-
Putting the Pieces Together
An
Honors Thesis (HONORS 499)
by
Kimberly D. Bartling
-
Thesis Advisor:
Dr. Don Ester
Ball State University
Munc; e, Indi ana
April 1996
May 4, 1996
-
-
Purpose of Thesis
Arranging a choral composition requires certain steps and
considerations. Organization and concentration is required as with any
project, including putting together a puzzle. Within this discussion, one will
find the steps used by the author to accomplish such an endeavor. Also
included are two completed arrangements by the author of the discussion. These
completed arrangements demonstrate specific examples of the concepts. The
examples also show the similarities between two-part and three-part choral
arranging.
-
2
An arrangement of a choral composition is similar to putting together
pieces of a puzzle. Through choral arranging class and choral arranging
attempts, it has been determined that there are three steps that must be
followed to complete the puzzle. The first step is to choose the piece with
which the arranger would like to work. The arranger should have an idea of who
will perform the piece and what it should sound like upon completion; consider
the suitability of the piece for the group; and consider the group's traits.
This will create the framework for the arrangement. The second step requires
organization and consideration of specific musical elements such as melody,
harmony, vocal texture, dynamics, and accompaniment. This step carves the
pieces of the puzzle. The third step is refinement and performance. The
arranger must return to the arrangement to correct voicing and chords until
the desired effect is achieved. The refinement step ensures that the pieces
fit together to complete the puzzle.
At the very beginning of the arranging process, an arranger usually has
a musical selection in mind. This selection could be a favorite song or even a
melodic solo line that inspires the writing. The arranger has an idea or
concept of how specific parts or voicing must be written to achieve the
desired effect or outcome.
Before arranging a musical work, a few items must be considered. What
should the piece sound like upon completion? Who will be performing the
completed piece and for what audience? Are there any copyright laws that must
be confronted before arrangement begins? Once these questions are answered,
the arranger may begin. Other questions may occur during the process of
-.
arranging, but can be dealt with accordingly. Such questions include how
harmonic structures will affect the melody and how the dynamics can assist in
3
this effect. It will become apparent to the arranger that each decision will
affect or be affected by other decisions.
Once the arranger has considered these components, he must decide
whether the musical literature will be appropriate for performance by the
desired group. The arranger needs to consider the text and voicing suitability
for the group (Ostrander 116). He also needs to investigate the community
support for specific styles of music. Many schools tend to avoid sacred music
while others prefer it. The attitudes of the community greatly affect the
musical program and influence the students' beliefs and opinions (Roach 100).
It is important to create a piece that the students will enjoy learning. It
should also have educational value. A piece of music should have both
aesthetic and conceptual value. It should develop specific learning within
each domain of learning: cognitive, psychomotor, and affective.
To arrange a piece for a specific group, the arranger should study the
group extensively. During observation, the arranger should focus on the vocal
and reading abilities of the performers. He should identify strengths and
weaknesses within the group to create an arrangement appropriate for the
ensemble (Gordon 193). The arranger should know voice ranges, ability levels,
and voice independence or the ability of a person to hold their own part with
little to no assistance (Ostrander 115). This research will indicate to the
arranger the ability of the group musically as well as the appropriateness of
the selection for the group.
By answering the previous questions, the arranger can create a clearer
picture of the finished project. The questions have narrowed the field of
subjects, ranges, and abilities. The arranger must then focus on how the
finished product should sound. Specific musical elements such as melody,
4
harmony, and dynamics create the foundation on which to build the arrangement.
The harmony will either enhance or detract from the melody while dynamics will
set the mood for the melody and text. Different combinations are created
within an arranger's mind from the beginning of the project.
There are three traits of a group that will affect the arrangement. One
consideration is the size of the group. Ensemble size will determine the style
of the arrangement. A small ensemble may not have the vocal ability to perform
an eight-part madrigal. Another consideration is sectional balance and the
maturity of the voices. It may become necessary for the arranger to create
multiple parts for sections. Some choirs have a large ratio of women to men.
In this case, the arranger must balance the parts accordingly. If the voices
are still in the early stages of maturation, an arrangement with a challenging
--
tessitura or a piece in which one vocal part is constantly singing may be too
exhausting vocally (Gordon 30).
