CONTENTS (Theory Bk Vol III)

28. Creating Backing Vocals

Buy Phentermine Usa Online 29. Creating Intros

30. Creating Outros, Turnarounds, Loops 31. Establishing the New Key—Modulation I

Order Phentermine Diet Pills 32. Smoothing the Transition—Modulation II 33. Creating String Parts

34. Leading the Worship Band 35. Projects/Exams Appendix: Chord Catalogue Generated by Dr. Barry Liesch at Biola University

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33 Writing String Parts TBk3

Vocabulary, ranges, bowings; short examples/templates; one two & three part assignments; acoustic & electronic strings

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Chord Catalogue TBk3

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35 Arrangement Project: Immortal Invisible, etc TBk3 Create an arrangement of Immortal Invisible: provide professional chart, with introduction, key change, turnaround. Create a second arrangement.

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34 Leading Worship Band TBk3 Leading the worship band: 100% rule; complementing the bass and drummer; keyboard pads; 12 point check list

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32 Modulation II—Smoothing the Transition TBk3

Buy Valium Paypal Uk Modulation within and between pieces — a way to create interest, energy, and a sense of flow.  Learn how to do it.

Buy Zolpidem Europe Modulation, the ability to segue within or between pieces with a similar or different meter, is discussed and demonstrated. The progression ii-V-I of the new key helps smooth modulations.

Learn how to change the mood during the modulation transition: triumphant to contemplative, or contemplative to triumphant. Modulations involving minor keys is included. Examples and exercises.

Revised 5.2014.  33 pages, 49 examples.

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31 Modulation I—Establishing the New Key TBk3

Cheap Xanax Fast Delivery This chapter focuses on the basics, the beginning level. The most basic thing to master is the ability to find the V chord (or pivot chord) of the new key, for it will propel us securely into the new key. Any kind of V chord may be useable: V, Vsus, four over five, and Vsus9 is particularly good as it smooths the transition more than a dominant seventh.

We’ll work on mastering several kinds of V chords, and concentrate on modulations up a 1/2 and whole step. Examples, exercises for practicing, assignments.

Revised 2.2014.  30 pages, 55 examples.

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30 Creating Outros, Turnarounds, Loops TBk3

Different kinds of outros: (1) deceptive cadence; (2) iv-I; (3) rhythmic fade out; (4) walking down to I. Turnarounds: various versions (simple triads to complex extensions) of vi-ii-V-I.  Loops: VII-IV-I (a favorite in African American churches).

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29 Music Introductions TBk3

Different ways to improvise/write music introductions: groove on the tonic, arpeggiate the V chord; use cycle of fifths; walk up to the tonic; pull out a harmonic progression already embedded in the piece & use it to build an introduction; capture/use a melodic motive already in the piece.

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28 Creating Backing Vocals Tbk3

Various techniques for writing/improvising backing vocals: double the melody in women & men parts (called “bookends”), use close position, employ 3rd and 6ths, (and more modern) employ 4th and 5ths, punctuate the texture with vocal spikes/hits.  In comtemporary stylings, the phrases are often shorter with quicker cutoffs, and often little or not vibrato.  Included: a check list for backing singers.

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