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music theory and arranging techniques for the church musician winston vaughn arblaster a thesis PDF

385 Pages·2010·4.72 MB·English
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MUSIC THEORYAND ARRANGING TECHNIQUES FOR THE CHURCH MUSICIAN by WINSTON VAUGHN ARBLASTER ATHESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts September 2010 ii "MusicTheoryand ArrangingTechniques for the Church Musician," a thesis preparedbyWinston VaughnArblaster in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusicand Dance. This thesis has been approvedand accepted by: f Dr.Jack,Boss, Chairofthe ExaminingCommittee +. .5 <.:p ~ 20 r0 I Date Committee in Charge: Dr.JackBoss Dr. Timothy Pack Don Latarski Accepted by: Dean ofthe Graduate School iii An Abstract ofthe Thesis of Winston Vaughn Arblaster for the degree of Master ofArts in the School ofMusicand Dance to betaken September 2010 Title: MUSIC THEORYAND ARRANGING TECHNIQUES FORTHE CHURCH MUSICIAN Approved: Dr. JackBoss The rising popularityofthe use of"contemporarymusic" for worship in Christian churches has created an ever-growingbodyofmusic professionals who, cominglargelyfrom a rock-influenced folk idiom, are often untrained in music theory. As the style ofmusic has shifted from the traditional model, stemmingfrom classical genres, to one dominated by popularmusic, manyofthese musicians see theory education as impractical oratleast unneeded given their particular stylistic approach. In orderto address this issue, a method must be developed, departing from standard methods oftheorypedagogyto one employingselected concepts and iv applications pertainingparticularlyto the contextthe contemporaryworship settingand presentingthem in a manner immediatelybeneficial to these musicians' vocational considerations. This thesis serves as apossible solution byproposing such a method and comparingitto the approaches ofthree major theory methods on these terms. v CURRICULUM VITAE NAME OFAUTHOR: Winston VaughnArblaster PLACE OF BIRTH: Eugene, Oregon DATE OF BIRTH: November 22,1984 GRADUATEAND UNDERGRADUATE SCHOOLSATTENDED: UniversityofOregon, Eugene DEGREESAWARDED: MasterofArts, MusicTheory, UniversityofOregon, 2010 BachelorofArts, Music, UniversityofOregon, 2007 AREAS OF SPECIAL INTEREST: MusicTheory Pedagogy MusicArranging, Composition Classical Guitar, Jazz Guitar Worship Ministryin the ChristianTradition Theology PROFESSIONAL EXPERIENCE: Instructor, New Hope Christian College, Eugene, Oregon, 2010 Instructor, The Lesson Factory, Eugene, Oregon, 2007-2010 Music MinistryIntern, FirstBaptistChurch, Eugene, Oregon, 2009-2010 vi ACKNOWLEDGEMENTS Ithank Dr. Jack Boss for his enduringencouragementand enthusiasm throughoutthe longtenure ofthis project as well as his remarkable commitmentto musicand the Church. Also thanks to Dr. Timothy Packand Don Latarski whose work as advisors and teachers has proven invaluableto me. To Steve Maricle for his wisdom, which stems from decades offaithful ministry in the church, as well as the inspiriation he has been as my mentor. To David Case,whose patience and exemplaryteachinghelped me to strive for myabsolute best. Special thanks to my mother, whose nurturinghands first showed me music, and above all to our Lord Jesus Christ,who is redeemingall creation and draws itto theworship ofthe Father. vii To Shaphan Thomas, a faithful teacher and friend. viii TABLE OF CONTENTS Chapter Page I. PREFACE 1 Background 1 Contributions to the Topic 4 Method 8 Notes 9 II. INTRODUCTION 11 What Is Music Theoryand WhyDoWe Use It? 14 Do We Need Music Theory? 16 Makingthe Mostofthe Text 23 Notes 26 III. PRELIMINARIES &NOTATION 27 What Is Music? 27 What Is Notation? 29 What Notation Style Should You Use? 35 Is Notation Necessaryfor MusicTheory? 38 Notes 39 IV. FUNDAMENTALS OF PITCH 40 The Octave 41 The Musical Alphabet& Natural Notes 44 Accidentals 47 Notation on the Staff 49 Practice Exercises 55 Notes 56 ix Chapter Page V. RHYTHM & POPULAR SONG FORM . 57 The Beat . 57 Divisions ofthe Beat . 59 Notation ofRhythmic Durations .. 60 Time Signatures . 69 Syncopation . 73 Popular SongStructure . 76 MoreVocabulary& Notation . 82 Practice Exercises . 87 Notes . 90 VI. KEYS & SCALES . 91 Keys & Scales . 91 The Major Key . 93 KeySignature . 95 The Minor Key . 103 Key Relations . 108 Practice Exercises . 112 Notes . 115 VII. INTERVALS 116 NumericValue . 116 Interval Quality . 119 Consonancevs. Dissonance . 139 Transposition . 143 Practice Exercises . 146 VIII. TRIADS 149 Diatonic Triads . 150 x Chapter Page Chord Tones . 152 Chord Quality . 154 EarTrainingfor Major & MinorTriads . 161 Practice Exercises . 169 IX. FOUR-NOTE CHORDS .. 170 Diatonic Sevenths . 170 ChordsWith Seconds, Fourths, & Sixths . 179 Practice Exercises . 190 X. FURTHER CHORD EXTENSIONS 192 Chord Extension . 192 OmittingTones . 207 Practice Exercises . 209 XI. SLASH CHORDS . 210 Chord Inversion (Slash Chords) .. 210 Slash Chord Reinterpretations , 221 Pedal Bass . 224 Practice Exercises . 225 XII. CHROMATICISM 229 Borrowed Chords . 230 Change ofQualityChords . 238 ANote AboutChromaticVoice Leading .. 244 Practice Exercises . 245 XIII. CHORD PROGRESSION 247 Chord Progression . 248 Chord Function . 252 Circle ofFifths (Falling Fifths) . 262

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2. Instrumentation also changed dramatically from choir and organ, to rhythm sections that included guitars and drums. Since then, the popularity of
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