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Arranging & Orchestration Theory Revision
Arranging & Orchestration Theory Revision
Revision
The
Clefs
Notes
on
the
Treble
Clef
Note
of
the
Bass
Clef
NOTE:
The
notes
on
the
bass
clef
appear
a
line
lower
if
the
note
is
on
a
line
in
the
treble
clef
or
a
space
lower
if
on
a
space
in
the
treble
clef,
this
is
an
easy
way
to
remember
where
the
notes
are
placed
on
the
bass
clef.
Major
Scales
To
write
a
major
scale
the
formula
of
T
T
S
T
T
T
S
(T=Tone
S=Semitone)
can
be
used.
If
we
use
the
imagery
of
a
keyboard
a
Tone
is
2
steps
from
any
key,
a
semitone
is
1
step
from
any
key).
Remember
that
the
easiest
way
to
ensure
you
write
the
scale
correctly
is
to
follow
2
steps:
1. Write
all
notes
in
alphabetical
order
starting
with
the
root
note
of
the
major
scale
you
are
trying
to
work
out
2. Then
apply
the
formula
of
T
T
S
T
T
T
S
This
ensures
that
you
will
not
name
any
note
twice,
as
to
do
so
would
be
incorrect.
With
this
in
mind
write
out
the
following
major
sales
on
the
staff.
(use
working
out
paper
if
you
are
more
comfortable
writing
the
scales
out
as
letters
and
then
transfer
them
to
the
staff
below)
Major
Scale
Harmony
Once
you
have
worked
out
the
major
scale
you
can
then
build
chords
by
taking
every
second
note
from
any
given
starting
point
and
building
those
notes
until
you
have
4
in
total,
this
creates
what
is
called
a
7th
chord.
In
the
following
example
using
the
C
major
scale
every
second
note
starting
from
C
has
been
taken
to
create
a
chord,
the
chord
that
is
constructed
contains
the
notes,
C
E
G
B.
When
a
chord
is
stacked
this
way
the
numbers
1,3,5&7
can
be
attributed
to
their
respective
notes.
This
would
be
chord
1
of
the
major
scale
written
below
as
it
is
built
from
the
first
note.
The
same
process
has
been
applied
to
chords
4
(F
A
C
E)
and
6
(A
C
E
G).
With
this
in
mind
build
a
chord
from
every
note
of
the
following
major
scales.
(
you
should
have
already
worked
out
the
major
scale
in
the
previous
exercise.
Working
Out
The
Name
of
a
Chord
Chord
Spellings
Maj7
=
1
3
5
7
7
=
1
3
5
b7
Min7=
1
b3
5
b7
Min7b5
=
1
b3
b5
b
7
Every
chord
is
measure
from
its
root
note’s
major
scale
in
order
to
determine
what
type
of
chord
it
is.
For
example
if
you
wanted
to
work
out
what
notes
are
in
C7
you
would
write
out
C
major
scale
and
then
apply
the
7
chord
spelling,
similarly
if
you
wanted
to
work
out
what
notes
are
in
an
Emin7b5
you
would
write
out
an
E
major
scale
and
the
apply
the
min7b5
chord
spelling.
Below
is
a
step
by
step
process
to
work
out
the
notes
in
a
chord.
Alternatively
you
can
be
given
the
notes
to
a
chord
and
you
will
have
to
name
the
chord.
The
same
rules
apply
here
they
just
have
to
be
reverse
engineered.
Here
are
the
steps
that
you
would
take
when
such
a
question
is
asked.
Name
and
identify
the
7th
chord
for
each
note
in
any
of
the
above
major
scales
that
you
have
worked
out.
Once
you
have
identified
the
chord
qualities
i.e
maj7,
min7,7
and
min7b5
of
the
major
scale,
these
chord
qualities
do
not
change
no
matter
what
major
scale
you
are
writing.
i.e
if
you
determine
chord
1
to
be
a
major
7
chord,
then
no
matter
whether
you
are
working
out
the
chords
of
G
major
or
Bb
Major
chord
1
will
always
be
a
major
7.
