THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ... THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
#17 A preference for modality over tonality “I’m Goin’ to Sing” is in a major pentatonic mode that uses no 2nd or 7th degree. The fourth step is used liberally, which is rarely the case with major pentatonic modes. #18 General avoidance of the leading tone, even in dominant function Dominant chords are found in the penultimate bar of each verse, but there is no leading tone present. Parker uses the subdominant and supertonic chords over the V bass note, which creates the effect of a dominant. #19 Tendency to favor men’s voices over women’s The second verse in our example is sung by the men’s voices exclusively. 50
Excerpt 6: Broad Is the Road 51
- 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 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 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
Excerpt 6: Broad Is the Road<br />
51
Change language