THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

In mm. 69-81, homorhythm is broken up slightly by the quarter note rest in the basses, a
small diversion, but enough to vary the texture.
#14 Great rhythmic drive or interest in rhythmically-based pieces
Certainly the rhythm is driving in the rhythmic sections, mm. 69-81 and 104ff.
#15 Frequent use of imitation
This is most clearly seen in this passage in m. 104ff.
#16 Frequent use of pedal points and ostinatos
Ostinatos are found in the “poop-poop” figures in mm. 88-103, and the bass ostinato that
begins at m. 108. This bass ostinato becomes a pedal point that continues after this passage.
#17 A preference for modality over tonality
“Drunken Sailor” is in the Dorian mode.
#19 Tendency to favor men’s voices over women’s
The fact that several albums—and the sea shanties were among them—were written for
men’s voices alone highlights this characteristic.
Many of the Parker-Shaw arrangements exude a quality of humor and wit, which was
noted by Shaw many years later. 50 The portrayal of the drunken soldier by means of the
staggering 5/8 meter, slurred glissandi, and the silly “poop-poop” ostinato bring a smile to the
audience as well as to the singers.
50 Baxter, “Interview with Robert Shaw,” 9, 10.
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