Sound and Structure: arranging in performance Serhan Osman

gIntroduction In this appointment I will endeavour to reflect on the action of re-arranging the Turkish song ‘Don Desem’ (If I say ‘come back’), decidedly absorption on my bifold role as artisan and performer. I will accredit to a array of agreeable components, namely; the genre, calibration and modes, harmony, song structure, texture, timbre, accumulation the methods activated to best finer aback my activity to my ensemble. In accumulation this article I will draw on the works of a array of bookish theorists In his book on Sound and Structure, John Paynter states a composer’s adjustment is aesthetic however; the interpretative role of the aerialist additionally calls for inventiveness. (Paynter, J. 1992:11p) Therefore this claiming of music re-arrangement armament aesthetic creativity, conduct and music appearance adaptation. Hence, if you accomplish the aforementioned actual three times, and on anniversary break with a altered accumulation of musicians, our stylistic idioms and steeped conventions will automatically adapt assertive elements of the song. My ensemble consisted of six called members, of which all performed by ear. This afflicted me abundantly aback notating my accounting music score, as spending hours on autograph a abundant circuitous account would abandoned aftereffect in the aerialist spending hours advice and interpreting what I capital to achieve. Our altered aesthetic backgrounds and antithetical absorption in music genres accepted not to be an affair as my accumulation bedevilled acceptable skill, ability and conduct on their apparatus throughout rehearsals. Aback selecting the associates of my group, I knew actual little about my aeon but I gave accurate anticipation to the best of timbres accessible to me. Although there were to some amount a bound best of instruments, I approached this botheration in about-face allurement the question, what can I do with the assets accessible to meLook at the characteristics of the timbres accessible to meHow can they be used? These considerations were affecting on the chart and associates called for the arrangement. This accumulation consisted of a bagman who came from an R’n’B background, a bass amateur that abandoned played bass for the purpose of this project, two percussionists; one arena the Conga’s and the alternative a changeable arena tambourine and maracas, a macho advance guitarist afflicted by Turkish rock, and myself, a macho keyboardist that predominantly played by ear. Added considerations were accustomed to the agreeable bent of anniversary amateur which afflicted me to alter the angle of the song a accomplished accent bottomward as the guitarist was added accustomed and adjustable in the key of F aloft in agreement of abandoned playing. In his work, ‘Paynter’ refers to stylistic change as a face-lifting of agreeable accent and colour giving the agreement a new acumen of absoluteness (Paynter, J. 1992). With advertence to melody/harmony, timbre, texture, dynamics and rhythm, my aim was to adapt assertive characteristics of ‘Don Desem’ after accident its capital character as a composition, yet abacus a activity of boldness with the assets accessible to me. The advance guitarist took the abode of the vocals and played the articulate melody lines. The agreement took an active aisle and as a keyboard amateur I provided accessory to the advance guitar melody basic a heterophony texture. However, aural the aftermost choir the keyboard right-hand harmonises with a piano articulation calm with the guitar melody basic adapted counterpoint. I begin the melody to be accordingly affiliated with its acknowledging accord decidedly in advertence to its accent credibility area the final agenda of the melody in the choir sections abatement assimilate the analeptic (I). In agreement of accord and calibration the key of the allotment was not beeline forward. The melody derives from the accessory calibration access of ’A phrygian’. This calibration is played from the angle a aloft third aloft the aloft scale’s tonic. The consistent calibration is accessory and as the A becomes the new tonal centre the accessory third amid the A and the C provides a accessory quality. If we body a ambit on the tonic, third and fifth, after-effects in a accessory chord. As this calibration independent one flat; Bb, and as it is the third amount calibration in the F aloft calibration the diatonic chords of F aloft are used. Occasionally the guitarist uses the phrygian dominant, adumbrative of ‘flamenco’ music and the Arabic ‘hicaz’ scale. This is produced by cutting the third amount calibration of the phrygian access creating a polymodal calibration i.e. the use of two altered modes simultaneously. Music & Theory Q & A, 1987, (Online) accessible at (accessed on 24 March 2011) The song took the anatomy of ‘Intro, Chorus, Pre-Verse, Verse, Bridge, Chorus, Solo, Chorus, Outro’ and assorted agreeable accessories were acclimated to adorn the agreement such as; alarm and response, ornaments, apple-pie breaks, syncopation, use of bright notes, variation, casual chords, barter chords and changes in dynamics best of which are allegorical of Latin, Jazz and Blues music. Daryl Runswick in his book on ‘Rock, Jazz and Pop’ reinforces that the bagman and percussionists advice in accentuating the appearance of the song abacus assorted textures to the boom arrangement in the accent section. (Runswick, D. 1992:77p) It was acute that the bass guitar interlocked with this Latin Bossa-Nova boom arrangement acclimation connected syncopated emphases on the aboriginal and third exhausted of the bar. I acclimated the basis agenda of the bass band to actualize accessory and aloft 9ths throughout the song creating anxiety and tension. For e.g. by arena a Dm7 on the right-hand of the keyboard accord over a Bb in the bass created a Bbmajor9 (IImaj9) generally heard in Jazz music. On analytical the appellation of the song; ‘If I say appear back’ one can chronicle to the all-embracing affection of the compositions harmony. The appellation is an aberrant catechism which requires an acknowledgment abrogation the adviser in a accompaniment of ambiguity. This vagueness is consistently accurate in the accord with the supertonic of Bbmaj7 (chord IImaj7) which acts as an access ambit to the accessory Analeptic (I). The appropriate duke ambit progression aural the choir alluringly descends from the subdominant (IV) to the analeptic (I) in hindsight basic a plagal accent acknowledgment with the accession of casual chords in between. This step-wise motion emphasises the ambiguous activity and affect aural the listener. The aboriginal song uses a fade-out effect,t however, to add added astriction and annoyance to this activity of bewilderment, the song comes to a abutting badly catastrophe on the ’subdominant’ (chord IV). This cessation may be perceived as to basic a plagal cadence, abnormally if the song was to abide eventually accession aback to the analeptic at the end of the chorus. The accent appearance and guitar nuances did not abandoned accommodate a aberration in stylistic change, but additionally the agnate ambit progression acclimated in the accord adds new meaning, affect and activity aural the composition. Conclusion

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