Musical Arrangement Week 2: Dominant Extensions, Scales, and Wind Instruments

Dominant Extensions

• General Overview

  • Dominant extensions are treated separately from major and minor chord extensions due to the vast range of harmonic possibilities they offer.

  • These extensions can be "altered" by moving a semi-tone up or down, or in either direction.

  • Depending on the number of extensions present, a chord may contain multiple altered notes, unaltered notes, or a combination of both.

• Theoretical vs. Real-World Voicings

  • In theoretical terms, all dominant chords discussed contain four primary chord tones: Root, 3, 5, and 7.

  • In "real-world" voicings, the 5th of the chord is almost always omitted.

  • General Rule for Usage:

    • Unaltered extensions are prominent in major keys and scenarios.

    • Altered extensions are more common in minor keys.

• Functions of Dominant Chords

  • Dominant chords are categorized into two functional groups:

    1. Chords having the traditional dominant-to-tonic relationship.

    2. Chords functioning as a tonic or a temporary tonic.

  • Departure vs. Arrival: While nearly any dominant chord can serve as a transition (departure) point to another chord, certain qualities are rarely used as a "tonic" chord (arrival point).

• 9 Chords

  • Unaltered 9: Positioned a $M9$ above the root. This is effective as a tonic sound in jazz or funk settings and functions well in traditional dominant-to-tonic situations.

  • 7(b9): The 9th is the only extension commonly altered in both directions. The $7(b9)$ is not considered a stable "tonic" option but is highly effective for resolving to minor chords.

  • 7(#9) / b10: The dominant 9 can be raised to a #9. In practice, the #9 is often expressed as a $b10$. It is essentially a $b3$ typically voiced a $M7$ above the major 3rd.

• 11 Chords

  • When an 11 is used in a dominant chord, it is nearly always raised (#11), similar to major extensions.

  • Like the major #11, it is used less frequently than the 9th and 13th extensions.

  • It is often utilized without the 9th, appearing as a $7(\#11)$.

  • The 5th is often omitted in these voicings.

• 13 Chords

  • Like major 13 chords, the 11th is usually omitted.

  • A #11 can be used with a 13th, though it is much more common not to do so.

  • The 5th is often omitted.

  • Altered 13: The 13th can be flatted ($b13$). It is never raised, as a "#13" would be an enharmonic spelling of the dominant 7th ($b7$).

  • The 5th is always omitted when a $b13$ is used.

  • The $b13$ is only used with transition chords.

• Altered ("Alt") Chords

  • The term "Altered" (abbreviated as "Alt") is a blanket symbol for chords containing both an altered 9 and an altered 13.

  • The $b13$ is most frequently used in conjunction with an altered 9.

  • In "commercial" styles, the most common configuration is the #9/b13 chord.

Scales

• Foundational Concepts

  • Scales are the basis for counter-melody and melodic harmonization.

  • Everything is derived from the major scale.

• Minor Scale Options

  • Natural Minor: Based off the 6th scale degree of the major scale.

  • Harmonic Minor: Same as the natural minor but with a raised 7th scale degree.

  • Melodic Minor: Same as the harmonic minor but with a raised 6th scale degree.

• Diatonic Modes

  • Modes are scale "shapes" derived by creating a new scale based on different degrees of the major scale.

  • The Seven Modes:

    1. Ionian (Degree I)

    2. Dorian (Degree II)

    3. Phrygian (Degree III)

    4. Lydian (Degree IV)

    5. Mixolydian (Degree V)

    6. Aeolian (Degree VI)

    7. Locrian (Degree VII)

• Key Modes in Arrangement

  • Dorian: The most widely used mode besides Ionian and Aeolian. It is the same as natural minor but with a raised 6th. It is built off the 2nd scale degree of the major scale.

  • Mixolydian: Highly useful for dominant chords. It is the same as the major scale but with a lowered 7th. It is built off the 5th scale degree of the major scale.

  • Lydian: Useful for chords with a #11 ($b5$) and is described as having a "cinematic" quality. It is the same as the major scale but with a raised 4th. It is built off the 4th scale degree of the major scale.

• Pentatonic and Blues Scales

  • Particularly effective in diatonic harmony when the melody does not need to strictly outline chord changes.

  • Types include Major Pentatonic, Minor Pentatonic, and the Blues Scale.

Chord-Scale Relationships

• Superimposition Strategies

  • Certain pentatonic scales can be superimposed over complex chords to simplify the melody creation process.

• Scale Pairings:

  • Chords with a 9th: Use a pentatonic scale a 5th above the root.

