Study Guide
Week 11
[ Reading ] [ Textbook ] [ Review ] [ New Material ] [ What You Should Know ] [ Homework ]
Reading
No textbook reading this week.
Review
Form analysis
Review our methods of analyzing the chord progressions (using Roman numerals) and song form (using schematic diagrams). You should be familiar with the different categories of components. "I Want To Hold Your Hand" has an introduction, verses, prechorus, chorus, and tag.
Modulation
Review lesson 9, other examples, and "I Want To Hold Your Hand". You should recognize two types of modulation:
- When a song modulates a different key for a part of a song (typically during the bridge) and then returns to the original key
- When a song goes through the complete form and then repeats a part of the song in a new key (typically the chorus a half-step or whole-step higher)
New Material
Fills
Fills add interest to a piece. You get used to focusing on the melody in a song, and then suddenly a different instrument takes over for a short time and draws you away briefly briefly before the lead instrument takes over again. Composers play with a shifting balance of satisfying and denying expectations. Sometimes a whole is left where a fill could be done and nothing is played.
We looked at "I Want To Hold Your Hand" last week and saw that it modulated on the bridge. This week we reexamine it, this time looking at how spaces in the melody are filled by other instruments. In a rock band the fills are often done by the lead guitar, drums, and bass.
Fills take place when the melody slows down or stops. In measures 6-7 and 11-12 the guitar (bass?) fills. Notice that the pitches of the fill avoid the notes of the melody. When you write your fills for the homework the start and end notes should be chord tones (one of the notes of the chord in effect at the time) and not be the same as the last melody note.
There is a second fill that happens simultaneously (not shown below)--a single bent guitar note in the lead guitar (?). Listen to the recording [ mp3 midi ].
Fills in the drums are often done just before a new section. For example, the drum fill in measure 13 at the end of the prechorus sets up the chorus that starts in the following measure.
The hand clap part that takes place during the verses (and stops when the prechorus starts) fit primarily into the gaps of the melody.
[ Scorch score ]
Let's look at another example of a score and compose a fill. Here is the original melody:
[ scorch score ]
Where do you think would be a good place to put fills? Look at the score above and decide where you could put a fill.
Try writing two or more fills following these rules:
- Start and end on chord tones other than the melody note.
- In between use notes of the tonic scale.
Suggestion: if you use chord tones on long notes and strong beats your fills will sound more related to the chord progression.
Here's another example of how it might look with a second instrument filling, this time done witout following the rules so closely.
Extracting parts
When you create a piece in Sibelius you can end up with a score suitable for a conductor showing what every instrument plays. Usually when you give a piece to a performer you show just what notes their instrument is to play. In the old days a copyist had to go through the conductor's score and make separate parts for each player. Sibelius will do this for you automatically [ tutorial help pages ].
What You Should Know
At the end of this week you should be able to:
Know where you can add fills to a piece
Homework
See the assignment sheet.©2001 Robert Willey