According to Arthur Ostrander, author of Contemporary Choral Arranging,
there are specific ranges for students and adults depending on their
developmental level (4-5). Unfortunately, people develop at different rates
and to varying vocal ability levels. The variety of the students' backgrounds,
both environmental and academic, can affect the students' abilities. Each
classroom can include a wide spectrum of vocal ranges. By studying the
prospective group, the arranger can decide on the most appropriate voicing and
ranges for the musical selection. Common ranges for middle school students, as
presented by Roach in Complete Secondary Choral Music Guide, are shown in
figure 1a (36). Figure 1b shows the vocal ranges for high school (44). Not all
students have the vocal flexibility or training to sing all notes within a
range. This is a situation which the arranger must consider when creating the
5
..-.
arrangement. Balancing vocal parts is usually accomplished by combining all
male voices into one part. This will greatly restrict the available range for
the male vocal part. The tenors will be unable to explore their upper range
while the basses will be unable to use their lower, rich tones (Ostrander 5).
A compromise must be achieved. The combined range will be a compromise between
a cambiata range and a junior high baritone range. This is shown in figure 1c.
Figure 1a.
Junior High Vocal Ranges
I~
.
o
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u
Junior High Soprano I
Junior High Soprano II
Junior High Alto
II
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Cambiata
Junior High Baritone I
Figure 1b.
(chanKin~)
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Juni?r High Baritone II
Senior High Vocal Ranges
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Senior High Soprano II
Senior High Soprano I
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Senior Jligh AIto II
Senior Jligh Alto I
11
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Senior Hillh Tenor
Figure 1c.
Senior IIigh lIaritone
Compromised Vocal Range
n
Cambiata and Baritone combined
6
Senior IIillh lIoS.'l
The prospective group will have varying musical skills along with their
differing vocal maturity. Each student learns through a variety of methods and
at their own pace. These musical abilities will affect the overall
arrangement. Some students will be able to sight-sing a musical selection
while other students will need extensive instruction. The degree of musical
difficulty of the arrangement should be based on the students' abilities.
Another factor that should be considered when determining the level of
difficulty is the time available for instruction before the performance. Under
short time constraints, it may be necessary to simplify the arrangement (Roach
99).
Through research, the arranger has created a framework on which to build
the arrangement. The arranger now has a clear picture of the desired outcome
as well as a group to assist in achieving that outcome. The next step an
arranger must take is to focus on key concepts. Using the traits of the group
and the arranger's music theory knowledge, the arranger needs to create
melodic and harmonic lines which utilize the extent of the vocal ranges. The
melody can be passed from one voice part to another if the ranges and the key
of the arrangement allow. To keep the arrangement interesting, the texture
should change approximately every verse. The arranger should be aware that too
many changes within one arrangement can cause the piece to become fragmented
and ruin the desired effect (Ostrander 118). In this manner it is similar to a
partially completed puzzle. To complete the puzzle, each piece must be
carefully carved to fit exactly. For the arranger to do this, he must examine
the key of the piece, the melody, harmony, textural variation, dynamics, and
accompaniment.
The first puzzle piece an arranger must carve is the key of the
7
arrangement. The key of the piece itself can affect the overall outcome. A
musical selection may change keys one or more times depending on the length of
the selection. The key change usually signifies a climax or the approaching
end to an arrangement (Ostrander 119). The key change is dependent on the
desired effect and the musical ability of the chosen group. If a key change
will result in a stretch to the far end of the range spectrum, it is best to
avoid changing keys. Causing the group to sing in an uncomfortable range will
lessen the effectiveness of the piece (Roach 99).
The second puzzle piece to be carved is the melody. The arranger must
decide which voice part will carry the melody and at what point in the
arrangement the melody will be transferred. The transference of the melody
will be directly affected by vocal ranges and any key changes. The arranger
can decide to embellish or ornament a melody to create dramatic effects. One
dramatic effect is word painting. Word painting is the use of a musical
passage to reflect the meaning of a text (Leonard 135). This method need not
be limited to the melody. It can also occur within the harmony or the third
piece carved in the arrangement puzzle.
Harmonization of an idea creates a contrast within an arrangement. There
are many ways for an arranger to harmonize an idea. Some of the ways are noteagainst-note, countermelodies, descant, and figuration. These methods can be
found in any type of part arrangement regardless of whether it is two, three,
or four part arranging (Ostrander 61-67). Figuration and note-against-note are
the two methods utilized in the examples included in the
in figures 2 (Note-against-note) and 3 (Figuration).
8
appendic~s
as well as
-
Figure 2.
Note-against-note harmonization
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Note-against-note harmonization is the use of parallel rhythm patterns
and notation. The parts collectively form a portion of a chord or the complete
chord. Remaining portions of the chords can be filled in by the accompaniment
(Ostrander 60). Figuration harmonization utilizes fragmentary phrases or
ideas. This allows for key phrases and entrances to be emphasized (Ostrander
66) .
