DOCSLIB.ORG

Vocal Arranging Tips & Tricks Ian Brekke – ECCO 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vocal Arranging Tips & Tricks Ian Brekke – ECCO 2016 Vocal Arranging Tips & Tricks Ian Brekke – ECCO 2016 Why Arrange? Want vs. Need • Want – “I can visualize this song being successful in an alternative setting” o Are you adding to this and/or making it better? o If it’s worse than the original, what does this accomplish? o Artistic focus/project • Need – “My ensemble has specific requirements to make this song work” o Is this helping my choir? o Whether it’s artistically “better” or not is much less relevant, as this is fulfilling a need. o Practical focus/project Why Else? • To improve at arranging and composition • To explore a new musical style • To cross or combine musical genres • To honor another composer/arranger and/or learn their tendencies Picking A Song – Some Considerations • Can you “hear” a song in an alternate setting? • Is it musically, stylistically, and contextually appropriate for your ensemble? • Has someone already done this? Research and listening required. • Who owns the copyright? (Hint: It’s probably Hal Leonard) • Using your knowledge of vocal music, can it be performed well by this instrument? Often this is a matter of preference or taste. Different Styles of Arranging • Notational/Written • Improvisational/Circle-Singing • Recording/Looping/Layering • Gray Areas: o Adaptation (Online Example #1) o Transcription (Online Example #2) 1 Foundational Changes & Easy Arranging Starters • Style/Feel o Primarily an Aesthetic Change (Postmodern Jukebox) o Easy to try – Record different “grooves” to test quickly o Careful of creating a parody • Major to minor, minor to Major, and Modal Writing o Sometimes this actually supports the lyric better o Modes often work really well with pedal tones and drones • Time Signature o Odd meters (5/8, 7/8, etc.)Autumn are cool In New York o A great exercise to adapt melodic content accounting for appropriate lyric setting (Online Example #3) Mediumo Swing Vernon Duke G min7 A min7 Bb6 C 7 FMaj7 G min7 A min7 D7b9 A 5 j œ œ ˙. & b 4 . œ œ œ j Œ j œ œ œ ˙ ∑ Œ Aut-umn in Newœ York,˙ whyœ does Jit seem so in - vit - ing? G min7 A min7 Bb6 C 7 Amin7b5 D 7 j b j Œ j œ œ œ œ ˙. ∑ Œ 5& œ œ œ œ J ˙ Aut-umn in Newœ York,˙ œit spells theJ thrill of firstJ - night - ing • Tempo oG mFasterin7 = Simplify B min7 E 7 A Maj7 G7 9 b b b b B• Form j j ob œIt’sœ okayœ to add, subtract,bœ andœ re-arrange j j 9& J . œ. œ œ. bœ. bœ. ˙ ˙. ˙ o gliNot-tter all- ingsectionscrowds of andform shimneed-mer to- being theclouds same b inœ can - nyonsœ œof steel, they're • InstrumentationC min7 /DensityAmi n7b5 Dmin7b5 G7b9 CMaj7 C 7 C7#5 o Re-voice for need OR aesthetic appeal (sometimes requires change of key) o Density is often overdone – less is more b Do not fear unisonj and 2-part writingn ˙ 13& o œ. bœ ˙ ˙. ˙. ˙ ˙. #˙ mak - ingœ me feel I'm home. It's • Words/Syllables oG mNoin7 words? WriteA msome!in7 (BOnline6 ExampleC #47 ) FMaj7 G min7 A min7 D 7 D 7 o Syllables are a vocalist’s toolb for articulation – use effectively b A j § Used to enhance melody, not detract from it b œ j ‰ œ œ œ œ ˙. ˙ ∑ Œ 17& N§œ (Onlineœ Example #5) œ J J o AutAgain,- umn carefulin Newœ of Yorkparody˙ thatœ brings theJ pro-mise of new love C min7 D min7 Ebmin6 F 7 Bbmin6 Abmin7 Gb7 C7b9 2 b œ œ œ j j œ œ bœ bœ œ b˙. ˙ ˙. Ó 21& œ bœ autJ-umn in New York˙ œ. is oft-en mingJ -led withJ pain F min7 C 7 F min7 Ab7 DbMaj7 Ab7 EMaj7 C j b œ. œ œ œ ˙. Œ œ œ œ Œ 25& bœ bœ. œ b˙. œ dream - ers withJ emp - ty hands, they sigh forœ ex - o - tic lands, it's © • Re-harmonization o Change the underlying chord so the melody note has a different function § Ex: If the melodyShenandoah note is the 3rd ,Examples change chord so it functions as the 5th. o Trial and error is crucial – don’t settle too early Eb Ab Eb b œ œ œ ˙ œ œ & b b 4 œ œ œ œ œ Œ œ œ œ œ œ Œ œ 4 Oh,œ Shenœ -anœ-œdoah,œ I long to hear you A - way you rol-lin' riv-er Oh, Ab Bb Cmi Bb Eb Gmi b j & b b œ œ œ œ œ œ œ Œ ‰ ˙ œ œ œ œ œ Œ 5 Shen-an-doah, I long to hearœ youœ œ 'way,œ I'mœ bound a-way, 'crossœ theœ Cmi Bb Eb b & b b ˙ œ 9 wide Misœ - sourœ - wi. Effective Starter “Tricks”EbMa6 • bbUse ÓpedalŒ tones/drones œ œ œ œ Œ œ œ & b Pedal tones create stability, simplicity,œ œ andœ naturallyœ enhanceœ œ melodic content œ o Shenœ - anœ - doah,œ œ œI longœ to hear you œA - o 5thsœ in men add further stability, or shift it to women for men’s melody o Choral exercise – full choir drone, shifting to closest correct note on chord changes œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ • bbOstinatosÓ Œ = Motor that drives an arrangement Œ 13 b o Similar(CLOSED to style/feel VOICINGS) in their function • WriteAbMa More7 Unisons EbMa7 o Incredibly effective for teaching blend, balance, style, and listening bb o˙ Allows the ensembleœ toœ feel successfulœ œ right away œ œ Œ œ & b ˙ œ œ œ œ œ œ œ • 2-partway Writing you rol - lin' riv - er Oh, o Prioritize using 3rd and 6th intervals combined with good voice leading o˙ Study Phil Mattsonœ – œhe’s theœ masterœ œ œ œ œ ? b œ œ œ œ œ Œ 16 • bWriteb (DROP FOR 2 theVOICINGS) lyrics, not against them œ 7 7 7 • PassAbM thea7 melody around Bb Cmi Bb o (Online Example #6 & #7) bb œ œ œ œ œ Œ ‰ j &• Haveb œ a sectionœ orœ sections drop œout for effectœ œœ œ œ œ Shen - an - doah, ˙ I long to hear you œ 'way,J ˙ 3 œ œ œ œ ? b œ œ œ œ œ ‰ J 18 b b œ œ œ ˙ œ (SPREAD/OPEN VOICINGS) © Shenandoah Examples Eb Ab Eb b 4 œ œ œ ˙ œ œ & b b œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ Process – Different4 Oh,œ ApproachesShen-an-doah, I long to hear you A - way you rol-lin' riv-er Oh, Everyone arrangesAb a littleBb differentlyC mbasedi on naturalBb preference.Eb Here are a fewG mconsiderationsi as you figure outb your own: & b b œ œ œ œ œ œ œ Œ ‰ j ˙ œ œ œ œ œ Œ 5 • ArrangingShen-an- doah,from a leadI long sheetto hearœ youœ œ 'way,œ I'mœ bound a- way, 'crossœ theœ o (Online Examples #8 & #9) Cmi Bb Eb • 7th Chord Voicings b o Closed & b b ˙ Drop 2 œ 9 wideo Misœ - sourœ - wi. o Open/Spread EbMa6 b œ œ & b b Ó Œ œ œ œ œ œ œ Œ œ œ Shenœ - anœ - doah,œ œ œI longœ to hear you œA - œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ bb Ó Œ Œ 13 b (CLOSED VOICINGS) AbMa7 EbMa7 b ˙ œ œ & b b ˙ œ œ œ œ œ œ œ Œ œ way you rol - lin' rivœ - er Oh, ˙ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ Œ 16 b b (DROP 2 VOICINGS) œ 7 7 7 AbMa7 Bb Cmi Bb bb œ œ œ œ œ Œ ‰ j & b œ œ œ œ œ œœ œ œ œ Shen - an - doah, ˙ I long to hear you œ 'way,J (Shen - an - doah, hear you) œ œ œ ˙ œ œ œ œ ? b œ œ ‰ J 18 b b œ œ œ ˙ œ (SPREAD/OPEN VOICINGS) © 4 2 Shenandoah Examples 7 7 7 EbMa7 Gmi Cmi Bb EbMa6 b & b b ˙ œ œ œ œ œ Œ œ ˙ œ œ ˙ œ I'mœ boundœ a - way, 'crossœ theœ wide˙ œ Misœ -sourœ - wi. ˙ œ œ œ œ œ œ œ œ ˙ œ œ œœ w ? bb Œ ˙ œ œ 20 b(CLOSED/DROP 2 COMBO) • Accompanied vs. Un-accompanied o Accompanied works = Voices are functioning as a melodic “section” § Often primarily homorhythmic § Accompaniment is able to supply harmony, rhythm, counter-melody, and motor. Voices are the featured instrument. o Un-accompanied works = Voices fulfill ALL roles § Melody, harmony, rhythm, counter-melody, motor § Often polyrhythmic § Use of vocal bass, vocal percussion common § (Online Example #10) • Writing Vertically vs. Horizontally o Vertical = Great voice leading, good for homorhythmic o Horizontal = Very “Sing-able” lines, good for polyrhythmic o Often influenced by instrumental background • Finding your writing space and tools o Where? With what? When? • Record yourself o Raw ideas, scratch tracks, etc. o Allows you to experience externally vs. internally o Sibelius/Finale playback is okay, but it’s not vocal 5 General Words of Wisdom • Start your arrangement at the first part you can “hear” o Hint: This is often not the beginning • Be ready to set aside several sections/revisions of your work o Do not throw away or delete – You will probably miss it! • Good piano voicings are generally good vocal, horn, and string voicings o Start practicing piano! • Consciously direct your audience’s focus o In any given section, which part do you believe is the most important? The least important? Does your arrangement emphasize what you want it to emphasize? o Hint: If it doesn’t, this almost always involves simplifying something too dense o Remember: Your audience is hearing this for the first time • Prioritize good voice leading unless going for a specific effect o Counterpoint rules, while helpful, are not universally applicable in 2016.
Load more

Recommended publications
  • John Harbison's Songs for Baritone: a Performer's Guide
    John Harbison‘s Songs for Baritone: A Performer‘s Guide A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Peter C. Keates B.M.A., University of Oklahoma, 2004 M.M., University of Cincinnati, CCM, 2006 Abstract This document is a performance guide for Words from Paterson and Flashes and Illuminations, John Harbison‘s song cycles for baritone. It confronts the issues of text interpretation and musical style one must address in order to give the most informed performance of these songs. It provides a synthesis of information about the poems and readings of the poetry Harbison set to music, offers insight into Harbison‘s interpretations of the text, and demonstrates how Harbison‘s atonal style and unique compositional techniques provide a successful musical setting for the chosen texts. The guide also discusses performance issues based on personal experience as well as the experience of the composer and other performers. The poetic style of William Carlos Williams, Michael Fried, Czeslaw Milosz, Elizabeth Bishop, and Eugenio Montale are examined. A transcription of an interview with John Harbison is also included. Table of Contents Introduction .......................................................................................................................................... 1 I. Paterson ...............................................................................................................................................
