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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]
If all the parts have much the same rhythm, the homophonic texture can also be described as homorhythmic. Characteristic texture of the Classical period and continued to predominate in Romantic music while in the 20th century, "popular music is nearly all homophonic," and, "much of jazz is also" though, "the simultaneous improvisations of some ...
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 ...
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.
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.
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. It also alternates between triple and duple beat subdivisions of the beat in different parts of the work.
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.
The popularity of the song is lampooned in a 1940s film short. [4] In the film, The King's Men (who also performed on Fibber McGee and Molly) play young men living in a boarding house who are endlessly singing the song while getting dressed, eating dinner, playing cards, etc., until an exasperated fellow boarder (William Irving) finally has them removed to an insane asylum.