THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

Chart 5: Categories for Comparison on the Analytical Spreadsheets
Title, tune name (if applicable)
Country of origin (if applicable)
Tempo and mood/sonority adjective (printed at the beginning of each arrangement)
Meter
Performing forces
Number of measures
Number of verses
Scale/mode of melody
Voicings (which voice parts are singing at a given time)
Use of the technique of imitation
Pedal points and ostinatos
Comments regarding rhythmic and melodic play (Parker’s term—indicates variations,
diminution, augmentation, inversions, etc.)
Use of sharp contrasts in articulation and dynamics
Other/comments
In the categories of “Imitation,” “Pedal points and ostinatos,” and “Use of sharp contrasts in
articulation and dynamics,” no entry was made if there was no use of the technique. If there was
some evidence, it was rated as being “Minimal,” “Moderate,” “Significant,” or “Extreme.” The
Hymns and Songs of Faith necessitated a different treatment due to their simple, strophic
treatment, and were largely compared verse by verse. The early American folk hymns seemed to
call for an additional category indicating the General Mood of the arrangement, as this quality
was so outstanding and easily recognizable in this genre.
Appendix III contains the spreadsheets for each of the genres in the Parker-Shaw
catalogue. Selected categories are summarized and presented in Appendix IV. A comparison of
the different modes of the melodies arranged appears in Appendix V.
The Melodic Orientation of the Parker-Shaw Library
It was stated in the tenth style characteristic of the Parker-Shaw works that the focus of
this music is not so much on the beauty of its harmony, but on the melody and the counterpoint
that flows from it. Each voice part has its own tunefulness, and the music has a sense of
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