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When an entire choir sings the main melody, the choir usually sings in unison. Music in which all the notes sung are in unison is called monophonic. In a choir with two or more sections, such as for different vocal ranges, each section typically sings in unison. Part singing is when two or more voices sing different notes.
If the congregation is led by a choir, then the choir will usually sing in unison during the last verse, [1] as opposed to in parts (usually SATB) for the other verses, and the trebles or sopranos (or occasionally tenors) may sing a descant. The purpose of last verse harmonisation is to add interest, variation and excitement to a hymn tune ...
In the chord C Major7, C–E is a major third; E–G is a minor third; and G to B is a major third. Other types of harmony consist of quartal and quintal harmony. A unison is considered a harmonic interval, just like a
Rutter also wrote an arrangement for soprano, alto and keyboard in F major [4] and a version for choir and orchestra. [2] In "The Lord bless you and keep you", Rutter keeps the music restrained and simple. The accompaniment first rests on a pedal point; long chords in the bass change only every half bar, while broken chords in steady quavers ...
This melody for the traditional song "Pop Goes the Weasel" is monophonic as long as it is performed without chordal accompaniment. [1]Play ⓘ. In music, monophony is the simplest of musical textures, consisting of a melody (or "tune"), typically sung by a single singer or played by a single instrument player (e.g., a flute player) without accompanying harmony or chords.
A last verse harmonisation consisting of an embellished organ harmony, most of the choir singing in unison, and perhaps a descant; Other possibilities for varied performance can be invited through explanation either in the service bulletin or through verbal instruction by the pastor or the minister of music.
The full chorus sings the first half of this verse ("Thou turnest man to destruction"). Beginning in unison, as a collective address from mankind to God, the chorus sings the first three words, but then splits apart into a series of cacophonous chords, as in the first verse (a device used frequently in this piece), to align with the text, "to destruction", which is repeated thrice (another ...
The work begins with the choir singing in unison, imitating the "freedom of Gregorian chant". [3] The chant sounds as if it is in free time, [4] but is "carefully notated in a variety of time signatures". [3] The organ provides a contrast with chords in regular 3 4 time, [3] embellished with "pseudo-Baroque ornaments". [4]