![]() ![]() You can also determine how they interact with each other, for example, by changing the players assigned to layouts. Setup mode allows you to set up the fundamental elements of the project: instruments and the players that hold them, flows, layouts, and videos. In addition to opening and importing/exporting projects and other file formats, project and file handling also includes auto-save and project backups. This chapter introduces you to key aspects of the user interface. The user interface of Dorico Pro is designed to be as unobtrusive as possible while keeping all of the important tools at your fingertips. Occasionally abcd or abca are possible, but only if b is a clear response to a, not simply new material.Īn srdc structure tends to tend to divide neatly into halves: sr and dc.īobby Darin’s “Dream Lover” ( Example 3) provides a classic example of a four-part srdc phrase structure.Dorico is based on a number of key concepts that come from its design philosophy. In conventional lettering, an srdc section could employ an aaba structure (with statement material returning as a restatement and again as the conclusion), or an aabc structure (where the conclusion material is new). Walter Everett (2001, 132) has called such a four-phrase sentential structure in pop/rock music srdc (statement, restatement/response, departure, conclusion). In pop/rock music, this often appears as a basic musical idea in the first phrase, a repetition or “response” to it in the second, contrasting material in the third phrase (often employing fragmentation, acceleration of harmonic rhythm, and movement away from tonic harmony), and a conclusion in the fourth phrase―either with a return to the basic idea and tonic harmony or with still newer material that forms a strong melodic, rhythmic, and harmonic conclusion. Well, you ain't never caught a rabbit and you ain't no friend of mine.Ī section composed of four phrases often contains a sentential structure (presentation → continuation → cadential/conclusion). “Hound Dog” contains aa′ b strophes ( Example 2). If the first two phrases are based on the same music and the third is different, the section is labeled aa′ b.ġ2-bar blues progressions are the most common example of a three-part aa′ b section. “Livin’ on a Prayer.” Three-PartĪ section containing three phrases is a three-part section. Very rarely, a section’s phrases can be grouped into two clear halves based on different music. New lyrics, new musical endings, or musical variations simply warrant a “prime.” However, if the two phrases begin with similar musical material, give them the same letter. ![]() The first four-bar phrase (“Oh, we’re half-way there…”) and the second four-bar phrase (“Take my hand…”) have identical melody and harmony (so they both get the letter a), but different lyrics (so the second a is marked as “ a prime”: a′). Note that in many songs, this relationship is not as clear cut. The chorus to “Livin’ on a Prayer” (1’33”) has an aa′ structure ( Example 1). Often these two halves begin the same but have different endings, participating in an antecedent– consequent (weak → strong) relationship. In two-part sections, the second half is usually based on the same music as the first half, and thus it is labeled aa′. Two-PartĪ section is two-part when the phrases that make up the section can be grouped into a first half and a second half. In labeling these structures, phrases are designated by lowercase letters. Each section consists of at least two phrases-in pop/rock music, a phrase is a musical unit that typically lasts for four bars and corresponds to one line of the lyrics. This chapter discusses the structure of song sections such as a verse, chorus, or bridge. ![]()
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