I’ll Never Turn Back No More
The first decisions that should be made when beginning a vocal arrangement should deal with the big picture. This includes deciding the key of the arrangement based on the range of the voice parts. Whether the arrangement will feature a lead with background voice parts (e.g., “A Few More Miles”), or be primarily homophonic—all voice parts singing lyrics together without a lead singer (e.g., “Family of Love”)—is another big picture decision. Only after consideration of such broad characteristics should the arranger focus on more detailed elements like harmonization and phrasing.
Similarly, when transcribing or analyzing an arrangement for didactic purposes, one should begin with broad characteristics, the first of which is the form of the song and its musical arrangement. Bear in mind that the form of a song and the form of an arrangement of that same song may be different, particularly if it’s an arrangement of a commonly performed song (e.g., Christmas Carols or Beatles’ tunes).
The original melody of the spiritual “I’ll Never Turn Back No More” is comprised of three 8-bar phrases. The second phrase is a repeat of the first; the third phrase introduces a contrasting melody. Accordingly, the form of the melody can be represented by the letter scheme AA’B. Each letter represents an 8-bar phrase. The first two letters are the same indicating that the melody of the first phrase repeats in the second phrase. The melody as performed by TAKE 6 is presented below. Notice that the second phrase (bars 9–16) is not an exact repetition of the first. However, it is recognizable as a varied form of the first phrase. For this reason the second phrase has been marked as A’. The added tally mark indicates that the repetition is not exact.
On closer inspection, notice that the second part of all 3 phrases is essentially the same (i.e., bars 5–8, 13–16, and 21–24). Accordingly, a diagram of the form of “I’ll Never Turn Back No More” as performed by TAKE 6 is presented below. In the diagram there is an uppercase letter for each 8-bar phrase in the song. Subphrases are represented by lowercase letters. Notice that the second subphrase within each phrase is the same (b).
Returning to the melody in the diagram above, notice that the apex of the melody, and consequently the climax of this beautiful spiritual, occurs when the high “D” is reached in bar 17. This sense of climax is heightened by a lengthening of the bar just before the climax. The lengthening of bar 16 effectively delays the arrival of the climax, a delay that creates a sense of anticipation thereby intensifying the effect of the climax. Additionally, the contrasting melody of the third phrase, which contains the climax, adds to the heightened tension at this point in the spiritual.
Two arranging techniques were employed to compliment the structure of the melody. First, listen to TAKE 6’s performance of this piece (from our “Feels Good” CD), focusing on the use of syllables that are employed throughout. Phrases 1 and 2 are sung using an “ooh” vowel sound. The beginning of phrase 3, where the climax occurs, uses an “ah” vowel sound. “Ah” is a naturally louder vowel sound than “ooh.” In fact, it is the loudest vowel sound used in the performance and is reserved for the climax. Notice, too, that the voice parts of bar 16, where the meter briefly changes to quadruple time, utilizes an “oh” vowel sound. This sound is louder than the preceding “ooh” but softer than the “ah.” It is, in effect, a transitional sound that compliments the build up to the climax in bar 17.
The second arranging technique that compliments the structure of the melody has to do with the relative thickness of the vocal texture (i.e., the number of notes per chord). Phrase 1 employs a 4-part texture. The example below shows the texture of bar 1 from the opening phrase.
To enhance the build up to the climax in bar 17, note how the vocal texture expands at the end of phrase 2 from a 4-part texture in bar 15 to a 5-part texture at the beginning of bar 16. The texture further expands to a 6-part texture within bar 16 in preparation for the climax in bar 17. Finally, the dynamic markings show a build up to the climax, swelling to a forte marking in bar 17.
This combination of techniques to effect the climax of the performance is shown in the following example where the guitar part is on the uppermost staff and the voice parts on the lower two staves.
There’s a lot more that could be addressed in this arrangement such as reharmonization techniques, including the effective use of a deceptive progression in bars 14–15, the variety created by the arpeggiated bass line in phrase 2, and how the last subphrase (bars 21–24) returns to the 4-part texture of the opening, effectively creating an arch-like structure in the form of the musical arrangement.
