-

-

-

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.

Figure 1b.

Figure 1c.

Junior High Vocal Ranges

I~ o .. o

u

Junior High Soprano I Junior High Soprano II Junior High Alto

II

~

Cambiata (changing) I

Junior High Baritone I

Senior High Vocal Ranges ~o.

Senior High Soprano I

o

Senior Jligh Alto I

11

f?' Ii I.,

II

Cambiata (chanKin~) II

Juni?r High Baritone II

1 ~cr Senior High Soprano II

Iii!

Senior Jligh A Ito II

0.

&0 Senior Hillh Tenor Senior IIigh lIaritone Senior IIillh lIoS.'l

Compromised Vocal Range

n

Cambiata and Baritone combined

6

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 note­

against-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 appendic~s as well as

in figures 2 (Note-against-note) and 3 (Figuration).

8

-Figure 2. Note-against-note harmonization 27

1\ II

tJ . Chrt .. .he KI.g whom thcp herd. ","c. o. high. The ,. gcls

1\ II

tJ ,17 ho!' Orbl .ho King whom .hep vok. o. high. Tho ,. gob

1\ II

): 17 '¥

Figure 3. Figuration harmonization II """

oJ . did th .. &"ce · ppe:lt-thc .... , 1_ fi"'--- be

" II

oJ *- 71 11 did tho< Irlc- · PI""--"'" h ... , I fin' be

p.

,nee · PI"" h ... , finl be

" II r--. I

) . . *' ~ J d . '"'

"

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.

Figure 4. Melody transference with dynamic differentiation

36

1\ • mp

oJ lined lhen: .en Ill ... nnd

" \I mp

oj o· lieved tlH:n: 'en Ill"" nnd

n_ f ,.. "

lin-cd When wc""c--- bcc,,-- llIe,"----- 'en Ill"" u"" 1\ • f

) ~:> n ':(. ~:- . ~ ~ r= -f -

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).

Figure 5. Chord doubling in accompaniment 19

ft U "-

tJ .... __ .m found' wu blind but-- .ow I .ee

.JL.L

tJ .- u .. Ti " oow __ am_ (oundo __ .'" blind~_bul .ow I se.

ft U "-

) . • ~ • iI u ..

I I

Figure 6a. Simultaneous arpeggiation in accompaniment 21

1\ II

t.l .. ~ ~ H"~* ..

,~-- whi1~ shop herd. witch __ ore k""p brings __ let lov Ing henl, __ ~n 4 Ihront'

1\ II -==== t.l 7i ~ ... * R~~* ..

,...,.,t while shop herds walch __ ore keep brings leI lov Ing ~o1rt' __ rn· Ihront"

- ):' 1_. ".

f·1 T I

-

11

-. Figure 6b. Successive arpeggiation in accompaniment

17 A II

«l . Chris. lhe Kln& whom .hep herd. voice on high. The an sel.

A II

'oJ 7:f .,; Chrisl lhe King whom JIlep herd. Yoke on high. The • n sel •

1\ II

)- . .. -~

it 1T

.

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

-------- - -_ .. _---- - -

Amazing Grace Traditional Hymn arr, Kimberly Bartling

- pp 1\ ~

Sop

t.l • A

1\ ~

Rlto t.l

. Bar

r--

1'\ ~ f"-oo",

I t.l • I

Plano mp

n • n n .. ( .

I I I I r

-8

f'I ~ ~ pp /""00-.

t.l I v • maz ing Grace! How sweel the sound thaI saved a __

I ~ pp

t.l .. v .-Ihal saved a __

. ,

~ I ,........",.

I t.l 0 0 ~ -!).' 7j • 0 •

", n n· I'J. I ~r. I I I I

f 7

--------------------------

2

" - ~ I I I I ~ ,... ~ .. wretch like me. I once was lost. but

" " ~ . .:... ~ .. - ..

wretch like me . I once was __ lost. but

. r-

" I [ ~ r--.., , tJ I I l,....-J ... • ..

CJ n' '. .. n .. n·

( . I I I I I I I I

- 19

"" '\ II ,......."" I

~ u • I now am found' was blind, but-- now I see.

II

~ .. : - u ..; - -d • U U':" ~

now am __ found' was blind, but now I sec.

.

" r-...... I

( tJ *' ~ S U .. u • U'

{ ~~. I I I I

,; I

- 18

j

-n:" II

.J I I I I I

Twas grace thaL taught my hean LO feu

II ::::::::- mf """'- I

.J ......,. • r v .. mpTwas grace thal-- laught my hean Lo fear and

,.., " . Twas grace thaL taught my hean LO fear

mp r--., I II I I I I

( .. ~ • <.J •

>-

( I ,..,. ,.., ..- ". .

......, I

-25

,,-_I II 7nf

.J I I \,.0000""" ,... --.."

grace my fcars rc licvcd ,J1ow_- pre C1OU~

II 1""-00.. 71l 1""-00..

.J I . .:... - • grace my fears rc licvcd Ilow pre ciou~

,.., ,.., ;. 7Il{ " • .

grace my fcar~ re licvco pre C10US

_1 _II I r--., I 7/~{ I ~ r--., I .. 0 -[ I -~ ... •

{r+ ,.., •

I I I 1 I I

19

4

Il ,......."" ~ L

t.l • CI • I

did that grace a. - ppear. the hour I __ first be -I ~

~ • .. : CI -,; -,j • v - -did that grace a - ppear. the hour I first be -

P-. ... I

grace a - ppear. hour first be -

1'1 ~ r---(

t.l • ~. CI .. • Go "l:

{ n • n· . I I I I I I I

36

~t ~ mp

~ I

Iieved then- ten thou sand

Il mp

4J v~ _.

