127 Sentences With "singable" | Random Sentence Generator

The musical structure of the chorus makes it so singable.

Way less singable and shining than, say, The Scissor Sisters's

Their lyrics were witty or wise, their songs forever singable.

REBECCA L. ALEXANDER Every song is singable and every song has a positive message.

The songs are airtight and endlessly singable, engineered with a Midas touch that belied the band's deep-seated instability.

Franklin's songs had compulsively singable melodies—there was little of the sweaty, melismatic display typically associated with gospel vocalizing.

He'd often finish them by repeating an anthemic, singable melody, altered minutely until its intensity helped it lift off.

Her chamber orchestra, m_unit, blends strings and horns and mallet percussion in service of her resplendent, highly singable compositions.

Due to the essential nature of such songs, we've rounded up the best, most singable, and most heartwarming ones for you.

The thick melancholy in every piano chord, the unmistakable, immediately singable nature of the chorus are all part of its power.

But with their 2015 debut LP, Ugly Cherries, which spawned the ever-so singable "I Wanna Boi" and "Dairy Queen," they tightened their sound.

In their breadth and daring, they are akin to opera, except that the words are not a sequence of singable vowels but real thoughts that ripple with specificity.

I soon realized that they were all made by the app Ditty, which takes random words you put in and turn them into singable songs with pre-made funky tunes.

MALKA "Moving Together" MALKA makes Scottish music in the grand tradition of indie rock stalwarts the Belle & Sebastian, the Pastels, and Snow Patrol: catchy, a bit twee, a lot singable.

And their fun, singable melodies make it clear that the South Korean music industry has perfected the pop production machine into an effervescent assembly line of ridiculously catchy tunes sung by ridiculously talented people in ridiculously splashy videos.

It may look esoteric and even silly, but all the classic ingredients of the Lloyd Webber musical are there: spectacle, rich singable melodies, and that one hit song everybody knows — all elements that help explain the tremendous cultural impact his shows have had.

Whether a national anthem should be singable by the masses or a stage for the exceptionally talented is the crux of our debate in the video at the top of this post, in which we enlist a vocal coach and a music theory expert to explain what it takes to properly perform this song.

So the singable poetry, a tradition inherited from Apabhramsa, developed and dominated in the period.

As interesting and moving as the stories are, his musical compositions leave the listener with a strong, memorable and very singable melody.

Also, unlike other Tagalog translations, the Magandang Balita Biblia also tried to translate the verse parts of the Bible in verse form, making it more singable when set to music.

The text with the singable melodies of his songs made them cultural possessions. An example is his settings of the Boerneef poems "Aandblom is 'n witblom", "Doer boe teen die rant", etc.

The album was commended on its catchy singable tunes and public appeal. Generally, Everybody Loves Ice Prince was praised for being a great shot at a debut album, if not slightly over hyped.

Louis Spohr subtitled his violin concerto No. 8 "in moda d'una scena cantata," "in the manner of a sung [operatic] scene"; opera arias exerted a strong influence on the "singable" cantabile melodic line in Romantic writing for stringed instruments.

The music at times alludes to Mozart, Richard Strauss, and Alban Berg. Claudio Monteverdi is quoted literally. Boesmans writes lyrical and singable parts, and finely detailed orchestration. He uses music described as expressionist to characterize Leontes who is insane with jealousy, causing pain and guilt.

"Con Alma" is a jazz standard written by Dizzy Gillespie, appearing on his 1954 album Afro. The tune incorporates aspects of bebop jazz and Latin rhythm, and is known for its frequent changes in key centers (occurring every two bars), while still maintaining a singable melody.

Harbhai Trivedi, Taraben and Monghiben continued their tradition. Chandravadan Mehta wrote Chandapoli and Dudhna Dana. Somabhai Bhavsar wrote a collection of rhymes Kharek Topara and three other collections; Gunjan (1939), Bham (1951) and Chagdol (1961). In 1960, he also edited three anthologies of singable children's poems.

Although self-taught as a composer, Inghelbrecht left around 60 compositions. The style of his compositions is eclectic. Even when stylistically unoriginal, his polished, masterly orchestration makes his work worthy of closer attention. The operetta Leïla (or Virage sur l’aile) of 1947, is a hilarious comedy and eminently singable entertainment.

Jacob Handl's Ecce quomodo moritur justus motet was sung at Protestant burials in the 16th century.Jeż 2007, p. 40 In 1682, Gottfried Vopelius published Handl's motet with a singable German translation ("Siehe, wie dahin stirbt der Gerechte") on p. 263 of the Neu Leipziger Gesangbuch, for performance on Good Friday.