Transcribing music from recordings is the best way to internalize effective music arranging techniques. The analytical observations discussed in this blog, beginning with the form of a song and its musical arrangement, are part of the transcription process, a process that I regularly use to sharpen my arranging skills.
Cedric Dent is a baritone vocalist in Take 6 and an accomplished producer and music arranger. Dr. Dent is a professor of Music at Middle Tennessee State University. He studied at the University of Michigan (B.M., Vocal Music Education), University of Alabama (M.M., Music Theory/Arranging), and the University of Maryland (Ph.D., Music Theory).
I’ll Never Turn Back No More
The first decisions that should be made when beginning a vocal arrangement should deal with the big picture. This includes deciding the key of the arrangement based on the range of the voice parts. Whether the arrangement will feature a lead with background voice parts (e.g., “A Few More Miles”), or be primarily homophonic—all voice parts singing lyrics together without a lead singer (e.g., “Family of Love”)—is another big picture decision. Only after consideration of such broad characteristics should the arranger focus on more detailed elements like harmonization and phrasing.
Similarly, when transcribing or analyzing an arrangement for didactic purposes, one should begin with broad characteristics, the first of which is the form of the song and its musical arrangement. Bear in mind that the form of a song and the form of an arrangement of that same song may be different, particularly if it’s an arrangement of a commonly performed song (e.g., Christmas Carols or Beatles’ tunes).
The original melody of the spiritual “I’ll Never Turn Back No More” is comprised of three 8-bar phrases. The second phrase is a repeat of the first; the third phrase introduces a contrasting melody. Accordingly, the form of the melody can be represented by the letter scheme AA’B. Each letter represents an 8-bar phrase. The first two letters are the same indicating that the melody of the first phrase repeats in the second phrase. The melody as performed by TAKE 6 is presented below. Notice that the second phrase (bars 9–16) is not an exact repetition of the first. However, it is recognizable as a varied form of the first phrase. For this reason the second phrase has been marked as A’. The added tally mark indicates that the repetition is not exact.
On closer inspection, notice that the second part of all 3 phrases is essentially the same (i.e., bars 5–8, 13–16, and 21–24). Accordingly, a diagram of the form of “I’ll Never Turn Back No More” as performed by TAKE 6 is presented below. In the diagram there is an uppercase letter for each 8-bar phrase in the song. Subphrases are represented by lowercase letters. Notice that the second subphrase within each phrase is the same (b).
Returning to the melody in the diagram above, notice that the apex of the melody, and consequently the climax of this beautiful spiritual, occurs when the high “D” is reached in bar 17. This sense of climax is heightened by a lengthening of the bar just before the climax. The lengthening of bar 16 effectively delays the arrival of the climax, a delay that creates a sense of anticipation thereby intensifying the effect of the climax. Additionally, the contrasting melody of the third phrase, which contains the climax, adds to the heightened tension at this point in the spiritual.
Two arranging techniques were employed to compliment the structure of the melody. First, listen to TAKE 6’s performance of this piece (from our “Feels Good” CD), focusing on the use of syllables that are employed throughout. Phrases 1 and 2 are sung using an “ooh” vowel sound. The beginning of phrase 3, where the climax occurs, uses an “ah” vowel sound. “Ah” is a naturally louder vowel sound than “ooh.” In fact, it is the loudest vowel sound used in the performance and is reserved for the climax. Notice, too, that the voice parts of bar 16, where the meter briefly changes to quadruple time, utilizes an “oh” vowel sound. This sound is louder than the preceding “ooh” but softer than the “ah.” It is, in effect, a transitional sound that compliments the build up to the climax in bar 17.
The second arranging technique that compliments the structure of the melody has to do with the relative thickness of the vocal texture (i.e., the number of notes per chord). Phrase 1 employs a 4-part texture. The example below shows the texture of bar 1 from the opening phrase.
