Contemporary Choral Arranging

by Ostrander, Arthur; Wilson, D.

• ISBN13: 9780131697560
• ISBN10: 0131697560
• Edition: 1st
• Format: Paperback
• Copyright: 1986-08-04
• Publisher: Pearson

Summary

Comprehensive text about Choral Arranging which encompasses various styles of arranging, uses current source material, and follows a logical, pedagogical order.

Table of Contents

Acknowledgments	xv
Introduction	1	(2)
Initial Choral Arranging Considerations	3	(15)
Voice Types and Combinations According to Age Groups	3	(3)
Elementary School Level	3	(1)
Middle School Level	4	(1)
Mature Adult Voices	5	(1)
Musical Notation	6	(12)
Score Setup	6	(5)
Chord Nomenclature	11	(1)
Stemming, Beaming, and Rests	12	(1)
Piano Notation	13	(1)
Text Notation	14	(2)
Text Declamation	16	(2)
Basic Harmonic Principles for Choral Arranging	18	(12)
Initial Harmonic Concepts	18	(2)
Close and Open Voicing	18	(1)
Chord Spacing	19	(1)
Inversion	19	(1)
Doubling	20	(1)
Chord Motion	20	(2)
Voice Leading and Tendency Tones	20	(2)
Parallel and Contrary Motion	22	(1)
Voice Crossing	22	(1)
Chord Vocabulary and Chord Progression in Melody Harmonization	22	(6)
Basic Triadic Harmony	23	(1)
Melody Harmonization	24	(1)
Diatonic Seventh Chords	25	(2)
Secondary Dominant Seventh Chords	27	(1)
Other Chromatic Chords	28	(1)
Arranging Exercises	28	(2)
Keyboard Accompaniment	30	(29)
The Role of the Accompaniment	30	(14)
Technical Considerations	44	(2)
Styles of Accompaniment	46	(9)
Choral Doubling	46	(1)
Arpeggiation	46	(1)
Rhythmic Patterns and Figures	46	(5)
Counter-Material	51	(1)
Unconventional Voicings	51	(4)
Special Effects	55	(1)
Summary	55	(1)
Arranging Exercises	56	(3)
Two-Part Arranging	59	(17)
Typical Voice Combinations	59	(1)
Homophonic Textures	60	(1)
Note-Against-Note	60	(1)
Animated Homophony	61	(1)
Contrapuntal Textures	61	(13)
Countermelody	61	(3)
Descant	64	(2)
Figuration	66	(2)
Ostinato	68	(1)
Imitation	69	(1)
Canon	70	(4)
Partner Songs	74	(1)
Model Arrangements	74	(1)
Arranging Exercises	75	(1)
Modulation	76	(21)
Purpose and Location	76	(1)
Key Choice	77	(1)
Types of Modulation	77	(11)
Pivot Chord Modulation	78	(1)
Chromatic Inflection	78	(3)
Common Tone Modulation	81	(4)
Direct Modulation	85	(1)
Technical Considerations	85	(3)
Context of the Modulation	88	(4)
Immediate Modulation	88	(1)
Extended Modulation	88	(3)
Medley	91	(1)
Arranging Exercises	92	(5)
Introductions and Endings	97	(18)
Introductions Directly Derived from the Arrangement	98	(5)
Introductions Derived from the First Phrase	98	(1)
Introductions Derived from a Subsequent Phrase	98	(3)
Introductions Derived from the Accompaniment	101	(1)
Introductions That Combine Functions	102	(1)
Endings Directly Derived from the Arrangement	103	(3)
Endings That Repeat the Last Phrase	105	(1)
Endings That Feature Rhythmic Augmentation	105	(1)
The Tag Ending	105	(1)
Freely Composed Introductions and Endings	106	(6)
Imitative Beginnings or Endings	106	(3)
Other Freely Composed Introductions or Endings	109	(3)
Arranging Exercises	112	(3)
Planning the Arrangement	115	(9)
Initial Considerations Regarding Performance Group and Musical Source	115	(1)
Detailed Study of the Musical Source	116	(1)
Text	116	(1)
Melodic Form	116	(1)
Pitch and Rhythmic Organization	117	(1)
Planning the Overall Form of the Arrangement	117	(1)
Sectional (AABA)	117	(1)
Strophic	118	(1)
Strophic with Refrain	118	(1)
The Contribution of Musical Elements to Form Delineation	118	(1)
Texture	118	(1)
Accompaniment	119	(1)
Dynamics	119	(1)
Key	119	(1)
Tempo	119	(1)
Application of Musical Elements to Specific Forms	119	(2)
Sectional (AABA)	119	(1)
Strophic	120	(1)
Strophic with Refrain	120	(1)
Adding Introductions and Endings	121	(1)
Final Assembly of the Arrangement	121	(1)
Applying the Planning Progression to an Existing Arrangement	121	(3)
Considering the Type of Group	121	(1)
Detailed Study of the Musical Source and Text	122	(1)
Planning the Overall Form of the Arrangement	122	(1)
Summary of Formal Treatment	123	(1)
