ANSWER SHEET - MADE 22/10/19 RW

Arranging Music 2018

TEST 1
Time Allowed: 60 minutes

ANSWER
ANSWERSSHEET - MADE 22/10/19 RWN/A
NAME: ____________________ STUDENT ID: ________________________

Arranging Music 2018

Section 1 – Rhythm Section (20 marks)
TEST 1
Time Allowed: 60 minutes
Q1: The following guitar line is at concert pitch. Write it transposed as the guitarist
would see it. (10 marks)
ANSWERS N/A
NAME: ____________________ STUDENT ID: ________________________
Should be an octave higher
Section 1 – Rhythm Section (20 marks)
Score

Q1: The following guitar line is at concert pitch. Write it transposed as the guitarist
would see it. (10 marks)
Guitar is written an octave above where it sounds
Q2: Which drums (on a standard drum kit) do these notes represent? (10 marks)

œ œ œ œ w

œœœœ
Should be an octave higher
4
&4 ∑

5 Guitar is written an octave above where it sounds

& ∑ ∑ ∑
KICK
1. ___________________ SNARE
2._______________ Hi-hat
3. _______________
Q2: Which drums (on a standard drum kit) do these notes represent? (10 marks)

∑ ∑ ∑
9

&
KICK
1. ___________________ SNARE
2._______________ Hi-hat
3. _______________

∑ ∑ ∑
13

&

∑ ∑ ∑
17

&

21


Section 2 – Harmony & Chords (40 marks)

Q3: List the remaining two notes, of the four, that make up the CHORD CATEGORIES
(5 marks)

3rd, 5th
Root, ________, _________, 7

Q4: In the table below complete the available substitution tones in each chord
category (20 marks)
IGNORE THIS QUESTION PLEASE, APOLOGIES
Chord Category Tensions
R
9, __, __

__ ___

__
__, 11, __, 13, __,

7 ___

Q5: Write out the following chords in root position. Remember each of the
four notes must contain one type of chord category! (15 marks)

FACE G Bb D F A C Eb G Bb D F G D F# A C Eb

Section 3 – Voicings (40 marks)

Diatonic passing means use associated chord means use a chord related, for example

you could use Cm7 (chord ii) to harmonise the Eb in bar 1. Instead I suggest you harmonise

these DPN chords as “Diminished Passing Chords” as we discussed in class.

Q6: Voice this melody using Four Way Close Double Lead. On the
notes marked CP and DP, harmonise with Diatonic Passing and
 Section 3 – Voicings (40 marks)

Chromatic Passing Chords - N.B: There should be five notes in each

Q6: Voice
chord (20this melody using Four Way Close Double Lead. On the notes
marks)
marked CP and DP, harmonise with Diatonic Passing and Chromatic Passing
Chords - N.B: There should be five notes in each chord (20 marks)

Score

b 4 j j j j
& b 4 œ . œj œ . b œ œ . œ ˙ œ. œ œ. bœ w
b
B Maj7
b
E Maj7 b Maj7 b Maj7
? b 4
B E
Score b 4 ∑ ∑ ∑ ∑

with "diatonic
b b 4
passing chord"
j
- four
Waypart j
b œ œ . j œj ˙
only– Double Lead, then assign the
j j
b & 4 jœ . œ bœœ.j œ . jœ . jœ b œ w
Q7: Voice this melody using Four Close

& b œ. œœœ œœœ ... b b œœœ œœœ ... œœ ˙˙˙ œœ .. œœœ œœœ ... b b b œœœœ www
notes of the chords to the instruments listed below, in concert pitch (20 marks)

œœœ ... b œ œœ ˙
œ . b Maj7 œœ .. b Maj7
œ œ. wb
BœMaj7 .
b Maj7 b b
E
4 b
B E Maj7
B?
b b 4 ∑ E Maj7 ∑ B Maj7 ∑ ∑
E Maj7
? b ∑ ∑ ∑ ∑
b
5 with "diatonic passing chord" - four part only
b FIVEI have
So above,bwhat j(SIMPLY itj in four jforLINE j I’ve used j chord ii of
& b œ œ . ˙ œ œ . b œ www‘spice’ I
In PARTdone DOUBLE THEpart,LEAD now. DOWN AN chords
OCTAVE)
each chord,b Cm7œ . œœ 1œœ ... 3,b bFm7
œ
œjœ in œœbar
œ œœ related
... 2. Its
œj ˙˙ so itœ
œ ... but
œj
œ œœit ..lacks
b b aœœjœcertain
is keep The DPN
œ œj œ ˙
.
&hearb inœœœmy... big band
œœœ œœœmusic.
... b b b œœœœ œœœ ... bœœœœ ˙˙˙ œœœ ... œœœ œœœ ... b b b œœœœ wwww
œ œ œ .
in bars and works
œ .. œœ œœ ..
bœœMaj7 œb . b œ ˙ œœb .. œ œ . wb
.
like to

b b b b
B E Maj7 E Maj7
B you could write it on either
Maj7
? b ∑ I’ve written it in bass
∑ clef). ∑ ∑
b (less ledger lines
To double the lead you simply take the melody down an octave, stave
B Maj7 E B E Maj7
.
Maj7 Maj7

