THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

Death Shall Not Destroy
1960, Tune source: AMH: Mount Watson, Text source: Mountain hymn, LG920
The early American folk hymn, “Death Shall Not Destroy,” contains many of the
nineteen characteristics within a short passage.
#8 Multiple voicings within an arrangement
The excerpt begins with an ST/AB two-part voicing, which only lasts for two measures.
The next two measures are in 4-part SATB polyphony. At m. 57, we see an SATTBB
homophonic texture, moving to TTBB at m. 73 to finish the piece.
#9 A wide variety of dynamics and articulations, often with sudden contrasts
In this passage we see dynamic shifts from f to meno f to f to ff to p; the last shift is
sudden. A crescendo hairpin is found at m. 64, and a diminuendo hairpin closes the work. An
abrupt change in articulation, from a hearty and forceful f to a softer legato, is found at m. 53.
Robust accents begin again at 57. Marcato continues at the level of piano, accenting the mystery
of the text.
#11 Countermelodies and background harmony lines largely taken from melodic motives
In mm. 49-51, the altos have the melody (while the sopranos complete the phrase in m.
52). The descending countermelody in the sopranos and tenors in mm. 49-50 (G, F, D, C, A in
outline) reflects the contour of the descending portion of the melody (C, A, G, F, D over the text
“spirits waiting”) in its whole-step/minor third character. In m. 51, the basses’ countermelody is
an exact inversion of the alto melody.
#12 Harmonies not complex; “resultant harmony” frequent
Melodies pursue their courses and cross in non-chordal ways in the following places in
this excerpt: m. 51 beat 3; m. 55 throughout; m. 56 beat 1. Complete chords are infrequent, but
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