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The part song was soon established as more suitable for mixed-voice choirs, its development marked by increasing complexity of form and contrapuntal content. [6] It gradually attracted the attention of a wider range of composers. One of these was Felix Mendelssohn, already influential in the English choral tradition through his oratorios ...
literally "with the voice". An instruction, in a choral or orchestral part, that a vocal part should be followed, e.g., play the same notes as the vocal part and accommodate the tempo, expression, etc. of the vocalist coloratura Coloration (i.e. elaborate ornamentation of a vocal line, or a soprano voice that is well-suited to such elaboration)
any individual melody (or voice), whether vocal or instrumental, that can be abstracted as continuous and independent from other notes being performed simultaneously in polyphony. Within the music played by a single pianist , one can often identify outer parts (the top and bottom parts) or an inner part (those in between).
Vocal church music of this period also contained other types of chorale settings, the general format of which is indicated as chorale fantasia: one voice, not necessarily the voice with the highest pitch, carries the chorale tune, with the other voices rather contrapuntal than homorhythmic, often with other melodies than the chorale tune, and ...
Pseudo-Latin is sometimes used in new-age music, especially when it imitates Gregorian chant or other choral church music, e. g. "Ameno" by Era or "Adiemus" by Adiemus. Franco Godi, in songs like Parapapa Perepepe, on his "Signor Rossi" album, perhaps an Italian sounding variation of the name of the Icelandic band Sigur Rós .
A treble voice is a voice which takes the treble part. In the absence of a separate descant part, this is normally the highest- pitched part, and otherwise the second highest. The term is most often used today within the context of choral music in reference to youthful singers.
A vocal register immediately above the modal voice range Falsettone: Falsetto, sung using the usual techniques of modal voice register Leggiero tenor: See tenore di grazia: Musico: musician: Originally, a trained musician; later, a castrato or female singer Mezzo-soprano: middle-upper: Between soprano and alto Passaggio: crossing: A vocal range ...
In music, one voice per part (OVPP) is the practice of performing choral music with a single voice on each vocal line. In the specific context of Johann Sebastian Bach's works it is also known as the Rifkin hypothesis, set forth in Joshua Rifkin's 1982 article and expanded in Andrew Parrott's book The Essential Bach Choir. [1]