? b œ. œ œ . b œ œ . œ ˙ œ . œ œ b œ w
but for ease
5 b J J J J J
In FIVE PART (SIMPLY DOUBLE THE LEAD LINE DOWN AN OCTAVE)
j j
9

b j j j
& b œ. b œ .
œœœ œœ .. b jœœ œœœ .. jœœœ ˙˙˙˙
œ . b œ œ . œ .
œœ .. œœjœ œœ .. b b œœœj b œ www
b œ. œœ . œ œ . w
& b œœœ ... œj œ . bœ
œœ œœœ ... b b b œœœœ œœœœ .... b œœœ ˙˙˙˙ œœ .. . b n œœœ n œœœ ... b b b b œœœœ www
bœœ ...
B œMaj7 b œœ œ . bb œ œœ ..b Maj7œ œ . wb
b b Maj7
E Maj7
b
B
b
E Maj7
? b œ.
B Maj7
œ œ b œJ œ . œ ˙
. b œ E . œ œ . b œJ
Bœ Maj7 Ew Maj7
? bb œ . œJ œ . J
œ . œ J˙ œ. œJ œ . b œ
J
w
9 b J J J
13

b j j j œ j
& b œ . œj b œ
œœœ .. b b œœœ œœœœ ... b œœœ ˙˙˙©˙ . b œ
œœœ .. b n œœœ n œœœ .. b b b œœœ wwww
œ
œœœ ... b œœœ œ .. .b œ œ .. .
b
B Maj7
b
E Maj7
b
B Maj7
b
E Maj7
? œ. bœ œ. œ ˙ œ. œ œ. bœ w
 b j j j j
& b œ . œj œœ .. b b œœœ œœœ ... œœ ˙˙˙ œ . b œ
œœ .. œœ œœ .. b b œœœ www
œ
œ . œœ
œœ .. œ œ . œ . b œ œ . bœœ ˙ œœ .. œ œ . w
Doing it more b the way I’ve taught you I Ewould
B Maj7
b Maj7 for those DPNs.EItsb Maj7
b Maj7 use diminishedBchords what I’ll

? b œ. œ œ . b œJ œ . œ ˙ œ . œ œ . b œJ w
ask for on the test on Thursday (nudge, wink)
b J
Would look more like this. J J
Section 3 – Voicings (40 marks)
9

b j j j j
& b œ . œj b œ
œœ .. b b œœœ œœœ ... b œœœ ˙˙˙ œ . b œ
œœ .. b n œœ n œœ .. b b b œœœ www
œ
Q6: Voice this melody using Four Way Close Double Lead. On the notes

œœœ ... b œœœ œœ .. œ .b œ ˙ œœ .. œ œ . w

marked CP and DP, harmonise with Diatonic Passing and Chromatic Passing
Chords - N.B: There should be five notes in each chord (20 marks)
b
B Maj7
b
E Maj7
b
B Maj7
b
E Maj7
? b œ. œ œ . b œJ œ . œ ˙ œ. œ œ . b œJ w
b J J J
13

In all of the above the CPN’s are anticipations of the

©
EbMaj7 chord. I’ve written an enharmonic
spelling of EMaj7 a semitone above anticipating the EbMaj7 chord. Works well.

Q7: Voice this melody using Four Way Close – Double Lead, then assign the
notes of the chords to the instruments listed below, in concert pitch (20 marks)
Score

B
b7 A7 A
b7 G7 C9 F9 B
b Maj7
b 4 ˙
& b 4 ˙ nœ bœ œ ˙. ˙ w
Piano B
b7 A7
b
A 7 G7 C9 F9 B
b Maj7
b 4 ˙˙
& b 4 ˙˙ ˙˙ . n ˙˙˙ b ˙˙˙˙ ww
b ˙˙˙ n # nn œœœœœ b b b n œœœœœ n œœœœ b ˙˙˙ .... ˙ www
œ
b 4 ˙
et in B b & b 4 ˙ nœ œ œ ˙. ˙ w

b 4
& b 4 ˙ ˙. ˙
˙ w
lto Sax
#œ nœ nœ
˙. ˙ ˙
? b 4 ˙ œ bœ œ w
nor Sax b 4
n˙
? b 4 b˙ œ bœ œ n˙. ˙ w
ombone b 4
˙
? b 4 ˙ nœ bœ œ ˙. ˙ w
ne Sax b 4