THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

particularly known for its rhythmic precision, and those who have sung under Shaw recall
the attention he gave it.
15. Frequent use of imitation in a variety of forms; for instance, voice parts might enter
with Josquin-like imitative counterpoint, one voice part may imitate another exactly, or a
cluster of background voices might echo the words and rhythm of the melody but with
different pitches.
16. Frequent use of pedal points and ostinatos. These are particularly apparent in the
arrangements of modal melodies, but can also be found in more tonal pieces. “Inverted
pedal points” are found in passages where a voice part above the melody holds a note
across shifting harmonies.
17. A preference for modality and gapped scales over tonality. Parker preferred to be free
from the constraints of the tonal voice leading and chordal relationships inherent in
tonality. Working within a modal idiom gives the arranger, she says, great freedom to
use devices such as imitation, pedal points, and ostinatos. Whether it is these gapped
scales and modes or whether it is her own inspiration that give her that freedom is
debatable, but Parker clearly leaned toward melodies of this type. 45
18. General avoidance of the leading tone, even in dominant function. In this same
context, Dr. Parker feels there is more elemental power in staying clear of the leading
tone, even when working in a tonal idiom. 46
19. A tendency to write more frequently for men’s voices than women’s. A second or
third verse, for variety, will be more often given to men’s voices than to women’s.
Parker says this stems not only from Shaw’s vast experience with men’s glee clubs, but
45 Parker, email communication with author, 29 Dec. 2011.
46 Ibid.
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