THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ... THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
o 5 “minor haunting” o 3 “bright, bouncy” o 1 “major lush” o 1 “thoughtful” “Hearty” arrangements are split between major and minor modes 4 “Stark” pieces are minor, 1 is major, and What Wondrous Love is difficult to categorize with no use of the 3 in the F Dorian pentatonic mode (Dr. Parker sees the 6 th step as a passing tone.) Sea shanties summary 12 arrangements reviewed Scales/modes of the 12 melodies: o 7 major o 1 major hexatonic (no LT) o 1 Aeolian o 1 Aeolian hexatonic (no 6) o 1 Mixolydian o 1 Dorian Scales most frequently used: o F major: 3 o D major: 2 Performing forces: o 6 TTBB o 4 TTBBB o 1 TTTBBB o 1 TTTBB Number of arrangements using soloists: 8 (67%) Average number of verses set in each arrangement: 4.4 Average number of measures in each arrangement: 83.6 Number of songs sung in a language other than English: None 11 arrangements use 3 or more different voicings (unis, 2-pt, 2-pt ST/AB, 3-pt, 3-pt SSA or SAA, 3-pt TTB or TBB, 4-pt, 4-pt TTBB, etc.): (92%) 6 arrangements include at least moderate use of imitation techniques (50%) 8 arrangements include at least moderate use pedal points or ostinatos (67%) 12 arrangements employ at least moderate use of sharp contrasts in dynamics or articulation: (100%) Irish songs summary 9 arrangements reviewed Scales/modes of the 9 melodies: o 5 major o 1 major hexatonic (no 6) o 1 Aeolian o 2 Aeolian hexatonic (1 with no 2, one with no 6) Scales most frequently used: o No scale repeats Performing forces: o 5 SATBB o 2 SATB o 2 TTBB 114
Number of arrangements using soloists: None Average number of verses set in each arrangement: 3.3 Average number of measures in each arrangement: 63.8 Number of songs sung in a language other than English: None 6 arrangements use 3 or more different voicings (unis, 2-pt, 2-pt ST/AB, 3-pt, 3-pt SSA or SAA, 3-pt TTB or TBB, 4-pt, 4-pt TTBB, etc.): (67%) 5 arrangements include at least moderate use of imitation techniques (56%) 4 arrangements include at least moderate use pedal points or ostinatos (44%) 6 arrangements employ at least moderate use of sharp contrasts in dynamics or articulation: (67%) 115
- Page 73 and 74: touches of imitation, etc. to lend
- Page 75 and 76: CHAPTER 5 LEGACY The Parker-Shaw wo
- Page 77 and 78: Though theirs were not arrangements
- Page 79 and 80: from gapped scales and modes, and t
- Page 81 and 82: BIBLIOGRAPHY Baxter, Jeffrey W. “
- Page 83 and 84: APPENDIX I PARKER-SHAW WORKS CATALO
- Page 85 and 86: 16) Carol of the Birds, HL50304960
- Page 87 and 88: 87) Darling Nellie Gray, LG969 88)
- Page 89 and 90: 150) I Will Arise, LG905 151) Morni
- Page 91 and 92: UNRECORDED PARKER-SHAW ARRANGEMENTS
- Page 93 and 94: 6) Angels We Have Heard on High, Ch
- Page 95 and 96: 59) Fairest Lord Jesus, Choral Arr,
- Page 97 and 98: 108) La Tarara, Choral Arr, 1960, T
- Page 99 and 100: 158) Psalm 81. To God Our Strength,
- Page 101: 210) What Child Is This, Choral Arr
- Page 111 and 112: 101
- Page 113 and 114: 103
- Page 115 and 116: 105
- Page 117 and 118: 107
- Page 119 and 120: APPENDIX IV SUMMARIES OF DATA FROM
- Page 121 and 122: 11 arrangements use 3 or more diffe
- Page 123: Average number of verses set in eac
- Page 127 and 128: o 2 major hexatonic (no LT in each)
- Page 129 and 130: APPENDIX VI COPIES OF ORIGINAL PARK
- Page 131 and 132: 121
- Page 133 and 134: 123
- Page 135: 125
Number of arrangements using soloists: None<br />
Average number of verses set in each arrangement: 3.3<br />
Average number of measures in each arrangement: 63.8<br />
Number of songs sung in a language other than English: None<br />
6 arrangements use 3 or more different voicings (unis, 2-pt, 2-pt ST/AB, 3-pt, 3-pt SSA or SAA,<br />
3-pt TTB or TBB, 4-pt, 4-pt TTBB, etc.): (67%)<br />
5 arrangements include at least moderate use of imitation techniques (56%)<br />
4 arrangements include at least moderate use pedal points or ostinatos (44%)<br />
6 arrangements employ at least moderate use of sharp contrasts in dynamics or articulation:<br />
(67%)<br />
115
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