    [Show full text]
  • Teaching Guide
    Teaching guide: Area of study 2 (Popular music) Study piece Little Shop of Horrors (1982) off-Broadway version – the following three tracks: • Prologue/Little Shop of Horrors (overture) • Mushnik and Son • Feed Me. Please note we are unable to reproduce sections of the score and the song lyrics due to copyright restrictions. Contextual information Little Shop of Horrors first appeared as a low budget film in 1960: The story involves a plant which feeds on human blood and tissue. The main characters include: • Mushnik – the owner of the florist shop, who treats his staff badly • Seymour and Audrey – florist shop assistants • Orin – Audrey’s abusive dentist boyfriend • Chiffon, Crystal and Ronnette – a trio of street urchins who comment on the action as the story progresses • Audrey II – the plant. The version on which this guide is written for is the off-Broadway 1982 production. An off-Broadway production is one in a professional theatre venue in New York City with a seated audience capacity between 100 and 499, inclusive. These theatres are smaller than Broadway theatres, but larger than ‘off-off’ Broadway theatres, which seat fewer than 100: Some shows that premiere off-Broadway are subsequently produced on Broadway. A Broadway production takes place in a professional theatre with a seated audience capacity of more than 500 seats. After the 1982 production, there have been subsequent productions worldwide of Little Shop of Horrors and the musical was also made into a 1986 film, directed by Frank Oz. The music for this 1982 off-Broadway production of Little Shop of Horrors was composed by Alan Menken (b.1949).
    [Show full text]
  • AN INTRODUCTORY GRAMMAR of OLD ENGLISH Medieval and Renaissance Texts and Studies
    AN INTRODUCTORY GRAMMAR OF OLD ENGLISH MEDievaL AND Renaissance Texts anD STUDies VOLUME 463 MRTS TEXTS FOR TEACHING VOLUme 8 An Introductory Grammar of Old English with an Anthology of Readings by R. D. Fulk Tempe, Arizona 2014 © Copyright 2020 R. D. Fulk This book was originally published in 2014 by the Arizona Center for Medieval and Renaissance Studies at Arizona State University, Tempe Arizona. When the book went out of print, the press kindly allowed the copyright to revert to the author, so that this corrected reprint could be made freely available as an Open Access book. TABLE OF CONTENTS PREFACE viii ABBREVIATIONS ix WORKS CITED xi I. GRAMMAR INTRODUCTION (§§1–8) 3 CHAP. I (§§9–24) Phonology and Orthography 8 CHAP. II (§§25–31) Grammatical Gender • Case Functions • Masculine a-Stems • Anglo-Frisian Brightening and Restoration of a 16 CHAP. III (§§32–8) Neuter a-Stems • Uses of Demonstratives • Dual-Case Prepositions • Strong and Weak Verbs • First and Second Person Pronouns 21 CHAP. IV (§§39–45) ō-Stems • Third Person and Reflexive Pronouns • Verbal Rection • Subjunctive Mood 26 CHAP. V (§§46–53) Weak Nouns • Tense and Aspect • Forms of bēon 31 CHAP. VI (§§54–8) Strong and Weak Adjectives • Infinitives 35 CHAP. VII (§§59–66) Numerals • Demonstrative þēs • Breaking • Final Fricatives • Degemination • Impersonal Verbs 40 CHAP. VIII (§§67–72) West Germanic Consonant Gemination and Loss of j • wa-, wō-, ja-, and jō-Stem Nouns • Dipthongization by Initial Palatal Consonants 44 CHAP. IX (§§73–8) Proto-Germanic e before i and j • Front Mutation • hwā • Verb-Second Syntax 48 CHAP.
    [Show full text]
  • Embodiment in Middle English Lyric
    Beste of bon and blod: Embodiment in Middle English Lyric Sarah Kathryn Moore A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Míċeál Vaughan, Chair Colette Moore Carolyn Allen Program Authorized to Offer Degree: English © Copyright 2015 Sarah Kathryn Moore ii University of Washington Abstract Beste of bon and blod: Embodiment in Middle English Lyric Sarah Kathryn Moore Chair of the Supervisory Committee: Professor Míċeál Vaughan English This dissertation argues that Middle English lyric is uniquely successful at connecting readers and hearers with our own bodies and with the bodies of medieval textual subjects. This effect occurs on the levels of content, form, and tone, although my emphasis is primarily on the formal components through which the connection is achieved, and my evidence is drawn largely from formal analysis of the songs. The methods through which the lyrics connect us with our bodies are sophisticated and include especially the carefully managed use of the linguistic category of deixis; nuanced, intentional portrayal and evocation of affect, or physically demonstrated emotion; and implicit and explicit reference (via form and content respectively) to the ways in which lyrics were literally embodied by medieval subjects through danced performance. I argue that Middle English lyrics construct and maintain the “I” of an uttering subject while also reinforcing an embodied sense of self in the text’s reader or hearer. The corpus of surviving lyrics uniquely demonstrates how language, subjectivity, the body, and poetic form are related, speaking to the profound utility of verse (both in the medieval period and today) in constructing a sense of self and in relating to and empathizing with others.
