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    Mairants Arranging For The Guitar PDF

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    nino

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    © All Rights Reserved
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    Spirit Of New Orleans 50016 3089 50047 K6R4 Teas 197612 Shatingar e763 Re Times NEW 0416 0420 0422 Pol2 | 1VOR MAIRANTS Classical Guitar ee Pee indicate Quantities In The Squares Provided Bundle Of Blues / Ivor Mairants / $1.50 Fiddler On the Roof / Adv. Classical Guitar $2.50 Spirit Of New Orleans (Jazz Original) Ivor Mairants / $1.50 Arranging For The Classical Guitar / Ivor Mairants / $2.95 A professionals hints and tis plus ll the basis Music Of The Modern Masters — Ten Short Pieces (Ivor Mairants) / $1.95 inky, Kabelevsky, Shostakovich, Bartok — Musi of the twentieth century for clasial gtr. Meditation — A Folio For Classical Guitar / Ivor Mairants A group of unusual lassea gitar solos forthe francing performer —Bach, Malrants, and Ps Selections From Mr. Wonderful / Adv. Classical Guitar Ivor Mairants $2.50 ‘Composer's Guide To The Guitar / Ivor Mairants ec RL RETESET TEES LibrosenEspafiol Snyder Instructor Basico Guitarra / Jerry Snyder / $3.95 For the student for whom Spanish s more convenient, the best sling guitar method in the word. Vo. Libro Basico de Guitarra y Canto / Jerry Snyder / $3.95 ‘Disenado para instracion de grupos o inalviduos. Secundo Libro Basico de Guitarra y Canto / Jerry Snyder / $3.95 [A.companion ofthe ist volume, forthe instruction of ‘naividuals or grouns. ol TL Theory Pocket Books Music Theory Dictionary / William F. Lee / $1.95 tables to improve Harmony Theory Pocket Book / Harry Dexter / $1.45 “The principles of music theory are soundly introduced reviewed before moving tudy of harmony. ARRANGING FOR GUITAR by IVOR MAIRANTS Be your own arranger. Take any piano copy or song copy and arrange your own guitar solo. Learn to rewrite a score to a guitar solo. Write your own song accompaniment. ‘Copyright ©1976 by Silhouette Music Corp., New York, N.Y International Copyright Secured Made in USA, AURights Reserved Author’ Preface The repertoire of those who play the guitar is generally limited to the following: music written or arranged for the guitar, by personally learning from others, or by copying recorded performances. Therefore, unless one has the ability to arrange or transcribe a piece of one’s choice or has a phenomenal natural ear, the guitarist is forced to stay within the bounds of available published guitar music. Due to the insufficiency of popular guitar literature, guitar players have often requested a publication wl would help them create their own arrangements, and it is hoped that the text and musical examples in “ARRANGING FOR GUITAR” will help guitarists to do just that, and to become more versatile players. It helps you to be your own arranger; it enables you to take any piano copy or song copy and arrange your own guitar solo. It helps you to turn a score or a top line melody and chord symbols into a personal solo performance or accompaniment. no Ivor Mairants Ivor Mairants was born in 1908. He became a professional guitarist in 1928 and has played with most of Britain’s leading dance bands, including Ambrose, Lew Stone, Geraldo and Ted Heath. He was also a member of Mantovani’s orchestra for fifteen years, and has extensive credits in radio, television, records, films and concerts. He has studied classical guitar with Andres Segovia, Abel Carlovaros, Narciso Yepes, and Alirio Diaz, and flamenco with Nino Ricardo, Pepe Martinez, Mario Escudero, Serranito, Manolo Moreno and others. He is a reviewer for “B.M.G.” and “Guitar,” and he has written methods for plectrum, classical and flamenco guitar, as well as a number of compositions. He was elected top guitarist in the Melody Maker Polls 1946-1953. He established his school of music from 1950 to 1960, and his store, Ivor Mairants Musicentre, in 1959 — now recognized as Britain’s leading guitar store. His music has been published with E.M.1. Music, Belwin-Mills, Chappell, Boosey & Hawkes, Southern Music, Bosworth, Foyle and Charles Hansen. His hobbies include world travel, history and swimming. IVOR MAIRANTS ARRANGING FOR GUITAR CONTENTS: Page 1 RANGE OF THE GUITAR 5 2. INTERVALS AND CHORDS 7 3 MELODY AND HARMONY 8 4 CHORD VOICING. ... é 5 10 5 TRANSPOSITION. ... n 6 CHORDS CONTAINING MORE THAN THREE NOTES 2 7 TRANSCRIBING FROM PIANO TOGUITAR .................15 “RED RIVER VALLEY” PIANO COPY AND GUITAR ARRANGEMENTS. . . Eeceeee saate PART TWO TRANSCRIBING FROM A PRINTED SONG COPY MOON RIVER Song Copy dep auPedutiae wostiaedsi: 22 Guitar Arrangement 1 Terie 24 GuitarArrangement 0.6445 ¢a0ie s+ CMMs espeneinn'es 26 BABY ELEPHANT WALK Piano Copy : de vasulsies = = = = Ast Unison 2nd. 8rd. 4th, Sth. 6th. ‘Ith. 8th. NOTE Both the lower and higher notes are included in the size of the interval. Intervals between the tonic and the two other most important notes of the scale i.e. the 4th and the Sth, are known as ‘perfect’ intervals. Intervals between the tonic and the remaining notes of the major scale are known as ‘major’ intervals. Intervals are raised or lowered when altered by means of accidentals When a major interval is lessened by a semitone it becomes ‘minor When a minor interval is extended by a semitone it becomes ‘major When a minor interval is lessened by a semitone it becomes ‘diminished! When a major interval is extended by a semitone