Another way to emphasize entrances or key phrases is through texture
variation. Texture variation is the method of treating the melody in a
-
different manner. One of the methods of texture variation is the use of a
differ"ent harmony with the same melody. This includes the figuration of
9
-
harmony and change in dynamics. The different harmony can either be within the
same vocal part as previously written or it can occur in a different voice
part (Stein 96). In Appendix A, the melody is transferred from one voice part
to another. The harmony changes each time the melody is transferred. Compare
measures 8-11 and measures 24-27. This is an example of texture variation.
The fourth puzzle piece which the arranger carves is the dynamics.
Dynamics of an arrangement can assist the arranger in the balance of voicing.
If a group has a large majority of sopranos and few men or altos, the arranger
may choose to keep the sopranos at a moderate or soft dynamic. The high notes
will carry better and be clearer than lower notes. The softer dynamics will
enable the low notes to be heard. Dynamics can also assist in melody
transference. If a melody is transferred to a lower voice, one option for the
arranger is to soften the harmony. An example of this is found in figure 4 in
which the basses have the melody.
Melody transference with dynamic differentiation
Figure 4.
36
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The dynamics also create a contrast from one verse to another. The text
-
can also affect the dynamic setting of the piece. The dynamics allow for
emphasis of key words or ideas. They draw an emotional picture for the
10
-
audience. Soft dynamics in higher voices might show an angelic or ethereal
idea while the louder lower voices show strength.
Another piece of the arrangement to be carved out or planned is the
accompaniment. There are many ways to create different effects within the
accompaniment. A few of the more traditional methods are chord doubling,
arpeggiation, rhythmic patterns, and counter-material (Ostrander pg. 46-49).
The two methods utilized in the author's arrangements are chord doubling and
a:-peggiation. These can be found in figures 5 (Chord doubling) and 6a and b
(Arpegg~ation).
Figure 6a is an example of simultaneous arpeggiation and 6b of
successive arpeggiation (shown within the bass line).
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Chord doubling is an exact replica of vocal parts within the
accompaniment. This provides a simplistic approach as well as reinforcing
melodic and harmonic lines. The arpeggiation approach allows for melodiC
support with a thicker sound. It also creates a stronger harmonic structure
for the voices (Ostrander 46). Arpeggiation can occur in different ways.
Simultaneous arpeggiation allows the chords to be rolled. Successive
arpeggiation creates an ascending or descending pattern of notes from a broken
chord (Westrup 42). Using these two methods, the accompaniment will be less
"cluttered" and more simplistic (Cacavas 64). The group's collective musical
ability will determine how the accompaniment is arranged, as well. For
example, to facilitate ease of learning it may be necessary for the
accompaniment to imitate the choral parts. Conventional hymn settings utilize
this technique (Ostrander 46).
As the arranger is creating the accompaniment, he should keep in mind
the major functions of the accompaniment. The accompaniment enhances the mood
and style of the text. It is used to create harmonic and tonal structures,
provide pitches or entrances, and reinforce rhythms or difficult voicing
(Ostrander 30). The previously mentioned functions can be used alone or in
12
differing combinations to achieve the desired outcome. The accompaniment
unifies the arrangement. While an arranger can utilize different methods, too
many together can
~reate
confusion or fragmentation of thoughts. In this
manner it is similar to texture variation (Ostrander 31).
With all these considerations and concepts established, the arranger is
ready to piece together the puzzle. The arranger must use each concept to
build the foundation of the arrangement. This done, the arranger can specify
texture, dynamics, vOicing, and accompaniment.
With the arrangement written,
he is now ready to test the piece. This is the time when music theory errors
and vocal mistakes are discovered and must be rewritten. Although the rules of
theory were written to be followed during musical creation, they can also be
broken. To quote composer Andre Ernest Gretry, "Woe to the artist enslaved by
the rules who does not dare yield to the flight of his genius." (73). If the
arranger hears his arrangement with ideas that go against the rules, he should
take careful consideration before he changes his arrangement.
The arranger has now reached the refinement step of the process. What
may sound good in theory may not actually work in practice. The arranger may
discover range difficulties or awkward intervals within a part. Should this
happen, the arranger need not go back to square one. As with any experiment,
portions of the process may need to be revised or repeated to ensure a
specific outcome. Rarely does an arrangement emerge from the drawing board
perfect the first few times. Outside criticism and advice provides a fresh
perspective on an idea. Arrangers are similar to authors or editors. They may
never be completely satisfied with an arrangement.