    [Show full text]
  • GRAMMAR TIME for Law Students
    И. Н. Айнутдинова GRAMMAR TIME for law students with short comments, training exercises, tests and much more Под общей редакцией доктора педагогических наук И.Н. Айнутдиновой Учебное пособие по английскому языку для студентов юридических факультетов вузов часть IV Институт международных отношений, истории и востоковедения/ Отделение Высшая школа иностранных языков и перевода/ Кафедра иностранных языков для социально-гуманитарного направления КФУ Рецензенты: доктор педагогических наук, профессор Э.Р. Хайруллина кандидат педагогических наук, доцент Г.А. Арсланова Айнутдинова И.Н. GRAMMAR TIME for law students (with short comments, training exercises, tests and much more): учеб. пособие по английскому языку для студентов юридических факультетов вузов: в 4 ч./ И.Н. Айнутдинова: под общ. ред. И.Н. Айнутдиновой. – Казань, Изд-во Казан. университета, 2016 – 288 с. GRAMMAR TIME for law students (часть IV) является продолжением серии пособий по грамматике английского языка, состоящей из 4-х частей, для студентов юридических факультетов высшей профессиональной школы. Пособие по грамматике английского языка содержит нормативные разделы грамматики, необходимые для развития навыков и умений по дисциплине «Иностранный язык» для неязыковых вузов; содержит краткие теоретические материалы (комментарии и инструкции), комплекс упражнений для аудиторной и самостоятельной (автономной) работы, а также дополнительные разделы по развитию коммуникативных навыков владения иностранным языком в соответствии с образовательными стандартами, установленными для неязыковых
    [Show full text]
  • Store 'N' Play MP3 PLAYER
    Store ‘n’ Play MP3 PLAYER USER MANUAL VM205 English SD/MMC Regulatory Information: Declaration of Conformity Model VM-205 This device complies with part 15 of FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation. FCC Notice: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio and television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: -Reorient or relocate the receiving antenna. -Increase the separation between the equipment and receiver. -Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. -Consult the dealer or an experienced radio/ TV technician for help. CE Notice: If the product suddenly has no response or power off, it may be caused by electrostatic discharge. If this circumstance, please follow the procedures below for recovery: - Switch off the unit, if the unit has no response.
    [Show full text]
  • Grammar in Metaphor: a Construction Grammar Account of Metaphoric Language
    UC Berkeley Dissertations, Department of Linguistics Title Grammar in Metaphor: A Construction Grammar Account of Metaphoric Language Permalink https://escholarship.org/uc/item/9d9222f9 Author Sullivan, Karen Publication Date 2007 eScholarship.org Powered by the California Digital Library University of California Grammar in Metaphor: A Construction Grammar Account of Metaphoric Language by Karen Sorensen Sullivan B.A. (University of Oregon) 2001 M.A. (University of California, Berkeley) 2004 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Eve Sweetser, Chair Professor Gary Holland Professor George Lakoff Professor John Lindow Professor Richard Rhodes Fall 2007 Grammar in Metaphor: A Construction Grammar Account of Metaphoric Language © 2007 by Karen Sorensen Sullivan Abstract Grammar in Metaphor: A Construction Grammar Account of Metaphoric Language by Karen Sorensen Sullivan Doctor of Philosophy in Linguistics University of California, Berkeley Professor Eve Sweetser, Chair Over the past few decades, the conceptual metaphor revolution inspired by Lakoff and Johnson (1980) has offered considerable insight into the conceptual structure of metaphor. However, interest in the conceptual characteristics of metaphor has sometimes overshadowed the question of how metaphor surfaces in language. This dissertation tackles the issue of metaphoric language by identifying how specific linguistic resources – from grammatical constructions to poetic devices – are employed to convey the conceptual structure of metaphor. The dissertation focuses on the role of grammatical constructions in metaphoric language. In metaphoric phrases that can be understood out of context, such as bright idea, the dissertation argues that words in particular constructional slots indicate the source domain of a conceptual metaphor (i.e.
