THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ... THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
open 4ths and 5ths, chord fragments, and collections of notes within the mode prevail throughout. #14 Great rhythmic drive or interest in rhythmically based pieces This arrangement is vital, passionate, and physically rhythmic. All the way to the end, even when the men are singing p, the drive continues. The choruses, “Oh, Hallelujah, how I love my Savior,” highlight the rhythmic character of the music with accents and syncopations, pedal points and ostinatos (mm. 57-80). #15 Frequent use of imitation Imitation is used in this passage in m. 49, m. 51, especially in m. 53, and m. 55. #16 Frequent use of pedal points and ostinatos The basses hold a pedal point G—most often with its fifth—from m. 57 through 61. Measures 65-70 and 73-75 manifest shifting chords over a stationary bass line as well. Ostinatos are found in the bass section from m. 57 to 62 in the half note/quarter/quarter figure. This is picked up by the tenors in m. 59 with slight alteration. #17 A preference for gapped scales and modality over tonality “Death Shall Not Destroy” is in the Dorian mode, but the raised 6th step, used just once in the melody and only as a passing tone, renders the scale essentially hexatonic. There are no accidentals in the entire arrangement except for mm. 63 and 64, where Parker employs an unusual special effect with parallel fifths leading to a satisfying dominant chord. Here we have in succession a major chord built on the 3 rd step of the mode, a major chord on the 4th step, and finally a dominant chord, which is not found elsewhere in the arrangement. These chords do not relate to the “relative major” of a minor scale, but reflect modality. This kind of chord 28
progression is found in rock ‘n’ roll songs, in which the guitarists play “power chords.” Similarly, the chord progression for the last four measures is highly modal with its flat seventh step, and its freedom from tonal tendencies: tonic (no 3rd) —minor v—iv of a kind (no 3rd and with added 2 and 5) —ii minor 7—ii in 1st inversion—tonic (no 3rd). #18 General avoidance of the leading tone, even in dominant function This is found in m. 52, beat 2; mm. 67 and 68; and at m. 76, beat 3. #19 Tendency to favor men’s voices over women’s The last eight bars are for men’s voices alone. 29
- Page 1 and 2: THE COLLABORATIVE ARRANGEMENTS OF A
- Page 3 and 4: ABSTRACT This document is a compreh
- Page 5 and 6: DEDICATION This Document is dedicat
- Page 7 and 8: CONTENTS ABSTRACT .................
- Page 9 and 10: LIST OF TABLES AND CHARTS Table 1:
- Page 11 and 12: CHAPTER 1 INTRODUCTION Alice Parker
- Page 13 and 14: Chapter 5 discusses the legacy of t
- Page 15 and 16: standard classical choral repertoir
- Page 17 and 18: Biography of Robert Shaw CHAPTER 3
- Page 19 and 20: Theodore Thomas Award in recognitio
- Page 21 and 22: melodies and texts in the public do
- Page 23 and 24: was popular in radio and television
- Page 25 and 26: Shaw’s perspective on the legacy
- Page 27 and 28: CHAPTER 4 THE NATURE OF THE PARKER-
- Page 29 and 30: he did…made the difference betwee
- Page 31 and 32: opposition to choral music that is
- Page 33 and 34: also from the fact that with men’
- Page 37: Death Shall Not Destroy 1960, Tune
- Page 42 and 43: Johnny Has Gone for a Soldier Chora
- Page 44: Excerpt 3: What Shall We Do with th
- Page 49 and 50: In mm. 69-81, homorhythm is broken
- Page 54 and 55: Seeing Nellie Home 1954, TTBB, Tune
- Page 56: Excerpt 5: I’m Goin’ to Sing 46
- Page 60 and 61: #17 A preference for modality over
- Page 63 and 64: Broad Is the Road 1960, Tune source
- Page 65 and 66: Recorded on album: Sing to the Lord
- Page 67 and 68: v.4 v.5 v.6 Phrases 3 & 4 T sings h
- Page 69 and 70: destination. Dr. Ann Howard Jones,
- Page 71 and 72: there is not one instance in the en
- 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)
progression is found in rock ‘n’ roll songs, in which the guitarists play “power chords.”<br />
Similarly, the chord progression for the last four measures is highly modal with its flat seventh<br />
step, and its freedom from tonal tendencies: tonic (no 3rd) —minor v—iv of a kind (no 3rd and<br />
with added 2 and 5) —ii minor 7—ii in 1st inversion—tonic (no 3rd).<br />
#18 General avoidance of the leading tone, even in dominant function<br />
This is found in m. 52, beat 2; mm. 67 and 68; and at m. 76, beat 3.<br />
#19 Tendency to favor men’s voices over women’s<br />
The last eight bars are for men’s voices alone.<br />
29
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