I

lieved lhen- len thou sand

0- -. ff'- .. 0 .

lievcd When we'vl· hcen_ there" len thou :,anJ

~ f

-\ -iIJ

t.l v .. I I

n .. f'- • r--- r---r- .. ===F=' -r---t I I - -

20

42 mp - I\. II

.., I I I I I ---yean as the sun. We've....--

A II mp/"tooo"

tJ yean as the sun. We've...--

.- n mp. .

I I years bright 'shin - ing __ as the sun. We've

1 II I I I I mp

I tJ I <.I.' 'J

• • mp •

( . I I -

-

"' I\. II /""too..

-tJ i' -..... • <.I •

no less __ days (0 slOg God's--- prais" then when we--

I\. II

.., .. .. - . " .: .,.j -,j d • - - - -no less __ day' (0 -Hllg God's pr;lIs" (hen when we .. - • .

~ I I no le~s __ day· 10 sln~ God's prais" Ihen when we

J\ II " ,..-., i""ooo..

( :l-:$: tJ • .. .,. ?j • -d •

<

( .... )~ • -~ . ,..-., ,..-., -fW=

-.-- I I I I ....... \,rroo«"'"

21

6 so

fint be - gun. A mal. - ing Grace I

~ P f.\

.., U --, U·

fint be - gun. A - mal. - - ing Grace I

::::0 -. p. f.\ . T

first be gun. A - mal. - - ing Gracel

~ I P

I .., c; o· ;.

• ' . P f.\

( . I I T T I

-

-22

--

Appendix B

What Child is This?

-23

What Child is This? Traditional Hymn

Mr. by Kimberly Bartling - ~~Ji. Sop

-!..I. ;:::

:J IoL

...L

~

tLJt Alto -=- =J

r"tJ

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-=. ... ....r::

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mp Piano

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-

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24 1

7 mp "" ~ I ~ .. ~ - • " '" ..J • r- r-"'J

~ - I r I What child is this who

So bring him in - - - cense,

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"tJ

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~ .. ,

'" ....J • ....J •

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I I

-,.;,., J.l I

~ II , !"\ ~ \: • -- ---eJ . .:.. -- --

laid to rest on Ma - ry's gold, and myrrh. Come peas - ant

" J.l U II - ~

" "". r-tJ

" J.l

-

, 1\ -If'''' r •

~- -'\.'.J L~

) tJ CJ' c.,.. ~~

} )-' -'

( f-q~ """ . """ . """ . -~~ . ./ ~

25 2

~_II .~. ~ III ..

· Ll ..,.j J

~ 1'1- - - -d -lap is sleep - - - ing? Whom

king to own him. The

f\ ~ ~

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II ~ , IJ III

" 1"'\ · ~ · . ) ~ ~~ . v' u

) o· 0

f . · ~ . ,

· 1:;10. •

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- .. -.L ~. ..-I .. I" I" ~ ~ - .. ~ I , I

an - - - gels greet with an - thems King of King sal - va - tion

,.,m.i; ~ III , 1"'\ " "

..., -r"t,) - .. an - - - gels greet with an - thems

King of King sal - va - tion

,.,m.i; ~.

i lLit .

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( ~:11.. " I· III - -./

26 3

21 ~_ I"t JJ = I1f ...

" ...I' " , - '. ..,j II ,.j •

~ •• oJ- - H'" ~* ., ~ -- -11

sweet while shep - - herds watch are keep -brings let loy - - - ing hearts en - throne

fI ~ = ... " . ,.j •

r--~ c:f • -- --. .. ff" «. ---;;J7 #IT If--

sweet while shep - - herds watch are keep -brings let loy - - - ing hearts en - throne

" JJ · 1'). . n· , \;I I1f ~. :-I' . . :-I' ... bo'; • ~.

" "'" · '" . bo'; •

· f.J' f.J'

) .J ·

) £-,.. I1f

I ,.

~ fI ~ f 'J I1f

• r-. ~

~ -, I

ing. This, this is him. Raise, raise your

fI ~ f 'J

J "'" , J ,l' • ""~ o· #IT' - -

ing. This, this is him. Raisc, raise your

fI ~ o·

I 'J I1f . ~.

~. f.J' -. K 1;;11'. • r-

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f ) •

l f-.6t-): : - - -.- r-

.L r--- ..,j. J

I .. r

27

4

27

". II ~ I

, ~ l ~ -.

.J . ' - --Christ the King whom shep - herds voice on high. The an - gels

fl Jt OJ IIf ,....

r".J • .' - --- • -d -,}

Christ the King whom shep - herds voice on high. The an - gels

II ~ , OJ IIf ~

,....

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.J • .' • ~ i <

• (

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r I

-.; "l ~

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.J fT· If-'- -iJ, guard and an - - - gels sing. sing their lui - - - a - bye.

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Haste, haste to bring him Joy, joy for Christ is

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Joy, joy for Christ is

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tf-Babe the son of Ma - ry.

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tf Babe the son of Ma - ry.

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