THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

I’m Goin’ to Sing
1963, Tune source: Spiritual, Text source: Spiritual, LG51101
The SATB spiritual, “I’m Goin’ to Sing,” represents a number of arrangements that are
fast in tempo, major in mode, and crisp in their delivery. Within the two complete verses of the
passage above we observe:
#9 Multiplicity of voicings within an arrangement
SATB voicing in one verse gives way to TTBB voicing in the next.
#10 A wide variety of dynamics and articulation, often with sudden contrasts
This characteristic is taken to the point of hyperbole in the first of our verses, with the
alternation of f and p. The second verse is completely p, but we can see that the one following
reverts to f.
#13 Harmonies not complex; “resultant harmony” frequent
The harmony in “I’m Goin’ to Sing” is simple, using primarily tonic, sub-dominant, and
dominant harmonies. Resultant harmony is not a factor here.
#15 Great rhythmic drive or interest in rhythmically-based pieces
Rhythm is strong in a traditional fashion, with weight primarily on the first and third
beats of the measure. Tenuto markings in mm. 8, 10 and similar places; the syncopated bass
ostinato beginning at m. 16; and accents at m. 19 and syncopations in m. 23 in the tenors
heighten the rhythmic sense.
#16 Frequent use of pedal points and ostinatos
The second verse in our example, sung by the men’s voices, features the basses and
baritones in the syncopated pedal point/ostinato beginning at m. 16 previously mentioned. They
predominantly sing the root and the fifth of the tonic chord, but spread to the octave and
accommodate other harmonies while keeping the ostinato going.
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