Ch 5: Two-Part Arranging

Question 1

INTRODUCTION

• Why is the two-part arrangement an excellent starting point for choral arranging?
  
  • Many of the homophonic and polyphonic textures and arranging principles used in two-part writing is expanded in three- and four-part writing.
• Arranging in polyphonic textures requires considerable skill. What can allow you to most easily learn how to do it?
  
  • Experience in writing for two voices
• Why are harmonic materials in two-part writing restricted?
  
  • Harmonies are not possible with only two voices.
• Since harmonic materials in two-part writing are restricted, what can you do?
  
  • Arrangements are accompanied by keyboard, allowing the keyboard to fill out the harmony as well as provide additional rhythmic and melodic support for the setting.

TYPICAL VOICE COMBINATIONS

• How are two-part arrangments labeled?
  
  • SA or two-part treble
• SA or two-part treble is intended for the mature soprano or alto, but can also be sung by young children’s voices. What is this called?
  
  • Equal-voice combination
• How do some contemporary arrangers writing for young, unchanged voices label the voices?
  
  • Roman numerals I and II to indicate the equal-voice nature of the setting and also to avoid an all-female designation where unchanged voices are singing
• List other two-part voice combinations
  
  • SB
  • TB
  • Smaller sections of SATB or TTBB

HOMOPHONIC TEXTURES

Note-against-note

• When is note-against-note texture used?
  
  • With melodies that have fairly active rhythmic patterns
• What does note-against-note texture add?
  
  • A second voice, usually below the melody, using the same rhythmic values
• How does the second part follow the original part?
  
  • The second part frequently parallels the original part in contour, primarily at the consonant intervals of a third or sixth.
• When would less consonant intervals such as a perfect fourth or fifth be used?
  
  • Sparingly if the added voice forms a chord tone against the original voice and the remaining members are filled in by the keyboard.
• EXAMPLE 5-1: What does this illustrate?
  
  • A setting in which is exclusively note-against-note texture
  • Parallel thirds are the predominant interval of choice between the parts
  • The notes of other intervals in measure 2 and 7 are both members of the primary harmony in the keyboard
    
    • This interval change is necessary to avoid the dullness of exclusive parallel third or sixth writing
  • Fairly active rhythmic patterns
• EXAMPLE 5-2: What does this illustrate?
  
  • Voices move in parallel thirds and sixths, with occasional unisons and perfect fourths, chosen and voiced to reflect the “country” flavor of the tune.
  • Fairly active rhythmic patterns

Animated Homophony

• What is animated homophony?
  
  • This texture is an expansion of note-against-note texture
• How does animated homophony expand on note-against-note texture?
  
  • The added voice, usually written below the melody, embellishes the chord tones of the note-against-note texture with additional voices.
• Which is more common, note-against-note or animated homophony?
  
  • Note-against-note
• What does Animated Homophony provide over note-against-note?
  
  • A variation to an otherwise strict note-against-note treatment
• How is the choral arranger advised to arrange with note-against-note and animated homohphony?
  
  • First to arrange a note-against-note texture
  • Then add the embellishing tones for the added homophony
• EXAMPLE 5-3: What does this illustrate?
  
  • Shows a mixture of note-against-note and an animated homophonic texture

CONTRAPUNTAL TEXTURES

Counter Melody

• What is the most common way of creating contrapuntal textures in two-part arrangements?
  
  • Countermelody
• What is a countermelody?
  
  • An independent line sounding against a given melody, maintaining the same separate pitch, rhythm, and contour, while remaining predominantly consonant with the original.
• How does a countermelody typically achieve independence?
  
  • Through rhythm
• How does the countermelody complement the rhythm of the melody?
  
  • Sustained notes are used against a rhythmically active portion and vice versa .
• Where can countermelodies be written?
  
  • Above or below the melody
• Can a countermelody voice-cross?
  
  • Sometimes, yes
• If a countermelody does cross the original melody, how can it maintain the two-line independence?
  
  • Remaining substantially below or above it
• What sounds can be assigned to a countermelody?
  
  • A text
  • A neutral sound
• What determines the sound associated to the countermelody?
  
  • Depending on its rhythmic activity and its pitch relationship with the original melody.
• When are sounds such as “oo” or “ah” used?
  
  • When the original text and melody and melody is predominant
  • When the dynamic level or character of the text suggests a more restrained countermelody
• If a text is preferable for a countermelody, where is it derived from or closely related to?
  
  • The original text
• What can a separate, unrelated text can be used for?
  
  • To create tension leading to the climax of the arrangement,
• EXAMPLE 5-4: What does this illustrate?
  
  • An active countermelody which both complements and duplicates the original rhythm of the original melody.
  • Countermelody is consonant with the original, with chord tones predominating between the parts
  • The text is clearly derived from the original, although it does not sound simultaneously
  • Unity is achieved in the countermelody through repetition of the melodic motif.
  • Driving rhythm (contrast with EXAMPLE: 5-5)
• EXAMPLE 5-5: What does this illustrate?
  
  • Uses the neutral syllable “oo”
  • Exemplifies a more sustained approach with longer rhythmic values.
  • Lyrical nature of the melody (Contrast with EXAMPLE 5-4)
  • Pitches of the countermelody are primarily consonant chord tones.

Descant

• What are descants?
  
  • Additional lines that are essentially countermelodies.
• Whereas countermelodies may appear above or below the original melody, where are descants most always written?
  
  • Above the melody
• Where are descants most commonly found (repertoire)?
  
  • Sacred hymn tunes
• How do arrangers use descants in sacred hymn tunes?
  
  • The arranger provides an upper line to the last verse of the hymn, typically to be performed by sopranos while other voices are singing the unison melody or the existing four parts of the hymn.
• What are the rhythmic approaches of the descent?
  
