THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

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Johnny Has Gone for a Soldier Choral Arr, 1956, SATB(S), Tune source: Trad USA, Text source: Trad USA, LG502 This second excerpt, a love song, is taken from “Johnny Has Gone for a Soldier,” which was recorded on the My True Love Sings album of 1955. Between measures 9 and 23 we observe: #9 A wide variety of dynamics and articulation, often with sudden contrasts Choral voices behind the soprano solo swell from p to an apparent f at measure 17, and quickly diminish to pp within a measure. The marking espressivo is given to the basses at m. 12, and, more emphatically, basses and tenors are told to sing “hushed, but well marked” at 18, with alternating tenuto and staccato articulations from m. 17. The altos are told in m. 20 to sing p “as an echo.” #11 Counter-melodies and background harmony lines largely taken from melodic motives In mm. 13-14, the soprano and alto background harmonies echo the beginning of verse 2, which began in the soprano solo at m. 11. This same figure is taken over by the tenors and basses at m. 15-16. #12 Harmonies not complex, “resultant harmony” frequent This arrangement moves in fairly standard harmonic progressions. There is not an accidental in the passage, and functions within the modality are simple. Instances of resultant harmony are found at the end of this passage, in mm. 22-23. Here the alto voice, imitating the melody exactly, operates independently, and skews normal harmony. #13 Voice part independence in four-part homophony Measure 17 is an excellent example of how Parker and Shaw alter the rhythm in the alto voice slightly so as to avoid perfect homorhythm in a block-written passage. 32
#15 Frequent use of imitation In m. 21 the altos in the choir imitate the soprano solo line begun at m. 20. Two measures later the altos imitate the solo voice, but at the interval of a third lower. #16 Frequent use of pedal points and ostinatos Tenors and basses begin a pedal point/ostinato at m. 18, singing the root and fifth of the mode in a repeated rhythmic pattern. When the harmony changes at m. 21, the notes change, but the ostinato remains. #17 A preference for gapped scales and modality over tonality “Johnny Has Gone for a Soldier” is in a hexatonic minor mode. There is no sixth step, and the seventh is lowered. 33
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 and 38: Death Shall Not Destroy 1960, Tune
Page 39 and 40: progression is found in rock ‘n
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)
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 and 124:
Average number of verses set in eac
Page 125 and 126:
Number of arrangements using solois
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:
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