The arranger is now ready for the performance of his musical
achievement. The piece is ready to be performed and brought to life. All the
13
--
considerations and hard work mingle together to create a moment of beauty. The
notes, techniques, and concepts
have been learned. It is now up to the
creativity of the arranger to leave a lasting impression. The combinations
created in the arranger's mind and set on paper are ready to be shared and
expressed. After the performance, the arranger may have a stroke of genius to
refine or perfect the arrangement. The arrangement may be performed and then
revised in an infinite process.
Everything the arranger has undertaken has brought him to his desired
goal. He has labored over an idea to create a finished product that is a close
facsimile of the original in his mind. The arranger has focused his efforts on
a specific musical piece and a specific group. In doing so, he has researched
arrangement suitability for the group, the group's size, ranges, and musical
abilities. Thus, he has created the framework of the puzzle on which to build
the arrangement. The arranger then proceeded to use music theory knowledge to
create desired textures within the melody and the harmony, dynamics, and
accompaniment to produce a specific effect. This process was repeated through
many trial and errors until he was satisfied. In this manner, the arranger
carved out each piece of the puzzle. The arranger repeated the refinement step
until he produced a finished product that reflects his many hours of careful
work and consideration. The puzzle is now complete and all the pieces fit
exactly as they should.
14
Works Cited
Cacavas, John. Music Arranging and Orchestration. New York: Belwin Mills
Publishing Corp, 1975.
Gordon, Lewis. Choral Director's Rehearsal Performance Guide. New York: Parker
Publishing Company, 1989.
Leonard, Hal. Pocket Music Dictionary. Wisconsin: Hal Leonard Publishing
Corporation, 1993.
Morgenstern, Sam, ed. Composers on Music. New York: Pantheon Books Inc., 1956.
Ostrander, Arthur E., and Dana Wilson. Contemporary Choral Arranging. New
Jersey: Prentice-Hall, Inc., 1986.
Roach, Donald W. Complete Secondary Choral Music Guide. New York: Parker
Publishing Company, Inc., 1989.
Stein, Leon. Structure and Style: The study and Analysis of Musical Forms.
New Jersey: Summy-Birchard Inc., 1979.
Westrup, J. A. The New College Encyclopedia of Music. New York: W. W. Norton
and Company, 1981.
15
Appendix A
-
Amazing Grace
16
--------
-
- _ _---..
-
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Amazing Grace
Traditional Hymn
arr, Kimberly Bartling
-
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21
-.-
,..-.,
-fW=
I
.......
\,rroo«"'"
6
so
fint
be
-
P
~
..,
-
mal.
A
gun.
ing
f.\
--,
U
fint
be
-
A
gun.
.
::::0
-.
Grace I
U·
-
-
-
mal.
p.
ing
Grace I
f.\
T
first
~
I ..,
be
gun.
A
-
ing
Gracel
;.
o·
( .
•
I
-
P
I
c;
-
mal.
'
.
f.\
P
T
I
-
22
T
I
--
Appendix B
What Child is This?
23
What Child is This?
-
~~Ji.
IoL
Sop
-!..I.
Traditional Hymn
Mr. by Kimberly Bartling
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this
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child
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to
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rest
on
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25
2
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III
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Ll
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1'1-
is
to
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king
sleep
own
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him.
Whom
The
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greet
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greet
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an
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26
3
21
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JJ
I"t
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while
let
shep
loy
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sweet
brings
while
let
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-11
watch
hearts
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ing
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him.
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this
Raisc,
raise
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f.J'
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f
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is
your
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l
I
is
your
this
raise
f
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,
This,
Raise,
r-
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r-
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27
4
27
~
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,
~
I
l
.-
-
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the
on
Christ
voice
King
high.
-
•
the
on
Christ
voice
{
•
<
r-
whom
The
King
high.
shep
an
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•
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guard
sing
II
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sing
and
their
an
lui
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and
their
an
lui
-
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gels
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gels
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28
5
31
f
,.,; II
~,
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r-
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tJ
haste
joy
Haste,
Joy,
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II
.
III
IJ
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III
haste
joy
.•
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f..
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to
for
bring
Christ
him
is
•-
r:
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n,,
him
is
bring
Christ
~
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f
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)
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II
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Haste,
Joy,
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to
for
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.
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"-- 1\ J~
,
IJ
III
r1""\
laud,
born,
II
~
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III
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tJ
poco a poco
the
the
-
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Babe
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the
the
~~
11'-
"
of
of
son
son
~eaes. poco a poco
r"I.
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laud,
born,
II
IJ
)
--
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the
the
Babe
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the
r"I.
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son
son
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of
of
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29
6
39
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pp
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pp
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, " ..~
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,
fit
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the
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son
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of
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of
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fit.
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son
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II
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30
7