To enhance the build up to the climax in bar 17, note how the vocal texture expands at the end of phrase 2 from a 4-part texture in bar 15 to a 5-part texture at the beginning of bar 16. The texture further expands to a 6-part texture within bar 16 in preparation for the climax in bar 17. Finally, the dynamic markings show a build up to the climax, swelling to a forte marking in bar 17.
This combination of techniques to effect the climax of the performance is shown in the following example where the guitar part is on the uppermost staff and the voice parts on the lower two staves.
There’s a lot more that could be addressed in this arrangement such as reharmonization techniques, including the effective use of a deceptive progression in bars 14–15, the variety created by the arpeggiated bass line in phrase 2, and how the last subphrase (bars 21–24) returns to the 4-part texture of the opening, effectively creating an arch-like structure in the form of the musical arrangement.
Transcribing music from recordings is the best way to internalize effective music arranging techniques. The analytical observations discussed in this blog, beginning with the form of a song and its musical arrangement, are part of the transcription process, a process that I regularly use to sharpen my arranging skills.
I’ll Never Turn Back No More
The first decisions that should be made when beginning a vocal arrangement should deal with the big picture. This includes deciding the key of the arrangement based on the range of the voice parts. Whether the arrangement will feature a lead with background voice parts (e.g., “A Few More Miles”), or be primarily homophonic—all voice parts singing lyrics together without a lead singer (e.g., “Family of Love”)—is another big picture decision. Only after consideration of such broad characteristics should the arranger focus on more detailed elements like harmonization and phrasing.
Similarly, when transcribing or analyzing an arrangement for didactic purposes, one should begin with broad characteristics, the first of which is the form of the song and its musical arrangement. Bear in mind that the form of a song and the form of an arrangement of that same song may be different, particularly if it’s an arrangement of a commonly performed song (e.g., Christmas Carols or Beatles’ tunes).
The original melody of the spiritual “I’ll Never Turn Back No More” is comprised of three 8-bar phrases. The second phrase is a repeat of the first; the third phrase introduces a contrasting melody. Accordingly, the form of the melody can be represented by the letter scheme AA’B. Each letter represents an 8-bar phrase. The first two letters are the same indicating that the melody of the first phrase repeats in the second phrase. The melody as performed by TAKE 6 is presented below. Notice that the second phrase (bars 9–16) is not an exact repetition of the first. However, it is recognizable as a varied form of the first phrase. For this reason the second phrase has been marked as A’. The added tally mark indicates that the repetition is not exact.
On closer inspection, notice that the second part of all 3 phrases is essentially the same (i.e., bars 5–8, 13–16, and 21–24). Accordingly, a diagram of the form of “I’ll Never Turn Back No More” as performed by TAKE 6 is presented below. In the diagram there is an uppercase letter for each 8-bar phrase in the song. Subphrases are represented by lowercase letters. Notice that the second subphrase within each phrase is the same (b).
Returning to the melody in the diagram above, notice that the apex of the melody, and consequently the climax of this beautiful spiritual, occurs when the high “D” is reached in bar 17. This sense of climax is heightened by a lengthening of the bar just before the climax. The lengthening of bar 16 effectively delays the arrival of the climax, a delay that creates a sense of anticipation thereby intensifying the effect of the climax. Additionally, the contrasting melody of the third phrase, which contains the climax, adds to the heightened tension at this point in the spiritual.
Two arranging techniques were employed to compliment the structure of the melody. First, listen to TAKE 6’s performance of this piece (from our “Feels Good” CD), focusing on the use of syllables that are employed throughout. Phrases 1 and 2 are sung using an “ooh” vowel sound. The beginning of phrase 3, where the climax occurs, uses an “ah” vowel sound. “Ah” is a naturally louder vowel sound than “ooh.” In fact, it is the loudest vowel sound used in the performance and is reserved for the climax. Notice, too, that the voice parts of bar 16, where the meter briefly changes to quadruple time, utilizes an “oh” vowel sound. This sound is louder than the preceding “ooh” but softer than the “ah.” It is, in effect, a transitional sound that compliments the build up to the climax in bar 17.
