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Call and response is common in modern Western popular music. Cross-over rhythm and blues, rock 'n' roll and rock music exhibit call-and-response characteristics, as well. The Who's song "My Generation" is an example: [21] "My Generation" vocal melody with response. [21] Play ⓘ
hymn melodies for which Bach composed or improved a thorough bass accompaniment, for instance as included in Georg Christian Schemelli's Musicalisches Gesang-Buch; harmonisations included in purely instrumental compositions, most typically organ compositions such as chorale preludes or chorale partitas.
He also cited the piano as a source of inspiration for his intricate moving inner-voice chord melodies. [8] Alford's playing on the Tupac Shakur track "Words 2 My Firstborn" demonstrates his ability to write instrumental hooks that meld both hip-hop and gospel guitar styles. During the verses, he punctuates Shakur's rapping with colorful double ...
A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part (or more) harmony, a fast harmonic rhythm (chords change frequently), with or without refrain or chorus.
A chorale is the name of several related musical forms originating in the music genre of the Lutheran chorale: Hymn tune of a Lutheran hymn (e.g. the melody of "Wachet auf, ruft uns die Stimme"), or a tune in a similar format (e.g. one of the themes in the Finale of Saint-Saëns's Third Symphony)
Possibly Bach took the opening sinfonia from earlier music. According to John Eliot Gardiner , this movement and the first aria are both taken from Bach's lost congratulatory cantata Der Himmel dacht auf Anhalts Ruhm und Glück , BWV 66a , celebrating the 24th birthday of Leopold, Prince of Anhalt-Köthen on 10 December 1718. [ 6 ]
Within the tradition of Religious Jewish music, melisma is still commonly used in the chanting of Torah, readings from the Prophets, and in the body of a service. [5] Today, melisma is commonly used in Middle Eastern, African, and African American music, Irish sean nós singing, and flamenco. African music infused the blues with melisma.
Sankey records this as the first gospel song he composed (1874). [7] 432: The Handwriting on the Wall: At the feast of Belshazzar and a thousand of his lords: Knowles Shaw: Sankey's arrangement of Shaw's original tune [8] 436: Oh, give thy heart to Jesus: W.O. Cushing: 438: Look not behind thee; O sinner, beware! F.J. Crosby: 444: The Father's ...