Ch 7: Introductions and Endings

Question 1

Intro

• Beginnings and endings
  
  • prepare the listener for the main body of the setting.
  • Conclude the setting in a way to leave the listener with a sense of finality and satisfaction
• Introductions serve a two-fold musical purpose
  
  • Establishing the score, style, and mood for the arrangement
  • Preparing the singers for the first statement of the opening melody
• Endings
  
  • Signal the conclusion of the arrangement
  • Provide an appropriate emphasis on the final musical and textual ideas
• Introductions and endings should balance the body of the setting and never overshadow it.
• Introductions and endings may be
  
  • instrumental
  • vocal (a capella)
  • or vocal with accompaniment
• Contrary to what might initially seem logical, introductions and endings are normally composed after the main body of the arrangement
• Introductions are often based on accompaniment or melodic treatments which occur in the body of the arrangement

INTRODUCTIONS DIRECTLY DERIVED FROM THE ARRANGEMENT

• The most common types of introductions are based on musical materials which appear prominently in the body of the arrangement.
• Most introductions are purely instrumental, thus fulfilling the role of providing pitch reference for the initial vocal entrance.

Introductions Derived from the First Phrase

• Frequently, introductions state a portion of the first phrase of music. This:
  
  • Unifies the arrangement
  • States important melodic pitches of the first phrase so singers can orient themselves for their initial phrase.
• Sometimes the melodic and harmonic material at the end of the phrase is altered to cadence on a pitch that leads logically into the first vocal entrance.

EXAMPLE 7-1

• Melodically, it starts out identical to the vocal entrance, but the time values lengthen and the introduction ends on f1 to lead logically into the vocal entrance.
• The introduction also serves to establish the tonic as well as the texture and rhythm of the keyboard accompaniment.

Introductions Derived from the Second Phrase

• Many introductions are based on subsequent or ending phrases of the main melody. This is seen in mult-verse settings where a cadence phrase leads logically into the repeat of the first phrase of the melody. No alteration of the melodic material is expected here because the cadence phrase of a melody usually ends on the tonic note, an easy referential pitch for phrase beginning

EXAMPLE 7-2

• Uses the final phrase of Wassail, Wassail as an introduction.
• This melodic material establishes the tonic clearly, emphasizing an anacrusic flavor of the melody, and ends on the tonic for easy reference to the dominant-tonic beginning of the melody.
• The accompaniment style has a bit more motion than the sustained style accompaniment at the beginning of the choral section, providing both a secure tempo and rhythmic vitality.

EXAMPLE 7-3

• Shows a vocal treatment using the final phrase of the molody for I’m Just a Poor Wayfarin’ Stranger.
• Since this is an a cappella arrangement, there is no possibility or using an accompanying instrument.
• The options open to the arranger are:
  
  • Using the solo voice (as here)
  • One section of chorus
  • All voices
  • To eliminate an introduction altogether
• The solo voice helps to set the mood for the prominent melody in the soprano part and to establish the tonic and the starting tonic clearly.
• It also personalizes the poignant text.

Introductions Derived from the Accompaniment

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Introductions that Combine Functions

ENDINGS DIRECTLY DERIVED FROM THE ARRANGEMENT

Endings that Repeat the Last Phrase

Endings that Feature Rhythmic Augmentation

The Tag Ending

Imitative Beginnings or Endings

Other Freely Composed Introductions or Endings