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That is, the voice that plays the leading tone must resolve up to the tonic, and if the chord is a dominant seventh chord, the subdominant should resolve to the mediant. Another concern of four-part writing is tessitura. Since the music is usually written for four-part choirs, each part should be able to be sung by the appropriate section of ...
Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.
A modern perspective on voice leading in mm. 3–7 of J. S. Bach's Little Prelude in E minor, BWV 941. From the last chord of each measure to the first chord of the next, all melodic movements (excepting those in the bass) are conjunct; inside each measure, however, octave shifts account for a more complex parsimonious voice leading. [23]
A four-part harmony is the traditional method of organizing chords for 4 different voice ranges: soprano, alto, tenor and bass (known together as 'SATB'). The term 'voice' or 'part' refers to any musical line whether it is a melody sung by singers, a long note played on a instrument or anything in between. [7]
Vocal harmonies have been an important part of Western art music since the Renaissance-era introduction of Mass melodies harmonized in sweet thirds and sixths. With the rise of the Lutheran church's chorale hymn singing style, congregations sang hymns arranged with four or five-part vocal harmony. In the Romantic era of music during the 1800s ...
In the Four-Part Mass it consists of a four-note figure D-G-Bb-A (Kyrie) changing to D-A-C-Bb in the other movements. In the Sanctus the B flat strikingly changes to a B natural, producing an unexpected major chord at a key point in the music. A special feature of the mass (as also of the Five-Part Mass) is the final clause of the Agnus Dei.
This is when a chord is altered by a change in one or more non-melodic voices. [4] Occasional passages may be sung by fewer than four voice parts. Barbershop music is generally performed by either a barbershop quartet , a group of four typically male singers with one on each vocal part, or a barbershop chorus , which closely resembles a choir ...
A new edition for the four-part choral harmonisations was published in Leipzig by Robert Freise in three instalments, 1841–1843, without omitting Becker's own participation in the 1831 edition. At that stage organist at the Leipzig Nikolaikirche, Becker's critical commentary was the first to discuss the manuscript sources prepared by ...