Hawley Ades had many years experience arranging for choral groups and is As a standard text in the field, Choral Arranging is a must for home or class study . Choral Arranging by Hawley Ades, , available at Book Depository with free delivery worldwide. Choral arranging by Hawley Ades starting at $ Choral arranging has 1 available editions to buy at Alibris.
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Return to Book Page. Preview — Choral Arranging by Hawley Ades. Choral Arranging by Hawley Ades. A unique book that authoritatively discusses how to create effective vocal arrangements and techniques in virtually every major kind of vocal ensemble; arranfing, secular and Baroque to jazz. Contains more than illustrated examples, plus an index, study suggestions and a comprehensive bibliography. Hawley Ades had many years arramging arranging for chora Shawnee Press.
Hawley Ades had many years experience arranging for choral groups and is particularly known as the long-time arranger for Fred Waring and his Pennslyvanians. As a standard text in the field, Choral Arranging is a must for home or class study and a valued reference source for every music library.
Choral Arranging – Shawnee Press
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I used this textbook to teach a choral arranging college class during the fall of ‘ The explanatory prose is concise and worthwhile, but the copious printed examples crucial in such a textbook suffer in the following ways: The excerpts are drawn disproportionately from schmaltzy jazz-ballad choral arrangements of the sparticularly from the arrangers H.
My own profound distaste for their writing is irrelevant; the problem is that Simeone and Ringwald are also Ases used this textbook to teach a choral arranging college class during the fall of ‘ My own profound distaste for their writing is irrelevant; the problem is that Simeone and Ringwald are also irrelevant, and it’s nearly impossible to find recordings to aurally reinforce analysis. Arranginv a very few of these excerpts could conceivably be achieved through class participation, most are simply too complex, and class time would erode quickly into rehearsing the printed examples.
Ades should have saved Simeone and Ringwald for the chapter on jazz harmonization and favored examples from the standard repertoire instead. The excerpts are identified only in the broadest terms – by the general title of the piece, without movement name or number, and without measure numbers. This is chorwl catastrophic and frustrating omission.
In virtually every lesson prep I found myself staring at multiple score fragments of bars, with arranving handful of lyrics sometimes only a single word in the choral parts, marked only by, say, “Prokofiev, Alexander Nevsky ,” “Handel, The Messiah ,” “Haydn, The Creation ,” with no further information as to where exactly ases these monumental works the excerpt falls. This was only complicated by the fact that All lyrics are printed in English, not in the original languages.
Not only does this prevent the students from seeing how composers actually set text to music, it further complicates the business of identifying where a mystery excerpt falls in a multi-movement work. In some cases, as with the obscure Respighi PrimaveraI simply had to give up and move on.
So it’s not an abysmal textbook, but it is at times a highly inconvenient one. Perhaps it’s the best available; but if I teach the course again, I’ll spend some time shopping around for something chorl.
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