19 November 2007. Retrieved 24 November 2007. The Manchester Evening News was less impressed, giving it just two out of five stars, and wrote that the song was "nothing to get excited about" even though it had "some cute arpeggios and a very singable chorus.""Single reviews: KT Tunstall - Saving My Face (Relentless)".

Movements 1, 2, 4, and 7 had been performed on 14 March 1985 at Fremont Presbyterian Church, Sacramento, California, by the Sanctuary Choir and ensemble, prepared by Mel Olson and also conducted by the composer. The Requiem was published in 1986 by Oxford University Press, with a singable English text also for the Latin passages.

Sigerson's version adapts the chorus and replaces the verses entirely. In the 1960s, Tommy Makem, who characterised the original as having "obscure verses and a very singable chorus", wrote new verses with the regiment's soldiers describing their service in the Peninsular War. Makem renamed it "Fare Thee Well Enniskillen" and performed it with the Clancy Brothers.

Around 1975 he entered a phase that could be termed neoromantic. His interest in innovation lessened, that in lyricism and singable melody increased. He also took up composing art songs, a genre he had not practiced since his youth. But in 1978 he also wrote Lesbia, a resolutely dissonant and jazzy work written for The Swingle Singers.

He described the piece as a "virtual encyclopedia of musical cliches, a long- winded, tamely tonal, predictable exercise in glitzy populism." He heard influence of composers such as Aaron Copland, Igor Stravinsky and Vaughan Williams. The work was published by Oxford University Press in 1991. The composer provided an optional English singable version of the Latin parts.

Singable translationIl barbiere di Siviglia, piano-vocal score, G. Schirmer, 1900, translated by Natalia Macfarren I'm the factotum of all the town, make way! Quick now to business, morning hath shown, 'tis day. Oh, 'tis a charming life, brimful of pleasure, that of a barber, used to high life. No- one can vie with the brilliant Figaro, no, none.

He set Mormon texts to styles that were not intended for worship services, as in The Articles of Faith. One critic wrote that Bradshaw softened dissonances and made "tonal allusions." Bradshaw described most of his melodies as "long, somewhat singable," and frequently used chromaticism to "push the bounds of tonality." He often used parallel motion, asymmetric meters, and syncopated rhythms.

Harder composed singable melodies, of which the one to Paul Gerhardt's sacred summer song "Geh aus, mein Herz, und suche Freud" was of lasting popularity. Although church musicians disliked its melismas and merry character, and tried various other melodies with the text in hymnals, it is now part of the Protestant German hymnal Evangelisches Gesangbuch of 1993, as EG 503.

This is the 1927 English version by John Murray Gibbon. Only the first verse preserves the ABAB rhyme pattern of the original French; thereafter it varies. It is singable but sacrifices much accuracy and arguably emotional depth in the translation. Note that the use of the word 'lad' here means a young adult man, as was common in the time period.

Luminaries of 20th Century, Potti Sreeramulu Telugu University, Hyderabad, 2005. Tirupati Venkata Kavulu have dramatised several of the Hindu epics into dramas and plays consisting of singable verses set to perfect meter. Several of their plays, especially pandavodyogavijayalu have been widely known among many drama clubs and audiences across Andhra Pradesh. The Nandi Natakotsavam Awards are given every year by the government for achievements in Telugu theatre.

For different reasons, some tunes set numerous texts. Tunes which are very singable and easy for a congregation to pick up, and do not have musical demands which would interfere with understanding and assimilating the ideas of a text, can be used to set two or three texts in a hymnal, when the editors see that as advantageous. Wareham LM, melody William Knapp (1698–1768), alt., harm.

At the same time Slamnig pursued a musical career. His first published song was "Debil Blues", written together with Goran "Pipo" Pavelić, the first playable and singable comic, drawn by the then informal leader of the Zagreb comic group Novi Kvadrat, Mirko Ilić. In 1979 Slamnig joined the Slovenian cult band Buldožer as a guitarist. As member of the band he played and sang on their 1980 album Izlog jeftinih slatkiša.

On 16 October 1881, the Deutsche Zeitung invited submissions for a text (for a singable national hymn). From 1,750 texts entered, Josef Winter's was awarded the first prize. On 1 January 1882 a second invitation appeared for a (Hymn for the German People in Austria), for men's choir as well as for voice and piano. Bruckner, as one of the 1,320 participants, sent a sample of both settings.

