choral arranging and composition

7/24/2019 Choral Arranging and Composition

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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.


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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.

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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


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o 6otive,


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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.


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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.

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