The second arranging technique that compliments the structure of the melody has to do with the relative thickness of the vocal texture (i.e., the number of notes per chord). Phrase 1 employs a 4-part texture. The example below shows the texture of bar 1 from the opening phrase.
To enhance the build up to the climax in bar 17, note how the vocal texture expands at the end of phrase 2 from a 4-part texture in bar 15 to a 5-part texture at the beginning of bar 16. The texture further expands to a 6-part texture within bar 16 in preparation for the climax in bar 17. Finally, the dynamic markings show a build up to the climax, swelling to a forte marking in bar 17.
This combination of techniques to effect the climax of the performance is shown in the following example where the guitar part is on the uppermost staff and the voice parts on the lower two staves.
There’s a lot more that could be addressed in this arrangement such as reharmonization techniques, including the effective use of a deceptive progression in bars 14–15, the variety created by the arpeggiated bass line in phrase 2, and how the last subphrase (bars 21–24) returns to the 4-part texture of the opening, effectively creating an arch-like structure in the form of the musical arrangement.
Transcribing music from recordings is the best way to internalize effective music arranging techniques. The analytical observations discussed in this blog, beginning with the form of a song and its musical arrangement, are part of the transcription process, a process that I regularly use to sharpen my arranging skills.
I’ll Never Turn Back No More
The first decisions that should be made when beginning a vocal arrangement should deal with the big picture. This includes deciding the key of the arrangement based on the range of the voice parts. Whether the arrangement will feature a lead with background voice parts (e.g., “A Few More Miles”), or be primarily homophonic—all voice parts singing lyrics together without a lead singer (e.g., “Family of Love”)—is another big picture decision. Only after consideration of such broad characteristics should the arranger focus on more detailed elements like harmonization and phrasing.
Similarly, when transcribing or analyzing an arrangement for didactic purposes, one should begin with broad characteristics, the first of which is the form of the song and its musical arrangement. Bear in mind that the form of a song and the form of an arrangement of that same song may be different, particularly if it’s an arrangement of a commonly performed song (e.g., Christmas Carols or Beatles’ tunes).
The original melody of the spiritual “I’ll Never Turn Back No More” is comprised of three 8-bar phrases. The second phrase is a repeat of the first; the third phrase introduces a contrasting melody. Accordingly, the form of the melody can be represented by the letter scheme AA’B. Each letter represents an 8-bar phrase. The first two letters are the same indicating that the melody of the first phrase repeats in the second phrase. The melody as performed by TAKE 6 is presented below. Notice that the second phrase (bars 9–16) is not an exact repetition of the first. However, it is recognizable as a varied form of the first phrase. For this reason the second phrase has been marked as A’. The added tally mark indicates that the repetition is not exact.
The original melody of the spiritual “I’ll Never Turn Back No More” is comprised of three 8-bar phrases. The second phrase is a repeat of the first; the third phrase introduces a contrasting melody. Accordingly, the form of the melody can be represented by the letter scheme AA’B. Each letter represents an 8-bar phrase. The first two letters are the same indicating that the melody of the first phrase repeats in the second phrase. The melody as performed by TAKE 6 is presented below. Notice that the second phrase (bars 9–16) is not an exact repetition of the first. However, it is recognizable as a varied form of the first phrase. For this reason the second phrase has been marked as A’. The added tally mark indicates that the repetition is not exact.
On closer inspection, notice that the second part of all 3 phrases is essentially the same (i.e., bars 5–8, 13–16, and 21–24). Accordingly, a diagram of the form of “I’ll Never Turn Back No More” as performed by TAKE 6 is presented below. In the diagram there is an uppercase letter for each 8-bar phrase in the song. Subphrases are represented by lowercase letters. Notice that the second subphrase within each phrase is the same (b).
