THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

Broad Is the Road
1960, Tune source: AMH: Read, Windham, Text source: Isaac Watts, LG910
This last example, “Broad Is the Road,” is from the early American folk hymn tradition.
The stark quality of the arrangement brings out the severity of the message, “Broad is the road
that leads to death…but wisdom shows a narrow path with here and there a traveler.” The entire
piece is included below, as its four verses require only two published pages. The Parker-Shaw
stylistic characteristics it presents include:
#9 Multiplicity of voicings
The voicings used are as follows: Verse 1: TB unison; Verse 2: SA/TB two-part; Verse 3:
ST/AB two-part; Verse 4: SA/TB two-part.
#10 A wide variety of dynamics and articulation, often with sudden contrasts
Dynamics vary greatly with each verse, moving from f to mp/p to f to p/pp. Articulation
markings are minimal: simply accent markings in mm. 33 and 37.
#11 Arrangements melody-oriented rather than harmony-oriented
The arrangement never progresses beyond a two-part texture, and each line is at all times
an independent melodic entity.
#12 Counter-melodies and background harmony lines largely taken from melodic motives
The countermelody in verse three is in exact contrary motion to the melody, and usually
an inversion of it. The men’s line in verse four takes its contour from melodic motives, and from
mm. 54-56 replicates its first phrase.
#16 Frequent use of imitation
In verse two the men imitate the women exactly one measure apart.
#17 A preference for modality over tonality
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