    [Show full text]
  • W. H. Auden and the Meaning of Lyric Poetry Edward Quipp Phd. University of Edinburgh, 2007
    W. H. Auden and the Meaning of Lyric Poetry Edward Quipp PhD. University of Edinburgh, 2007. THE UNIVERSITY OF EDINBURGH AABBSSTTRRAACCTT OOFF TTHHEESSIISS Regulation 3.1.14 of the Postgraduate Assessment Regulations for Research Degrees refers These regulations are available via:- http://www.aaps.ed.ac.uk/regulations/exam.htm Name of Edward Quipp Candidate: Address : Postal Code: Degree: PhD Title of W. H. Auden and the Meaning of Lyric Poetry Thesis: No. of words in the main text of Thesis: 97462 My thesis proceeds from recent critical discussion about the status of the aesthetic object after the decline of high theory of the 1980s and 1990s. The term “singularity”, articulated by critics working with the ideas of Martin Heidegger, has been variously applied to the artwork in the attempt to describe the generative power of art as separable from any historical or political determinants that may shape it. What makes the experience of art “singular”, that is, an experience governed by the artwork itself, without the scaffolding of theory or context? Such a question, I argue, actually demands a return to the first principles of close textual criticism, along with a rigorous approach to genre. The lyric poetry of W. H. Auden provides the ideal material for “singular” criticism. Unpacking the term lyric and redefining it according to Auden’s particular poetics, I consider how Auden inaugurated a new manner of experiencing modern poetry based on the notion, implicit to the conventional understanding of lyric, of vocality. After an account of Heidegger’s influence on contemporary ideas on aesthetics, I consult the work of Theodor Adorno, and later Hannah Arendt, in order to situate Auden’s early work in a European context, opposing the Atlanticism which has governed the vast majority of Auden criticism.
    [Show full text]
  • Feux De L Amour Resume
    Feux De L Amour Resume Parnassian Mac disvalued brilliantly. Proportionate Conway always catechizing his sulkies if Jehu is motorable or laced lovingly. Unemployed Cobb decks very incautiously while Frank remains autumnal and lunatic. Verlaine to do not answering her get close to give up with avery get to Billy apologizes to Stitch for giving him a hard time. Madame de Tencin and Madame Lambert, and befriended the deposed King Stanislas of Poland. Oct 201 Les Feux de l'Amour en France Rsum des pisodes diffuss sur TF1 acteurs personnages actualit de la srie. In maple guide, image will deal about across a Holy Paladin in police raid. Noiselessly, like a snapshot, it just evaporate. Allouma seduces Auballe into submission. Lily enjoy their hotel room for him and lily smells trouble for his. The last line is soft again, however, passion yielding to serenity. Resume des feux de l amour wwwhotclubcouk View topic. Coutinho who committed to seduce him, needing to a tool box her resume feux de l amour resume. Billy bumps into Adam and learns that onset has reunited with Chelsea. Neil intends on request; michael finishes giving them on one to. This man is for REAL and for good. Paul to help remove free Michael. Abby becomes the bonfire of unwanted attention. 60 ides de Peter Bergman les feux de l'amour Pinterest. Nick comforts Sharon who is still nervous about continually seeing Cassie. She surpass the flow of father John Lind and mother Barbara Alyn Woods. Centre de Création Céramique de La Borne. This and other countermelodies occur frequently throughout the song.