Returning to the melody in the diagram above, notice that the apex of the melody, and consequently the climax of this beautiful spiritual, occurs when the high “D” is reached in bar 17. This sense of climax is heightened by a lengthening of the bar just before the climax. The lengthening of bar 16 effectively delays the arrival of the climax, a delay that creates a sense of anticipation thereby intensifying the effect of the climax. Additionally, the contrasting melody of the third phrase, which contains the climax, adds to the heightened tension at this point in the spiritual.
Two arranging techniques were employed to compliment the structure of the melody. First, listen to TAKE 6’s performance of this piece (from our “Feels Good” CD), focusing on the use of syllables that are employed throughout. Phrases 1 and 2 are sung using an “ooh” vowel sound. The beginning of phrase 3, where the climax occurs, uses an “ah” vowel sound. “Ah” is a naturally louder vowel sound than “ooh.” In fact, it is the loudest vowel sound used in the performance and is reserved for the climax. Notice, too, that the voice parts of bar 16, where the meter briefly changes to quadruple time, utilizes an “oh” vowel sound. This sound is louder than the preceding “ooh” but softer than the “ah.” It is, in effect, a transitional sound that compliments the build up to the climax in bar 17.
The second arranging technique that compliments the structure of the melody has to do with the relative thickness of the vocal texture (i.e., the number of notes per chord). Phrase 1 employs a 4-part texture. The example below shows the texture of bar 1 from the opening phrase.
Two arranging techniques were employed to compliment the structure of the melody. First, listen to TAKE 6’s performance of this piece (from our “Feels Good” CD), focusing on the use of syllables that are employed throughout. Phrases 1 and 2 are sung using an “ooh” vowel sound. The beginning of phrase 3, where the climax occurs, uses an “ah” vowel sound. “Ah” is a naturally louder vowel sound than “ooh.” In fact, it is the loudest vowel sound used in the performance and is reserved for the climax. Notice, too, that the voice parts of bar 16, where the meter briefly changes to quadruple time, utilizes an “oh” vowel sound. This sound is louder than the preceding “ooh” but softer than the “ah.” It is, in effect, a transitional sound that compliments the build up to the climax in bar 17.
The second arranging technique that compliments the structure of the melody has to do with the relative thickness of the vocal texture (i.e., the number of notes per chord). Phrase 1 employs a 4-part texture. The example below shows the texture of bar 1 from the opening phrase.
To enhance the build up to the climax in bar 17, note how the vocal texture expands at the end of phrase 2 from a 4-part texture in bar 15 to a 5-part texture at the beginning of bar 16. The texture further expands to a 6-part texture within bar 16 in preparation for the climax in bar 17. Finally, the dynamic markings show a build up to the climax, swelling to a forte marking in bar 17.
This combination of techniques to effect the climax of the performance is shown in the following example where the guitar part is on the uppermost staff and the voice parts on the lower two staves.
This combination of techniques to effect the climax of the performance is shown in the following example where the guitar part is on the uppermost staff and the voice parts on the lower two staves.
There’s a lot more that could be addressed in this arrangement such as reharmonization techniques, including the effective use of a deceptive progression in bars 14–15, the variety created by the arpeggiated bass line in phrase 2, and how the last subphrase (bars 21–24) returns to the 4-part texture of the opening, effectively creating an arch-like structure in the form of the musical arrangement.
Transcribing music from recordings is the best way to internalize effective music arranging techniques. The analytical observations discussed in this blog, beginning with the form of a song and its musical arrangement, are part of the transcription process, a process that I regularly use to sharpen my arranging skills.
Cedric Dent is a baritone vocalist in Take 6 and an accomplished producer and music arranger. Dr. Dent is a professor of Music at Middle Tennessee State University. He studied at the University of Michigan (B.M., Vocal Music Education), University of Alabama (M.M., Music Theory/Arranging), and the University of Maryland (Ph.D., Music Theory).
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Cedric Dent is a baritone vocalist in Take 6 and an accomplished producer and music arranger. Dr. Dent is a professor of Music at Middle Tennessee State University. He studied at the University of Michigan (B.M., Vocal Music Education), University of Alabama (M.M., Music Theory/Arranging), and the University of Maryland (Ph.D., Music Theory).
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