    • Example: For a $C9$ chord, use a $G$ major or $G$ minor pentatonic scale.

  • Major chords with #11: Use a pentatonic scale "two 5ths" above the root ($M2$).

    • Example: Use a $D$ major pentatonic scale over a $Cmaj7(\#11)$ chord.

  • Minor chords with a 13th: Use a pentatonic scale "two 5ths" above the root ($M2$).

    • Example: Use a $D$ minor pentatonic scale over a $Cm13$ chord.

Wind Instruments: Woodwinds

• Flute

  • Characteristics: The only woodwind in the orchestra without a reed and the only transverse woodwind. Made from metal (low end: nickel or silver/gold-plated brass; high end: pure gold, silver, or platinum).

  • Nomenclature: Players are called flutists or flautists.

  • Related types: Piccolo, alto flute, and bass flute.

  • Registers and Timbre:

    • Lowest Register: Weak, breathy, and sensual.

    • Mid-Low Register: Sweet but still rather weak.

    • Mid-High Register: Most singing, bright, and clear.

    • Highest Register: Piercing, loud, and shrill.

  • Example: Mozart Flute Concerto No. 1.

• Oboe

  • Characteristics: Double reed instrument; most players make their own reeds. Generally made from wood.

  • Related Instrument: English horn.

  • Registers and Timbre:

    • Lowest Register: Thick and heavy.

    • Mid-Low Register: Warm, prominent, reedy, and poignant.

    • Mid-High Register: Thin but clear.

    • Highest Register: Pinched and ineffective.

  • Example: "Across the Stars" (Star Wars Ep. II Love Theme) by John Williams.

• Clarinet

  • Characteristics: Single reed. Made from plastic (low end) or wood (specifically African wood).

  • Types: $Bb$ is most common; others include Bass clarinet, $A$ clarinet, and $Eb$ clarinet.

  • Registers and Timbre:

    • Chalumeau Register: Deep and rich.

    • Throat Tones: Rather pale.

    • Clarino Register: Bright, incisive, and expressive.

    • Highest Register: Piercing and shrill.

  • Example: "The Tale of Viktor Navorski" from The Terminal by John Williams.

• Bassoon

  • Characteristics: Small double reed. Made from wood (maple). Traditionally provides the low end of the woodwind section and often doubles the cellos.

  • Registers and Timbre:

    • Lowest Register: Sonorous, dark, and vibrant.

    • Mid Register: Sweet, more subdued, but expressive.

    • High Register: Thin and often pinched.

    • Highest Register: Thin but intense.

  • Example: Mozart Bassoon Concerto in $Bb$ - Movement 1.

• Saxophones

  • Family Members: Soprano, Alto, Tenor, and Baritone.

  • Transpositions:

    • Eb Sopranino: Written pitch sounds a minor 3rd up.

    • Bb Soprano: Written pitch sounds a major 2nd down.

    • Eb Alto: Written pitch sounds a major 6th down.

    • Bb Tenor: Written pitch sounds a major 9th down.

    • Eb Baritone: Written pitch sounds a major 13th down.

Wind Instruments: Brass

• Horn in F (French Horn)

  • Characteristics: Players must "hear" the pitch before playing it. Considered to sound most like a traditional "horn" compared to other brass.

  • Registers:

    • Low: Dark and a bit unfocused.

    • Mid-Low: Deep and solid.

    • Mid-High: Bright and heroic.

    • High: Brilliant and loud.

  • Special Considerations: Mostly avoid playing above written $G5$. Often uses a mute.

• Trumpet

  • Characteristics: Highly versatile. Capable of fast passages in any range and handles highly chromatic passages easily. Large dynamic range, though playing quietly is difficult.

  • Registers:

    • Low: Rather dull.

    • Mid: Clear, bright, and most articulate.

    • High: Brilliant but strident.

  • Usage Styles: Spans Classical and Jazz/Commercial (Lead trumpet).

• Trombone

  • Registers:

    • Low: Dark, less strong.

    • Mid: Firm and powerful.

    • High: Very intense.

  • Special Considerations: Uses slides. Slurring is considered difficult.

• Bass Trombone

  • Registers:

    • Low: Deep and solid.

    • Mid: Very powerful.

    • High: Heavy and quite strong.

• Tuba

  • Characteristics: Provides the lowest range foundation to thick chords. Sounds muffled and unclear when heard in isolation.

  • Registers:

    • Low: Very strong.

    • Mid: Deep and heavy.

    • High: Getting weaker but quite intense.

  • Limitations: Less agile than other brass; not ideal as a solo instrument. Very limited in terms of player breath capacity.