THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

v.4
v.5
v.6
Phrases 3 & 4 T sings homorhythmically w/ B in modal harmony
1st part of phrase 3 is harmony in straight 3rds, a satisfying moment of common practice
Expression is molto marcato but dynamic is pp, giving personal, meditative, hushed intensity to
text: “Think, O my soul!”
Two-part texture (ST/AB) creates a stark mood
AB part has a number of remarkable features
o Beginning of 1st & 3rd phrases are a drone on tonic
o Unusual use of the leading tone creates dissonance with ST melody
o End of first phrase pitches E-D#-C#-E are not expected, unusual melodically,
highlighting “dreadful day”
o Octave leap at end of 3rd phrase sets up contrary motion for 4th phrase
Warm, legato verse sets up a strong finish on v.6; words “above the sky,” “air,” “earth,” “seas,”
“lift Thy glories high” make this legato interpretation possible
This verse comes the closest to 18th century common practice, which affords support to the
warmth and relief from the stark harshness of the other verses.
Melody is in A with S singing a descant
S descant phrase 1 is similar to earlier countermelody material; all other phrases use new material
B join with A in unison on melody end of phrase 3
Phrase 4 is strong harmonically with parallel 3rds at beginning, arpeggiated chord tones in the
middle, authentic cadence at end
Comments
This arrangement epitomizes Alice Parker’s approach to early American folk hymns:
Textures are kept lean and transparent; 2-part writing is frequent, and 4-part sections are kept
simple.
Harmonic implications are secondary in the 2-part sections, more concern being given to each
individual line than the relation between the two, similar to medieval motets. This is possible
because of the quasi-pentatonic nature of the melody and the freedom from concern this gives the
arranger: there can be no contrapuntally “incorrect” notes.
Phrases, ranges and dynamics are comfortable for the voice, natural and non-excessive.
Variations in articulation and dynamics are extremely important to the effectiveness of the piece,
and are well specified.
The text can be clearly heard at all times.
Spreadsheet Comparisons
In order to present the examination of many arrangements in an easily understood format,
categories for comparison were chosen with the help of Dr. Parker. For each of the nine genres
of Parker-Shaw arrangements a spreadsheet was created in which each of the categories could be
displayed and compared.
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