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8

They represent the number of syllables that fit to the lines of the tune. Thus, any hymns with the same series of numbers can be sung to any other (with the same numbers). And vice versa.


4

Songs like those are called cumulative songs (or perhaps songs of complexity since computer scientist Donald Knuth published this article). I don't know of a term specifically for those based on the number twelve. Ten Green Bottles has only ten verses. It has numbers but it counts down rather than up and nothing gets added. The Barley Mow is a cumulative ...


4

Well, I'd look at what a public library would do. In my [misspent] youth, the card catalog would include, for example, a card listed under composer's name referring to one of those omnibus volumes that contains several composers' works. If possible, I'd recommend you start by building a simple database containing the name of a particular document, the ...


3

We could argue whether the bass Eb on beat 1 affects the tenor note on beat 4, particularly as the notation doesn't use seperate 'stems up' and 'stems down' voicing. But I think it was sensible of the composer or editor to make it clear! Does your version not have the Enat written?


2

When people study music they can pick a concentration: voice, a instrument, composition, and conducting are all quite common. A person can focus graduate studies in choral conducting, but it is not possible to concentrate on choirs as an instrument. People who study voice are often required to sing in choirs, and this is where their choir experience comes ...


2

One way is to place any expression markings relative to that voice's placement on the staff. In other words, markings relating to the soprano and tenor lines should go above their respective staves, since they are the higher voices. Meanwhile, markings for the alto and bass should go below their respective staves. For example (with apologies for any ...


2

These four-part chorales are still triad chords. The only difference is that: Like @replete said, one of the notes (usually the root of the chord) is doubled--For example, in the first chord, there is an F in the bass clef and another F an octave above in the treble clef. The notes are broken into two different clefs. Unlike a triad in just treble clef, ...


2

Seems like all you have to do is have an instrument play a single-note line that is a fixed interval below the melody line. So if you have a synth playing a certain melody, then another synth or guitar or anything else playing the same melody transposed a 3rd, 4th, 6th or some other interval below the main melody would be using fauxbourdon. One exception is ...


2

Short answer: yes, or pretty close. Basic template: top = { \repeat unfold 4 { b'4 } } mid = { \stopStaff s1 \startStaff g'4^\markup "Tutti" 4 4 4 } low = { \clef bass \repeat unfold 4 { e4 } } words = \lyricmode { hel -- lo good -- bye } otherwords = \lyricmode { new staff is here } \score { << \new ChoirStaff << \new ...


1

Most of the time, you don't GET to choose! These are the people who want to be in the choir, their voice types are what they are. But on purely musical grounds, equal numbers of each would be ideal I suppose.


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