THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

Seeing Nellie Home
1954, TTBB, Tune source: Fletcher, Text source: Kyle, LG538
This song for men’s voices, “Seeing Nellie Home,” represents a number of feisty and
highly-arranged songs in the men’s glee club or barbershop choir fashion. The passage chosen
for review here begins with the chorus, with the melody in the second voice from the top, which
is the standard placement for the melody in barbershop. We see:
#9 A wide variety of dynamics and articulation, often with sudden contrasts
Instructions for mf bounce at m. 24, with strong accents, numerous hairpin crescendi and
decrescendi throughout, a call for legato at m. 28, subito p at m. 31 followed by the indication
of pp hushed at m. 33, legato at m. 36, and two sforzandi in the bass at m. 41. Then, suddenly,
the mood changes to a serene mf at mm. 42 and 43. This is one of the show-stopping
arrangements that sparkle with sudden change and showy effects.
#14 Great rhythmic drive or interest in rhythmically-based pieces
The rhythm in this arrangement is infectious, and is highlighted by the accents on beats
one and three in mm. 25-28, by the strong homophonic texture within a fast tempo up to m. 41,
and by the alternating outbursts in mm. 41-45.
#15 Frequent use of imitation
Measure 43 employs an echo effect in the upper two voices. An unusual instance of
imitation before the event being imitated—something that might be called “preemptive
imitation,”—occurs at m. 24. Here, before the melody in the second voice from the top begins
the chorus at the pickup to m. 25, the third voice from the top sings the same motive at the
unison.
#16 Frequent use of pedal points and ostinatos
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