    [Show full text]
  • Homer and Greek Myth
    Homer and Greek Myth The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2007. Homer and Greek Myth, 2nd ed. In The Cambridge Companion to Greek Mythology, ed. R. D. Woodard, 52– 82. Cambridge; New York: Cambridge University Press. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:3627122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Homer and Greek Myth Gregory Nagy The printed version is published in The Cambridge Companion to Greek Mythology (ed. R. D. Woodard; Cambridge University Press 2007) 52–82. See also the companion piece, “Lyric and Greek Myth,” pages 19–51 of the same volume. For abbreviations like PH, HC, etc., see the Bibliography. (The page-numbers of the printed version are embedded within brackets in this electronic version: for example, {52|53} marks where p. 52 stops and p. 53 begins.) (The Homeric Iliad and Odyssey are each divided into twenty-four rhapsidiai ‘rhapsodies’, sometimes called ‘scrolls’ or ‘books’, which are divisions based on traditions of performance [PR 63]. Numberings of the Rhapsodies of the Iliad / Odyssey will be indicated by upper-case / lower-case roman numerals.) In the classical period of Greek literature, Homer was the primary representative of what we know as epic. The figure of Homer as a poet of epic was considered to be far older than the oldest known poets of lyric, who stemmed from the archaic period.
    [Show full text]
  • 21St-Century Guitar Music
    21st-Century Guitar Music A Late Walk: A Harmony of Words and Music By Judith Olbrych It is no compliment when someone praises a poem as Nearly half a century later, in a 1959 conversation with easy to set to music, Robert Frost once observed. On writer Robert Penn Warren and literary critic Cleanth the contrary, Frost considered it a sign of bad writing. Brooks (the same conversation quoted in the !rst A poem is “a music of itself,” he said. “It ought to !ght paragraph of this essay), he was propounding the same being set to music if it’s got expression in it.”1 California- theme, asserting that a poem without dramatic accent based composer Michael Karmon has won that !ght “will not stay in anybody’s head. It won’t be catchy,” as with A Late Walk, his new setting of !ve selections from it is in forms from the common street ballad to the most Frost’s !rst published book of poems, A Boy’s Will. What famous Shakespearean lines. #e mood should foretell Frost accomplishes with ordinary language—capturing the end product. Yet he simultaneously cautioned against “the sound of sense,” the central challenge he pursued “singsong”; one must “break the doggerel,” he said, but throughout his long career—Karmon ampli!es within “mustn’t break with it.” Sound should exist in playful the realm of consonant, lyric melody. Karmon’s song cycle tension with the words: “What’s the good of the rhythm consists of the following movements: unless it is on something that trips it —that it ru$es? You know, it’s got to ru$e the meter.”4 I.
    [Show full text]
  • An Analysis of Musicals by Lynn Ahrens and Stephen Flaherty, and an Original Musical, Fly Like an Eagle
    Stephen F. Austin State University SFA ScholarWorks Electronic Theses and Dissertations 5-2019 An Analysis of Musicals by Lynn Ahrens and Stephen Flaherty, and an Original Musical, Fly Like an Eagle Donna Howard Stephen F Austin State University, [email protected] Follow this and additional works at: https://scholarworks.sfasu.edu/etds Part of the Composition Commons Tell us how this article helped you. Repository Citation Howard, Donna, "An Analysis of Musicals by Lynn Ahrens and Stephen Flaherty, and an Original Musical, Fly Like an Eagle" (2019). Electronic Theses and Dissertations. 233. https://scholarworks.sfasu.edu/etds/233 This Thesis is brought to you for free and open access by SFA ScholarWorks. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of SFA ScholarWorks. For more information, please contact [email protected]. An Analysis of Musicals by Lynn Ahrens and Stephen Flaherty, and an Original Musical, Fly Like an Eagle Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This thesis is available at SFA ScholarWorks: https://scholarworks.sfasu.edu/etds/233 An Analysis of Musicals by Lynn Ahrens and Stephen Flaherty, and an Original Musical, Fly Like an Eagle By Donna Howard, Bachelor of Musical Arts Presented to the Faculty of the Graduate School of Stephen F. Austin State University In Partial Fulfillment Of the Requirements For the Degree of Master of Music STEPHEN F. AUSTIN STATE UNIVERSITY May, 2019 An Analysis of Musicals by Lynn Ahrens and Stephen Flaherty, and an Original Musical, Fly Like an Eagle By DONNA HOWARD, Bachelor of Musical Arts APPROVED: ____________________________________ Dr.
    [Show full text]