Download - Choral Arranging and Composition
-
7/24/2019 Choral Arranging and Composition
1/7
Choral Arranging and Composition
I. Vocal Ranges
The range of a voice can be divided into sub-ranges, each with its particular
characteristic and effect on the performer.
Conversational range
A comfortable mid-range which covers about a fifth or sixth, easy to sustain
over long periods of time, supports relaxed or low tension moods, sustained
use does not promote interest
Standard range
Above and below the conversational mid-range, high range supports
increased intensity of mood, low range supports decreased intensity of mood,
sustained use of a single part of this range does not promote interest
Extreme range
Effective at climaxes and anti-climaxes, constant unrelieved use of an
extreme can quicly become wearing to both the singer and the listener.
Voice Ranges
II. Divisi Ranges
III. Effect of different range, spacing, and density configurations.
-
7/24/2019 Choral Arranging and Composition
2/7
-
7/24/2019 Choral Arranging and Composition
3/7
for example, change relative activity and complexity, add or delete rhythmic
layers.
Voice su"#groupings
for example, add enough space between two pairs of voices to produce
dichotomy, progressive addition or deletion of voices /density crescendo or
diminuendo0, other inds of progressive addition or deletion /7wave,7
7pyramid,7 7fan,7 7parallel sweep70. 4eeVoice Density Patternsbelow.
Voice couplings
pairings, two contrasting pairs, one voice contrasting with the others, faux
bourdon, parallelism /chord streams, chord planing0, chord-stream
counterpoint.
Voice Density $atterns
These patterns can be used to avoid unrelenting use of 4AT9, to set up
contrasts, to create conversation-lie exchanges in the choir and so on. The
patterns listed below are common but do not rule out unlisted possibilities.
)
*+
) : )
* : *
* : )+ : )
+ : *
+ : +
/4A or T90
/44A or TT90/44AA, TT99, 4AT90
/4A : T90 /44 : AA, TT : 990
/44A : TT90
/44A : T90/44AA : T90
/44AA : TT90
/44AA : TT990
6ore useful ideas for choral writing can be found by visiting Texturesand
other Tools pages.
;otice the effects and long-range plans created by these
ideas in selected choral scores and recordings.
C"6
-
7/24/2019 Choral Arranging and Composition
4/7
4ome of the pages /indicated by a 0 play midi files. To see how to set up
your computer for this, go to %idi Setup
.
Clic on any active lin to go to a Tool $age.
4eeComposers& Rules of Engagement
%.
4cale 6aterials
o iatonic 6odes
o 5apped 4cales
o ybrids
o 4ymmetrical 4cales
Bhole Tone
"ctatonico Tonality
o
-
7/24/2019 Choral Arranging and Composition
5/7
o 6otive,
-
7/24/2019 Choral Arranging and Composition
6/7
6usic can be static if it /for example0 never changes pitch
level. %inimalismalthough based on repetition is not static if
processes of change are present /as in good examples of this
genre0.
9e sensitive to the need for change in your own wor. Any
process of change, sudden or gradual, can be created with any
single composer#s tool or combination of tools.
Second Rule(
Sooner or later, you have to consider )here your )or* is going.
There are several ways to approach a composition.
o 4tart with overall planning then start setching.
o 4etch first then develop an overall plan that fits your
ideas.
o ;ote$ +verall $lanningis al)aysin the equation.
4etching without thought of structure leads to aimless
stream-of-conscious lac of cohesion.
On Thinking about Structure:Today#s composer can use
traditional formal templates and modern techniques at the same
time. Bhile there may be differences in process and style,
traditional models and their contemporary analogs have the
following in common$ content, form#defining
closure,changing tonal centers, textural design,
optional lin*ing passagesand optional extensions such
as introductionsand codas.
Third Rule(
void the Edifice Complex.
o not regard your composition as a magnum opus.
'earn from but do not be intimidated by the masters of the past.
'ourth Rule(
-ive a thought to others involved in the process.
=emember the performers. =emember the listeners.
4tay in touch with both.
-
7/24/2019 Choral Arranging and Composition
7/7
of inquiry.H Iour question should be 7Bhat can ! do with thisJ7
not 7Bhat does the boo say to do with thisJ7
A vital composition is one in which the composer tests his or
her discoveries about the nature of musical materials -- and the
nature of music itself, for that matter. Composition is, in short,
an application of a composer#s theories about music.
Everything about you goes into your composition. A
composition is the sum of everything you now and feel about
music -- and life.
Sixth Rule(
e your o)n critic.
As a self-critic, your primary goal is to identify what you are
trying to accomplish as a composer. "nce you establish this,
criticism is a process of Kudging how effectively you achieved
your goals. The final stage of criticism is to decide what to do
about an ineffective or unclear passage.
Lnder no circumstances should you Kudge your wor based on
how it matches up to the wor of others. Bhat is important is
your participation in the world of ideas, not how you measure
up.
Avoid belittling or minimiDing your own contribution to the
world of ideas. ;o matter how small, a contribution is acontribution. o not be carpingly critical of your own effort.
!nstead, expend your energy experimenting with ideas and
writing notes.