  • Approach 1: Assigns primarily the same rhythmic values as the original melody
  • Approach 2: Based on the rhythmic freedom associated with the countermelody.
• What is the harmonic nature of the descant?
  
  • Consonant with the melody
  • Uses almost exclusively chord tones with the occasional embellishment
• EXAMPLE 5-6: What does this illustrate?
  
  • Descant which duplicates the rhythmic values of the What Child Is This melody
  • Although visually similar to the homophonic note-against-note texture, the descant, soaring above the melody, produces a remarkably different effect.
  • Descant duplicates the melody for the first measure of each phrase before beginning an independent melodic course
  • Cadences on the same tonic note as the original
  • Harmonically, the notes of this descant are all chord tones
• How do many descants cadence?
  
  • On the third or fifth of the tonic triad to bring the final verse to a triumphant close.
• EXAMPLE 5-7: What does this illustrate?
  
  • Most of the descant line lies above the melody.
  • Rhythmic independence in the characteristic passing tone figures at the beginning of the descant
  • Rhythmic duplication exists in measures 2 and 3
  • Consonant chord tones predominate
  • Descant cadences on the fifth of the tonic triad against the tonic note of the melody

Figuration

• What is a figuration?
  
  • A non-continuous, fragmentary added line that provides rhythmic punctuation to the original melody
• When is figuration applied?
  
  • The rhythm of the original melody tends to alternate between measures that are fairly active and those that are sustained.
• When do figurations enter?
  
  • When the melody has little or no motion
• What do most figurations employ in the melody immediately preceding the entrance of the figuration?
  
  • A text fragment
• EXAMPLE 5-8: What does this illustrate?
  
  • The first figuration is an imitation of the original melody
  • The figuration in measure 7 uses the neutral syllable “oo,” while the last one utilizes a text fragment from the preceding measure.
    
    • The melody actually appears here with a supporting voice below in strict parallel thirds or sixths.
    • What still predominates is the melody with the figuration.
  • Non-continuous, fragmentary characteristics of figurations are evident
• EXAMPLE 5-9: What does this illustrate?
  
  • The figuration, as in 5-8, acts as a punctuation during the sustained part of the melody.
  • The original text fragment is used which relates to the text line immediately preceding it
  • This figuration appears initially in the second verse, and therefore helps to connect to this verse with the homophonic presentation of the melody in the first verse.
  • Non-continuous, fragmentary characteristics of figurations are evident

Ostinato

• What is an ostinato?
  
  • A repeated motive that has rhythmic and pitch components.
• How long are choral ostinatos typically?
  
  • One or two measures long
• What does a choral ostinato reiterate?
  
  • A single text fragment related to or extracted from the original melody
• Where is the pitch level for ostinatos?
  
  • Most ostinatos stay at one pitch level
  • Occasionally an ostinato will change pitch after it has been established
• What are the best melodies for ostinato treatment?
  
  • Those which imply the same harmony (usually tonic) for several measures
• An ostinato is often stated first without the melody. Why?
  
  • To provide contrast in the arrangement and to establish it fully before it sounds against the melody.
• EXAMPLE 5-10: What does this illustrate?
  
  • Two measure ostinato is stated alone before it continues below the melody
  • Why is the melody of this example well chosen for ostinato treatment?
    
    • It retains tonic harmony prominently throughout
    • It has a strong forward-driving rhythm
    • The ostinato fits both the tonic in the melody and the mediant chords in the accompaniment

Imitation

• What is imitation?
• When can imitation be used as a choral arranging device?
  
  • To begin new sections of an arrangement
  • Set off a new line of text
• How many measures of the melody are treated imitatively
  
  • Usually one or at the most two
• What happens after one or two measures of imitation?
  
  • The texture usually simplifies to some type of homophonic treatment
• What are the typical pitch levels of imitation?
  
  • Unison
  • Octave
  • Fifth
  • Fourth
• What care must be taken during imitation?
  
  • To be sure that the harmonic implication of the original melody will fit the imitated voice during the time the imitation takes place.
• EXAMPLE 5-11: What does this illustrate?
  
  • Typical use of imitation to set off a new section of text in the piece.
  • The basic idea is two measures long and is imitated at the perfect fourth above
  • Two parts are treated homophonically when the imitation breaks off

Canon

• How are vocal parts assigned in a canonic texture?
  
  • Both vocal parts are assigned the same melody, although starting at different points and sometimes on different pitches.
• Canon at the unison is also known as what?
  
  • a round
• Why does Canon at the unison not have the wide application that imitation has in choral arranging?
  
  • Because not all melodies have the musical properties that allow for an extended canonic treatment.
• Whereas imitation usually breaks off into a different texture after one or two measures in most choral arrangements, what does a canon do?
  
  • Canon normally preceeds for a minimum of four measures and often up to eight measures or more.
• What is Canon at the unison or octave most easily adopted for?
  
  • Choral arrangements
• When do most canons start?
  
  • After one or two measure
• Which melodies work best for canon?
  
  • Melodies that have a static tonic harmony throughout
• What is one of the first steps an arranger needs to take when examining a potential melody for arranging?
  
  • To consider the melody for canonic possibilities
• In some arrangements, where does the canon break off?
  
  • At the point where the static harmony makes a substantial change.
• What happens to the second voice if the harmonic change in the original melody (the leader of the canon) is slight?
  
  • If the second voice (the follower of the canon) may have a slight note variation to maintain a constant intervallic relationship with the leader
• EXAMPLE 5-12: What does this illustrate?
  
  • Unison canon with a two-measure separation.

FINISH THIS PG 72

Partner Songs

Pg 74

Answer 1

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