{"id":1038,"date":"2016-03-17T22:48:04","date_gmt":"2016-03-17T22:48:04","guid":{"rendered":"https:\/\/www.krammer.nl\/blog\/en\/?p=1038"},"modified":"2018-11-24T23:41:50","modified_gmt":"2018-11-24T23:41:50","slug":"examples-of-arrangement-levels","status":"publish","type":"post","link":"https:\/\/www.krammer.nl\/blog\/en\/examples-of-arrangement-levels\/","title":{"rendered":"Examples of Arrangement Levels"},"content":{"rendered":"

\"pyramid\"<\/a>If you are looking for new repertoire for your choir, you have to estimate whether a piece fits the level of the singers. For that it’s helpful if the level of difficulty of arrangements is indicated. The scale that is mostly used for arrangements ranges from level I<\/small> (very easy) to level V<\/small> (very challenging).<\/p>\n

In an earlier message<\/a> we have looked at characteristics of the different levels. To understand the levels even better, in this post there are examples of the levels. All these examples are arrangements of a fragment of Rosanna<\/i> by Toto.<\/p>\n

Level I<\/small><\/h4>\n

Kind of singers: inexperienced
\nRange of the parts: small
\nNumber of voices: 2-3
\nSyncopations: hardly any
\nRhythms: alle voices homophonous
\nKind of chords: triads
\nChromatics: no<\/p>\n

For a choir at this level, a cappella singing is hardly possible. That’s why the example is with piano. The arrangement is for three voice groups, two female and one male. The voices sing in unison for a part. In the original song there are several syncopations on the lyrics ‘Rosanna’. At this level, the syncopations are left out. Because the singers are unexperienced, the parts lie relatively low.<\/p>\n

\"rosanna<\/a><\/p>\n

Level II<\/small><\/h4>\n

Kind of singers: with some experience
\nRange of the parts: rather small
\nNumber of voices: 3-4
\nSyncopations: few
\nRhythms: all voices homophonic
\nKind of chords: triads and some chords with one addition
\nChromatics: none<\/p>\n

For a choir at this level, singing without accompaniment is still rather tricky. The arrangements may be for four voices with piano. The rhythms on ‘Rosana’ are still simpeler than in the original melody. In some the chords there are additions. The parts still lie rather low.<\/p>\n

\"rosanna<\/a><\/p>\n

Level III<\/small><\/h4>\n

Kind of singers: rather experienced
\nRange of the parts: intermediate
\nNumber of voices: 4-5
\nSyncopations: yes
\nRhythms: sometimes several rhythmical layers
\nKind of chords: chords with a single additions
\nChromatics: a little<\/p>\n

A choir of this level is capable of singing a capella. The voice groups can sing rhythmical independent rhytms. Triads and chords with just a single addition work better than more complex harmonies.<\/p>\n

\"rosanna<\/a><\/p>\n

Level IV<\/small><\/h4>\n

Kind of singers: good amateurs and professionals
\nRange of the parts: big
\nNumber of voices: unlimited
\nSyncopations: unlimited
\nRhythms: unlimited
\nKind of chords: triads with two additions
\nChromatics: some<\/p>\n

A choir of this level can sing practically any music. The only limitions are on chromatics and difficult intervals.<\/p>\n

\"rosanna<\/a><\/p>\n

Level V<\/small><\/h4>\n

Kind of singers: good professionals
\nRange of the parts: big
\nNumber of voices: unlimited
\nSyncopations: unlimited
\nSyncopations: unlimited
\nChromatics: yes<\/p>\n

Below is an example of an arrangement on such a level. It’s by Paul Langford. The score is beautiful, but very hard to perform.<\/p>\n

\"rosanna<\/a>\"rosanna<\/a>\"rosanna<\/a><\/p>\n\n