Location via proxy:   [ UP ]  
[Report a bug]   [Manage cookies]                
Scribd Logo
Upload

Welcome to Scribd!

  • 2K views

    Choral Arranging - Hawley Ades

    Uploaded by

    Andres Saavedra

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Choral Arranging - Hawley Ades

    Uploaded by

    Andres Saavedra
    2K views255 pages

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    2K views255 pages

    Choral Arranging - Hawley Ades

    Uploaded by

    Andres Saavedra

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 255
    At a glance
    Powered by AI
    The key takeaways are that the book aims to present an organized program of study for writing choral arrangements and deals with practical choral arranging between simple harmonization and truly creative composition.

    The prerequisites assumed are a working knowledge of harmony and counterpoint as well as a sufficient background in music history to understand different styles and periods of composition.

    In addition to harmony and counterpoint, a background of association with singers and singing groups is needed.

    PR EFACE

    T H I S book is written for the choral arranger of today — director. student.


    Or composer, Its purpose is to present an organized program of study for mu-
    sicians interested in writing for voices.

    Both mv work as a choral arranger for professional and amateur groups


    and my experience teaching choral arranging have pointed to the need for such
    a book. Though there are a number o f comprehensive texts available to the
    student o f orchestration, there is not a comparai* work dealing with writing
    for ‘oiees. W hile tue term "choral arranging" can be applied Io any, vocal writing
    from simple harmonization of a melody to vocal settings so creative that they
    are really composition, this book deals with the range of writing between these
    extremes — that is, practical choral arranging for the musician who wishes
    make an elfective setting of a partieular piece of musical material for a particular
    choral group.

    The composer too ma y lind this presentation o f chorai arranging of value


    in indicating possible means o f setting his originai musical ideas, though the
    choral arranger, of course. looks to the composer io expand these techniques_
    In fact. because ali of our present chorai arranging techniques stern from great
    Amai COMpOSitiOnS of the past. many of the examples used in this book are
    drawn from originai works. In connection with this use of examples from originai
    compositions, I shouid explain that when reference is nude io various devices
    and techniques in these illustrations as "arranging" devices. this is Io point these
    out and add them to the choral arranger's musical vocabulan. M v purpose is
    to help the choral arranger develop an effective skill rather than Lo ascertain
    whether a given device or technique should be termed "arranging" or "com-
    posing". That is, this book is intended as a practical handbook on the subject
    of choral writing rather than as an academie exploration of

    As prerequisites to taking up this study of choral arranging. I assume the


    student's working knowledge of harmony and counterpoint. In additiom he shouid
    have a sufficient background in music history io provide a grasp of the distin-
    guishing characteristies of various styles and periods of composition, for stylis-
    tic consistency is the main halimark o f the skilled arranger. Such a knowledge
    enables the arranger io choose and maintain an appropriate style for a given
    setting. using contrapuntal devices from the Baroquc period. nineteenth-century
    chromaticism. or the harrnonie and rhvthmic idioms o f the twentieth century.
    as indicated by the character of the musical material.

    Also needed is a background of association with singers and singing groups,


    and of greatest value ís a current attiliation with a choral group which pro‘ ides
    opportunity to hear one's writing. A thorough knowledge of the capabilities and
    limitations of voices cannot be acquired except by working with a singing group,
    Though the generai classification and ranges of voices are easily rnastered, there
    are many subtleties of timbre, tessitura. vocal line, and dynamic balance between
    sections and an infinite variety of tone coloration and dramatic expression which
    must be heard many times over t() be handied with assurance,

    III

    You might also like