it becomes ‘augmented’. When a perfect interval is extended by a semitone it becomes ‘augmented’. When a perfect interval is lessened by a semitone it becomes ‘diminished’. The major scale illustrating major, minor, perfect, augmented and diminished intervals. PERFECT INTERVALS MAJOR, ist 4th sth Octave 2nd ard 6th 7th MINOR ant 3rd. 6th. th. AUGMENTED an. sth, sth, iit 12th, DIMINISHED more easily recognized as (#9) = (Aug9) or (+9) = = sometimes called flat 10 ®, MELODY & HARMONY Although every melody suggests its own harmony, a melody stands bare when performed without the help of some accompanying harmony. Unharmonized melody, which satisfied the Western ear prior to the invention of harmony required to be clothed, therefore one must be able to harmonize a melody. The simplest form of harmonization is by adding a note an interval of a third above the root, and as you will have seen from the section on intervals, a third above C is E and to complete the triad (a three note chord) another third must be added above E, i.e. G. CHORDS Now we have a triad with a root: C, a major 3rd: E, and a perfect Sth:G. Note that all intervals in a chord are named from the root. When a triad consists of a root, a major 3rd and a perfect Sth, itis known as a Major chord. When a triad consists of a root, a minor 3rd, and a perfect Sth, it is known as a Minor chord. When a chord consists of a root, a minor 3rd and a diminished Sth (ie. both 3rds being minor) it is known as a diminished triad. Example 1 consists of the scale of C harmonized in triads and it will be noted that the most important chords known as the primary chords are the root (1) the fifth (V) dominant and the fourth (IV) sub- dominant and they are major chords. The rest, apart from the chord on the leading note B, are minor chords identified by small numerals ii iii and vi. The chord based on B, the leading note of the key of C, is known as a diminished triad and given the sign 0 or vii®, Here, then, is the scale of C in triads:— EXAMPLE i c Dm Em F G Am = SSS SS ——| IDENTITY 1 ii iii Vv . vi vii® I Root Super: Mediant: Sub Dominant ‘Sub Leading Octave Tonic Dominant Mediant Note It may be noted that the chords of the root, fourth and fifth contain all the notes of the major scale and give rise to the commonly known “three chord trick” so prevalent in popular music. There are also chords of 4 notes (1,3,5,7). 5 notes (1,3,5,7,9), 6 notes (1,3,5,7,9,11) and 7 notes (13, $,7,9,11,13). DIMINISHED & AUGMENTED When a chord contains intervals of 3 minor thirds as, for example, 8,D,F and Ab, it is known as a diminished chord. ‘When a chord contains intervals of two major 3rds as, for example, C,E,G# or G,B,D#, it is known as an augmented chord. ‘A dominant chord is constructed by taking as a root the dominant note of the scale and here are the dominant 7th, 9th, 11th and 13th in the key of C commencing on G. Dominant 7th G7 Root: Major 3rd: Perfect Sth: Minor 7th G B D F Dominant 9th G9 Root: Major 3rd: Perfect Sth Minor 7th: Major 9th: G B D F A Dominant 11th G11 Root: Major 3rd: Perfect Sth Minor 7th: Major 9th: Perfect 11th G B D F A c: Dominant 13th G13 Root: Major 3rd: Perfect Sth Minor 7th: Major 9th: Perfect 11th Major 13th G B D F A c E ‘The dominant chord may be augmented or diminished but the root, the major 3rd and the minor 7th must remain constant. ‘A chord of G7 may have a minor 9th making the chord known as a G7-9; G7m9 or G7b9,i. 9th. It will then be seen that G7 minor the root is omitted the top part of the chord appears to be a diminished chord of B®, D°, F®, or Ab® ‘The other types of chords will be enumerated later on. 9 INVERSIONS ‘The chords mentioned above have all been shown in their root positions but they can also be played so that the notes are inverted; for example, if the root is inverted or transposed one octave up we have a first inversion chord and below is the scale of C with the root notes as the highest notes of the chord, Example 2. EXAMPLE 2 tat = c Dm Em F G Am BO c In order to realize the sound, play the following exercise on the guitar EXAMPLE 3 When writing a melody and accompaniment on one stave as one has to for the guitar, the melody notes and accompanying notes must be written with the stems pointing in opposite directions so as to distinguish between them.as illustrated in the short examples in Ex. 3a & 3b. EXAMPLE 3a RONDO - FERNANDO SOR. (OP.22) EXAMPLE 3b ina - ror By adding octaves to the triads in Ex. 1 another voicing is open to the arranger: Ex. 4. = EXAMPLE 4 c Dm Em F G Am 0, BY triad 2 2 ‘* One would not normally double the lowest note of this diminished triad. The additional note depends on the nature of the progression in which this chord is used. If a third is added B,D,F,A, it becomes a Bdim triad with a minor 7th known as B minor 7 flatted Sth; Bm7-S. If an Abis added it becomes a diminished 7th chord. For the present, that is until the chord is further explained, we will place the fourth note a third below ie. G and use it as a dominant 7th chord leading to the tonic. EXAMPLE 4a 5 ‘Bint-5 B or Still a further option is open i.e. open voi EXAMPLE 4, Em ba G Am Betriad «= GT so so od 4 20 = 10 ® CHORD VOICING MAJOR CHORDS: Where a six or five note thord is illustrated it can also be used as a 3 or : 4 string chord if desired. EXAMPLE 5: CHORD OF C__ (Ringed numerals (©) denote string to be used for lowest note.) cit Cv 12 cx 8 4 <2 Te 1S EXAMPLE 6: CHORD OF D MINOR, 12 ‘

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