrate motivictransformation.
Same rhythm, different pitches
(b) Write exact sequences to the original fragment given above on the given noteswritten below.
1. (a) Write diatonic sequences to the following two-measure melodic fragment on eachdegree of the B-flat major scale.
jazz composition 1 5/28/03 4:32 PM Page 22
23
CHAPTER 1 MELODIC CONSIDERATIONS
G7 C7 (F)
Medium fast
A7
M2
D7
G7 C7 (F)
Medium fast
A7
(b) two-measure melodic sequence (two versions)P4
D7
G–7 A Maj7 E Maj7( 11) A 9sus4
Medium jazz waltz
G–7 C–7 G–7 E Maj7
CMaj7 A–7 D–7 G7 D Maj7
Medium swing
2. Utilize melodic sequence on the following examples.(a) motivic sequence
CMaj7 D–7 G7 CMaj7 FMaj7
jazz composition 1 5/28/03 4:32 PM Page 23
23
CHAPTER 1 MELODIC CONSIDERATIONS
G7 C7 (F)
Medium fast
A7
M2
D7
G7 C7 (F)
Medium fast
A7
(b) two-measure melodic sequence (two versions)P4
D7
G–7 A Maj7 E Maj7( 11) A 9sus4
Medium jazz waltz
G–7 C–7 G–7 E Maj7
CMaj7 A–7 D–7 G7 D Maj7
Medium swing
2. Utilize melodic sequence on the following examples.(a) motivic sequence
CMaj7 D–7 G7 CMaj7 FMaj7
jazz composition 1 5/28/03 4:32 PM Page 23
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
• Secuencia melódica de dos compases:
• Secuencia melódica de cuatro compases:
23
CHAPTER 1 MELODIC CONSIDERATIONS
G7 C7 (F)
Medium fast
A7
M2
D7
G7 C7 (F)
Medium fast
A7
(b) two-measure melodic sequence (two versions)P4
D7
G–7 A Maj7 E Maj7( 11) A 9sus4
Medium jazz waltz
G–7 C–7 G–7 E Maj7
CMaj7 A–7 D–7 G7 D Maj7
Medium swing
2. Utilize melodic sequence on the following examples.(a) motivic sequence
CMaj7 D–7 G7 CMaj7 FMaj7
jazz composition 1 5/28/03 4:32 PM Page 23
23
CHAPTER 1 MELODIC CONSIDERATIONS
G7 C7 (F)
Medium fast
A7
M2
D7
G7 C7 (F)
Medium fast
A7
(b) two-measure melodic sequence (two versions)P4
D7
G–7 A Maj7 E Maj7( 11) A 9sus4
Medium jazz waltz
G–7 C–7 G–7 E Maj7
CMaj7 A–7 D–7 G7 D Maj7
Medium swing
2. Utilize melodic sequence on the following examples.(a) motivic sequence
CMaj7 D–7 G7 CMaj7 FMaj7
jazz composition 1 5/28/03 4:32 PM Page 23
24
JAZZ COMPOSITION THEORY AND PRACTICE
D7 G7D.C. al Coda Coda
D–7 G7 C
BE7 A7
F6 F–6 E–7
To Coda
A71D–7 G7
2D–7 G7 C
Medium swing
3. In the following aaba format (see aaba Song Form, page 132), write a tune in which
A
the a sections utilize motivic sequence and the b section utilizes a two-measuremelodic sequence. The principal components are given.
C A–7 D–7 G7 E–7 A–7 D–7 G7 C C7
A –7 D 7sus4 D 7 G Maj7 B –7
B –7 E 7sus4 E 7 A Maj7
G–7 A–7 G–7 C7 FMaj7
Fast(c) four-measure melodic sequence
A–7 B–7 A–7 D7 GMaj7 A–7 D7( 9)
jazz composition 1 5/28/03 4:32 PM Page 24
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
Completa los compases en silencio utilizando secuencias melódicas y transformación rítmica y melódica:
24
JAZZ COMPOSITION THEORY AND PRACTICE
D7 G7D.C. al Coda Coda
D–7 G7 C
BE7 A7
F6 F–6 E–7
To Coda
A71D–7 G7
2D–7 G7 C
Medium swing
3. In the following aaba format (see aaba Song Form, page 132), write a tune in which
A
the a sections utilize motivic sequence and the b section utilizes a two-measuremelodic sequence. The principal components are given.
C A–7 D–7 G7 E–7 A–7 D–7 G7 C C7
A –7 D 7sus4 D 7 G Maj7 B –7
B –7 E 7sus4 E 7 A Maj7
G–7 A–7 G–7 C7 FMaj7
Fast(c) four-measure melodic sequence
A–7 B–7 A–7 D7 GMaj7 A–7 D7( 9)
jazz composition 1 5/28/03 4:32 PM Page 24
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
• Principio de similitud y contraste.- Cada uno de los elementos que intervienen en la construcción de temas (motivo, semifrase, frase, etc.) pueden ser entre sí similares o contrastantes.
Motivos similares y contrastantes, formando semifrases:
W.A. Mozart K545 (similar)
W.A. Mozart Sonata K. 283
Semifrases similares y contrastantes, formando frases:
L. Van Beethoven. Sonata Op. 2 no 1 (similar)
W.A. Mozart. Sinfonía no 40, K 550 (contraste)
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
Periodo Cuadrado: En este tipo de construcción cuidaremos la simetría de la canción, es decir:
• La melodía contiene ocho compases (periodo). • El periodo se compone de dos frases (antecedente y consecuente) de cuatro
compases cada una. • La frase se compone de dos semifrases de dos compases cada una. • La semifrase de compone de dos o más motivos los cuales estarán dentro de
dos compases.
Práctica:
• Dentro de los ocho compases señala con corchetes de diferentes colores el lugar donde inicia y termina cada elemento (Motívos, semifrases, frases y periodo) del periodo cuadrado.
• Analiza las secuencias melódicas escritas en las canciones Hojas muertas, Black orpheus, Satin doll y reconócelas auditivamente.
• Escribe motivos melódicos y haz secuencias con los mismos, modulatorios y no modulatorios usando las formulas II7 – V7 – I7
• Indica con corchetes la frase antecedente y el consecuente en la siguiente melodía.
• Circula el motivo más importante en la siguiente partitura, señala las secuencias y contrastes que encuentres en la melodía.
Taller de composición y arreglos Lic. Diego Armando Becerra Vidrio
3
CHAPTER 1 MELODIC CONSIDERATIONS
CodaF 7 FMaj7
14E 6/9
3
C–73 15
F–73
B 7( 9)16E Maj7 DMaj7
17D Maj7
D.C. al CodaCMaj7 F 7
10D 6/9 B –7
3 11E –7
3A 7( 9)
12D Maj7
3 13D 7
5B7( 9, 11)
3
6B 6/9
3
7G 7( 9, 11)
3
To Coda
8
1
F 7 FMaj79
2
F 7 FMaj7
1
Ballad
E 7( 9, 11)
3
2F6/9
3 3E 7( 9, 11)
3
4F 6/9
EXERCISE
On the lead sheet of “Strays,” identify and label:
1. the main motif (circle it each time it occurs)
2. breath phrases (with curved lines)
3. the antecedent and consequent phrases (with brackets)
Strays (for Billy Strayhorn)Ted Pease
1
jazz composition 1 5/28/03 4:32 PM Page 3
top related