Adding Introductions and Endings	123	(1)
Three-Part Arranging	124	(20)
Typical Voice Combinations and Applications	124	(1)
Homophonic Textures	125	(6)
Note-against-Note	125	(2)
Animated Homophony	127	(3)
Melody Line with Background Vocal Texture	130	(1)
Contrapuntal Textures	131	(8)
Countermelody	131	(4)
Figuration	135	(2)
Ostinato	137	(2)
Imitation	139	(1)
Model Arrangement	139	(4)
Arranging Exercises	143	(1)
Four-Part Arranging	144	(27)
Typical Voice Combinations and Applications	144	(1)
Homophonic Textures	145	(6)
Note-against-Note	145	(2)
Animated Homophony	147	(4)
Melody Line with Background Vocal Texture	151	(1)
Contrapuntal Textures	151	(11)
Countermelody	151	(4)
Figuration	155	(1)
Ostinato	156	(1)
Imitation	156	(6)
Special Features Concerning All-Female and All-Male Arrangements	162	(5)
All-Female Arrangements	162	(1)
All-Male Arrangements	162	(3)
Barbershop Quartets and Sweet Adelines	165	(2)
Model Arrangement	167	(3)
Arranging Exercises	170	(1)
Special Choral Devices	171	(12)
Special Sonorities	171	(6)
Neutral Syllables	171	(1)
Imitating Specific Instruments or Sounds	172	(2)
Scat Singing	174	(2)
Speaking	176	(1)
Special Techniques	177	(6)
The Fan	178	(1)
Unconventional Harmonies	179	(1)
The Pyramid	180	(3)
Adapting an Existing Arrangement to a Different Choral Combination	183	(4)
Adapting the SATB Arrangement	183	(3)
Original SATB Setting	184	(1)
SA Setting	184	(1)
SAB Setting	184	(1)
SSA Setting	184	(1)
TTBB Setting	184	(2)
Adapting Hymn Settings	186	(1)
Jazz Vocal Styles	187	(26)
Rhythm	187	(4)
Swing Notation	188	(1)
Syncopation	188	(3)
Even Eighth-Note Rhythm	191	(1)
Meter	191	(1)
Tempo	192	(2)
Melodic Inflection	194	(1)
Harmony	195	(11)
Chordal Extensions	196	(1)
Chord Alterations	197	(2)
Chord Substitution	199	(5)
Voicings	204	(2)
Formal Structure	206	(5)
AABA Form	206	(4)
Blues Form	210	(1)
Endings	210	(1)
Model Arrangement	211	(1)
Arranging Exercises	212	(1)
Country, Rock, and Pop Vocal Styles	213	(25)
Country Music	213	(1)
Rock Music	214	(6)
Pop Music	220	(1)
Summary and Synthesis	221	(2)
Arranging Exercises	223	(1)
The Accompaniment in Jazz and other Popular Styles
The Instruments of the Rhythm Section	224	(3)
Piano	224	(1)
Guitar	225	(1)
Bass	225	(1)
Drums	226	(1)
Instrumental Roles	227	(9)
Jazz: Swing	227	(2)
Jazz: Bossa Nova	229	(2)
Rock Music	231	(3)
Country Music	234	(2)
Pop Music	236	(1)
Arranging Exercises	236	(2)
Arranging with Small Instrumental Ensembles	238	(12)
Adding One Instrument	238	(1)
Adding Two Instruments	239	(2)
Adding an Instrumental Ensemble	241	(9)
Sacred Style	243	(1)
Jazz and Rock Styles	244	(6)
Getting Your Arrangement Published	250	(5)
Preparation of the Manuscript	250	(2)
Selecting a Publisher	252	(1)
Use of Copyrighted Material for Performance and Publication	253	(2)
Performance Rights	253	(1)
Publications Rights	253	(2)
APPENDIX I: MELODIC SOURCE MATERIAL FOR ARRANGING	255	(15)
Traditional-Folk	255	(5)
All the Pretty Little Horses	255	(1)
Aura Lee	256	(1)
Gypsy Rover	256	(1)
I Know Where I'm Going	257	(1)
Jennie Jenkins	257	(1)
Johny Has Gone for a Soldier	257	(1)
Magic Penny	258	(1)
My Horses Ain't Hungry	258	(1)
Shenandoah	259	(1)
The Water Is Wide	259	(1)
Spirituals	260	(3)
Kumbaya	260	(1)
Oh, Sinner Man	260	(1)
This Little Light of Mine	261	(1)
This Train	261	(1)
Wade in the Water	262	(1)
Were You There?	262	(1)
Sacred	263	(3)
Coventry Carol	263	(1)
O Little Town of Bethlehem	263	(1)
Glorious Things of Thee Are Spoken	264	(1)
Praise Ye the Lord, the Almighty	265	(1)
Particularly Adaptable to Popular Styles	266	(4)
As Time Goes By	266	(1)
Autumn Leaves	267	(1)
Darlin Corey	267	(1)
Every Night When the Sun Goes In	268	(1)
I Could Write a Book	268	(1)
Tom Dooley	269	(1)
APPENDIX II: COMPLETE CHORAL ARRANGEMENTS FOR STUDY	270	(49)
Early in the Morning (Three-Part)	271	(7)
Goin' to Boston (SAB)	278	(8)
Let There Be Peace on Earth (SA)	286	(5)
Nice 'N' Easy (SATB Jazz Style)	291	(10)
Sing a Rainbow (SA)	301	(7)
Swansea Town (SATB)	308	(11)
Index	319