| Arranging Exercise Solns |    |
This is in response to the arranging exercise posted in the music theory section (http://forum.bandamp.com/Music_Theory/26519.html). The recording illustrates 3 solutions to an arrangement of Mary Had a Little Lamb. The melody was altered slightly for the second arrangement (the G's we changed to E's). Notice how the overall mood of the song changes significantly when the harmonies are changed.
The first is the most basic arrangement and the one anyone would probably recognize as the quote unquote right chords. They are:
| C | C | G | C |
| C | C | G | C |
Together with the melody it looks like:
| E D C D | E E E - | D D D - | E G G - |
| C | | C | | G | | C |
| E D C D | E E E E | D D E D | C |
| C | | C | | G | | C |
Notice that every on downbeat (first and third beats) the note in the melody is a note contained within the chord. You can also see two authentic cadences (in measures 3-4 and 7-8 the chord progression goes from V to I), the first is imperfect as the note in the melody is not the tonic and the second is perfect (the melody arrives at C, the tonic). The imperfect cadence comes at the end of the first phrase (the first 4 measures) and in analog to grammar, acts almost as a comma. It gives the impression that an idea has been expressed but more will come. The perfect cadence ends the melody. It is music's period.
The second arrangement is much more complicated. The arrangement is in A minor, the relative minor of C major. There is a half cadence at the end of the first phrase and an authentic cadence at the end of the melody.
| Am / F | C / C#dim | Dm / Dm7 | E / Eaug / E7 |
| Am / F | C / Am | Dm / E / E7 | Am |
The third example illustrates the use of applied dominance over measures 3 and 4 and also contains a half cadence at the end of the first phrase and an authentic cadence at the end of the melody.
| C | C | Dm / D | G / G7 |
| C | C | G | C |
The first is the most basic arrangement and the one anyone would probably recognize as the quote unquote right chords. They are:
| C | C | G | C |
| C | C | G | C |
Together with the melody it looks like:
| E D C D | E E E - | D D D - | E G G - |
| C | | C | | G | | C |
| E D C D | E E E E | D D E D | C |
| C | | C | | G | | C |
Notice that every on downbeat (first and third beats) the note in the melody is a note contained within the chord. You can also see two authentic cadences (in measures 3-4 and 7-8 the chord progression goes from V to I), the first is imperfect as the note in the melody is not the tonic and the second is perfect (the melody arrives at C, the tonic). The imperfect cadence comes at the end of the first phrase (the first 4 measures) and in analog to grammar, acts almost as a comma. It gives the impression that an idea has been expressed but more will come. The perfect cadence ends the melody. It is music's period.
The second arrangement is much more complicated. The arrangement is in A minor, the relative minor of C major. There is a half cadence at the end of the first phrase and an authentic cadence at the end of the melody.
| Am / F | C / C#dim | Dm / Dm7 | E / Eaug / E7 |
| Am / F | C / Am | Dm / E / E7 | Am |
The third example illustrates the use of applied dominance over measures 3 and 4 and also contains a half cadence at the end of the first phrase and an authentic cadence at the end of the melody.
| C | C | Dm / D | G / G7 |
| C | C | G | C |
excellent work.. this is what was needed..when working up the new site hopefully a full tab with stickies can be given to all this great work you've put in.
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