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In choral musical notation, TTBB denotes a four-part lower-voice choir. Composed of tenors and basses , Its configuration is Tenor 1, Tenor 2 (or lead), Bass 1 (or Baritone ), and Bass 2. Typically (but not always) one of the Tenor parts is the melody, with the other parts as harmony(s).
Four-voice texture in the Genevan psalter: Old 124th. [1] Play ⓘ. Four-part harmony is music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for each chord of the music.
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.
The letters of the abbreviation are also used by publishers to describe different scorings for soloists and choirs other than four-part harmony. For example, the listing "STB solos, SATB choir" of Bach's Wachet auf, ruft uns die Stimme, BWV 140, indicates that a performance needs three soloists: soprano, tenor and bass, and a four-part choir. [5] "
Its origins are varied, including 4-part hymn singing, shape note singing, barbershop quartets, jubilee songs, spirituals, and other Gospel songs. Gospel quartets sing in four-part harmony , with parts given to a tenor , or highest part; lead, which usually takes the melody ; baritone , which blends the sounds and adds richness; and the bass ...
The Dapper Dans barbershop quartet, at Disneyland's Main Street, USA WPA poster, 1936. Barbershop vocal harmony is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a primarily homorhythmic texture.
Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette.. A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. [1]
By the time of Martin Luther in the early 16th century, the singing was still in Latin but was done by choirs of priests and monks, although the choirs sometimes included a few lay musicians as well. [10] Hymnals evolved from psalters, in that hymns are songs for the congregation and choir to sing, but go beyond metrical recasting of only psalm ...