This
means
you
now
have
a
template
to
always
work
with
when
writing
a
song
diatonically
in
a
major
key.
Write
out
the
chord
quality
for
each
chord
of
a
major
scale
next
to
the
following
roman
numerals.
I
ii
iii
IV
V
vi
vii
Extensions
Chords
that
use
more
than
4
notes
are
called
extended
chords,
these
extensions
are
usually
referred
to
as
some
sort
of
9,11
&
13.
In
order
to
work
out
what
extensions
can
be
used
you
continue
to
build
the
chord
until
you
have
7
notes.
NOTE
not
all
extensions
can
be
used
on
every
chord.
The
way
to
determine
what
extensions
are
playable
on
a
given
chord
is
to
check
if
any
of
the
extension
notes
i.e
9,11
or
13
sit
a
minor
9
or
Octave+semitone
above
any
of
the
4
chord
tones
i.e.
1,3,5
&
7.
The
interval
of
a
minor
9th
(b9)
is
dissonant
if
not
applied
correctly,
for
the
sake
of
these
exercises
the
interval
of
a
minor
9
will
be
considered
an
avoided
interval.
In
the
above
example
we
can
see
that
the
11th
of
the
Cmaj7
chord
cannot
be
used
as
it
is
a
minor
9
or
Octave+
a
semitone
above
the
3rd
of
the
chord
i.e
the
.
However
the
9
and
13
of
this
chord
do
not
clash.
(see
on
the
keyboard
how
E
&
F
are
a
semitone
apart
from
each
other
this
is
the
interval
we
are
trying
to
avoid)
Work
out
what
extensions
are
available
on
each
of
the
following
chords.
The
first
chord
has
been
completed
for
you
as
it
is
shown
above.
In
the
following
table
fill
out
what
extensions
are
allowed
on
each
chord
of
a
major
scale.
Major
Scale
Chords
Chord
Type
Extensions
Available
(Maj7,min7,7
or
min7b5)
I
ii
iii
IV
V
vi
vii
Voicings
4
Way
Close
A
4
way
close
is
a
common
voicing
tool
used
to
hang
chords
underneath
a
given
melody.
When
creating
a
4
way
close
you
create
a
4
note
chord
which
maintains
the
melody
note
at
the
top
of
the
chord,
the
entire
voicing
will
be
inside
the
space
of
an
octave.
Once
this
voicing
has
been
worked
out
the
4
voices
could
be
spread
across
multiple
instruments
(taking
into
consideration
their
ranges),
or
the
4
way
close
can
be
used
as
a
starting
point
to
implement
other
voicing
techniques.
Rules
1. If
the
melody
note
is
a
chord
tone
than
build
the
chord
directly
underneath
the
melody
starting
from
the
nearest
note.
2. If
the
melody
note
is
not
a
chord
tone
than
skip
the
nearest
chord
tone
to
the
melody
and
than
continue
as
normal
hanging
the
chord
below
the
melody.
Drop
2
A
drop
2
voicing
is
created
when
you
take
the
2nd
note
from
the
top
of
a
4
way
close
and
drop
it
an
octave.
Drop
3
A
drop
3
voicing
is
created
when
you
take
the
3rd
note
from
the
top
of
a
4
way
close
and
drop
it
an
octave.
Drop
2+4
A
drop
2+4
voicing
is
created
when
you
take
both
the
2nd
and
4th
notes
from
the
top
of
a
4
way
close
and
drop
it
an
octave.
5
way
Spread
The
5
way
spread
is
another
voicing
techniques
which
can
be
employed
and
is
particularly
good
for
string
section
voicings.
Below
outlines
the
rules
used
to
construct
a
5
way
spread.
Rules:
Voice
1
Melody,
Chord
Tones
or
Extensions
Voice
2:
Chord
Tone
or
Extension
Voice
3:
Guide
Tones
(3
or
7)
Voice
4:
Guide
Tones
(3
or
7)
Voice
5:
Root
Note
Following
the
above
rules
create
a
string
section
to
the
given
melody
using
5
way
spreads
for
all
given
chords.