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Introduction to Sousa's "Washington Post March", m. 1-7 Play ⓘ features octave doubling [1] and a homorhythmic texture. In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts" [2] or "very similar rhythm" as would be used in simple hymn or chorale settings. [3] Homorhythm is a condition of homophony. [2]
Homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled "Adeste Fideles", in standard two-staff format for mixed voices. Play ⓘ. A hymn tune is the melody of a musical composition to which a hymn text is sung.
Lyrics in sheet music. This is a homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled "Adeste Fideles" (the original Latin lyrics to "O Come, All Ye Faithful") in standard two-staff format for mixed voices. Play ⓘ Lyrics are words that make up a song, usually consisting of verses and choruses. The writer of lyrics is a ...
Introduction to Sousa's "Washington Post March," mm. 1–7 features octave doubling [56] and a homorhythmic texture. In music, texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall quality of the sound in a piece.
A homophonic texture may be homorhythmic, which means that all parts have the same rhythm. [ 5 ] [ 6 ] Chorale texture is another variant of homophony. The most common type of homophony is melody-dominated homophony , in which one voice, often the highest, plays a distinct melody, and the accompanying voices work together to articulate an ...
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.
Fair Phyllis (also Fair Phyllis I saw, Fair Phyllis I saw sitting all alone) is an English madrigal by John Farmer.The music is polyphonic and was published in 1599. The madrigal contains four voices and uses occasional imitation.
In The Americana Song Reader, William Emmett Studwell writes that the song was introduced by the Christy Minstrels, noting that Foster's "nonsense lyrics are much of the charm of this bouncy and enduring bit of Americana", and the song was a big hit with minstrel troupes throughout the country.