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The idea behind shape notes is that the parts of a vocal work can be learned more quickly and easily if the music is printed in shapes that match up with the solfège syllables with which the notes of the musical scale are sung. For instance, in the four-shape tradition used in the Sacred Harp and elsewhere, the notes of a C major scale are ...
Sacred Harp singing is a tradition of sacred choral music that originated in New England and was later perpetuated and carried on in the American South. The name is derived from The Sacred Harp, a ubiquitous and historically important tunebook printed in shape notes.
The shape note system is found in some church hymnals, sheet music, and song books, especially in the Southern United States. Instead of the customary elliptical note head, note heads of various shapes are used to show the position of the note on the major scale. The Sacred Harp is one of the most popular tune books using shape notes.
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
An 1847 publication of Southern Harmony, showing the title "New Britain" ("Amazing Grace") and shape note music. Play ⓘ. The roots of Southern Harmony singing, like the Sacred Harp, are found in the American colonial era, when singing schools convened to provide instruction in choral singing, especially for use in church services.
William Walker (composer) William Walker. William Walker (May 6, 1809 – September 24, 1875) was an American Baptist song leader, shape note "singing master", and compiler of four shape note tunebooks, most notable of which are the influential The Southern Harmony and The Christian Harmony, which has been in continuous use (republished 2010).
He was one of the originators of shape-note music.” Tapping into music a couple of centuries old is not uncommon for Muhly. “I would say a lot of my music is in some sort of dialogue with the ...
They included both music and text and were introduced by an extended essay on the rudiments of singing. Each song was known by the name given to its tune rather than by a title drawn from the text." The following is a partial list of the shape note tunebooks published over the last two centuries. The list is divided according to the two main ...