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PREFACE 5 ABOUT THE AUTHORS 6 Part I WHERE DO I START? 7 THE BASICS YOU SHOULD KNOW TO WRITE A SONG 7 A song's component parts; Notation; Kinds of notes; Time signatures DIVIDING YOUR SONG INTO MEASURES 8 IDEA PEOPLE, SONGWRITERS, AND COMPOSERS 8 DEVELOPING YOUR INNER EAR 9 INTERVALS 10 DEFINING THE SCALE 11 "HEARING" A MELODY IN YOUR HEAD 11 Part II IS THERE ONLY ONE METHOD BY WHICH WE CAN COMPOSE? 13 COMPOSING BY SIGHT 13 STEPS, SKIPS, AND LEAPS IN MELODY WRITING 14 WHAT GOES UP MUST COME DOWN 15 A GOOD PATTERN IS WORTH REPEATING 16 SEQUENCE: IT'S MUCH LIKE A PATTERN BUT HAS A SLIGHTLY DIFFERENT TWIST 17 WHAT BEGINS MUST END 17 THE NEED FOR A CADENCE WITHIN A SONG 18 Part III RHYTHM: WHERE COMPOSING MUSIC REALLY COUNTS 21 Determining the pulse of the song; The transfer from pulse to note AT LEAST ONE MILLION MELODIES WAITING TO BE DISCOVERED 24 Telephone book number method Part IV WRITING THE LYRICS TO A SONG 27 Re-writing the lyrics to an old standard; Finding the syllable pattern; Making the lyric make sense ARE WE CERTAIN WE UNDERSTAND RHYME? 28 WHAT ABOUT USING FREE VERSE IN LYRICS? 29 ONE OTHER THING: ACCENTED BEAT 29 THE LYRIC AS A TOOL FOR NOTE PLACEMENT 30 COMPOSING BY LYRIC 31 ENLARGING THE SCOPE OF LYRIC WRITING 32 COMPOSING BY USE OF A COUNTERMELODY OR PARTNER SONG 33 How countermelodies and partner songs differ; Why are they used?; How are they written? COMPOSING BY FOLLOWING A SET PATTERN OF CHORDS AND NOTE VALUES 34 COMPOSING WITH A THEME IN MIND 42 THE BLUES: THE LOOSEST FORM OF LYRIC AND MELODY 46 The form always used; Lyric content COMPOSING A FUGUE 46 Its basic form Part V WRITING THE ACCOMPANIMENT: INTRODUCING THE MODELS 51 What constitutes a good accompaniment?; Accompaniment and chord structure; Use of passing tones; The added factor of nuance MODELS: FITTING YOUR SONG IN A FORM 53 SIMPLE ORCHESTRATION: ITS COMPONENT PARTS 61 TRANSPOSITION: WHAT IS IT? 61 Common instruments transposesd; How timbre influences staff position; Vertical and horizontal styles STARTING TO ARRANGE 64 COMPOSING AND ARRANGING WITH THE VOICE (OR VOICES) IN MIND 66 Use of an old standard for S.A. T.B. arrangement; Problems and how to handle them; Working the accompaniment with the voices; Looking ahead for voice leading; Switching the melody around to various parts SOME GENERAL HINTS FOR VOCAL ARRANGING 68 Voicing conventional harmonies; Voicing dissonant harmonies APPENDIX A: MUSICALITY TEST 75 APPENDIX B: CHORDS/SIGNATURES 77 APPENDIX C: CHORD CHART 79 APPENDIX D: TIME SIGNATURES 81 APPENDIX E: MASTER ARRANGING SCORE 83 APPENDIX F: ANOTHER ACCENT PROBLEM 85 APPENDIX G: ANSWERS TO MUSICALITY TEST 87
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