A 2004 observer commented that Lindner's compositions are often "buoyant, singable melodies enlivened by circular, interlocking rhythms that often coalesce, swell and burst into euphoric exclamations [...with] a mesmerizing, transportive vibe that seamlessly reconciles elements of Afro-Cuban, modern and modal jazz with R&B;, hip-hop and house music." Between the release of Now Vs. Now's first and second albums, Lindner's compositions became influenced more by electronica.

During the pre-reformation days, it was not customary for lay members of a church's congregation to communally sing hymns. Singing was done by the priests and other clergy; communal singing of Gregorian chant was the function of professional choirs, or among communities of monks and nuns. John Calvin, inspired by Erasmus's comments, desired singable versions of the Psalms and other Christian texts for the communal use of the Reformed churches.

On the review of the album, Evan Gutierrez described "El Niágara en Bicicleta" as "irresistibly singable". On an editorial review of the album, Fernando Gonzalez of Amazon.com called the song the highlight of disc describing it as "Guerra at his very best". In 2000, the song received a Latin Grammy Award for "Best Tropical Song" as well as a Latin Grammy Award nomination for "Song of the Year".

Tarapo (1980) and Ujani (1980) are his poetry collections. His experiences as a teacher and a poet are visible in his poems. His poems has tunes and rhymes which can be easily captured by children as well as they are singable; filled with imagination, inspiration and entertainment. After 1950, Rajendra Shah (Morpichchh, Ambe Avyo Mor and Roomzoom), Balmukund Dave (Allak Dallak, Sonchampo) , Makarand Dave (Zabuk Vijali Zabuk) also wrote children's poetry.

"Cooper, French Music (1951), quoted in Hughes and van Thal, p. 250 In 1955 Edward Sackville-West and Desmond Shawe-Taylor commented in The Record Guide that, although usually dismissed as an inferior Gounod, Massenet wrote music with a distinct flavour of its own. "He had a gift for melody of a suave, voluptuous and eminently singable kind, and the intelligence and dramatic sense to make the most of it.

In music, cantabile , an Italian word, means literally "singable" or "songlike". In instrumental music, it is a particular style of playing designed to imitate the human voice. For 18th-century composers, cantabile is often synonymous with "cantando" (singing) and indicates a measured tempo and flexible, legato playing. For later composers, particularly in piano music, cantabile is the drawing out of one particular musical line against the accompaniment (compare counterpoint).

Gänzl, Kurt. "Toperettas: the history of operetta in ten works", Bachtrack.com, 22 October 2019 They contain spoken dialogue interspersed between musical numbers, and often the principal characters, as well as the chorus, are called upon to dance, although the music is largely derived from 19th-century operatic styles, with an emphasis on singable melodies. Operetta in the twentieth century is more complex and reached its prosperity in Austria and Germany.

Saint-Victor, Paul de. "Chronique Théâtrale", Les Modes Parisiennes (22 January 1870). According to the correspondent of the Neue Berliner Musikzeitung, La Bohémienne, when compared to Balfe's earlier operas which had been presented in Paris, was by far a more fortunate show, that greatly benefited from its "singable, fresh melodies" and the careful ensemble work of the principal artists.Review of La Bohémienne, "Correspondenzen. Paris, 8 January 1870",Neue Berliner Musikzeitung (12 January 1870).

Ira polished it into a more singable form, while George perfected the music. Ira considered the lyrics to be a "50–50 collaborative effort". The original orchestration introduced a banjo, which was used for "lightly sounding the vamp-like chords against the tuneful and exhuberant melody of the soloist". It has been noted that both the tune and the lyrics bear a significant resemblance to the Gershwin brothers' earlier hit "I Got Rhythm".

Apart from being an educator, he was known as an exceptionally talented composer. He was considered a complete Vaggeyakaar, one who composes both Vak or the word (couplets, poems) and the Geya (literally translated to singable) or the melody. He has a penchant for layakari, and many of his compositions incorporate intricate laya (tempo) patterns. Many of his compositions have been published in book form as the three volumes of Bhavrang Lahari.

" Hancock also referred to himself as a "jazz snob" and stated the date didn't turn out as he expected. "This album is an extension of Maiden Voyage in terms of use of simple, singable melodies. I've been trying for a long time to work on swinging, and of all the albums I've done, this to me swings the most. [...] What's different in Speak Like a Child as a whole has to do, first, with harmony.

From 1819 Tiedge lived with Elisa in Dresden. Placed beyond material care by his friend's last will, he continued to live there after her death until his. Some singable lyrics, of which “Schöne Minka, ich muss scheiden” is an example, first established his reputation, and Urania über Gott, Unsterblichkeit und Freiheit (1800; 18th ed., 1862), a lyric-didactic poem, inspired by the ethics of Emanuel Kant, enjoyed wide popularity in the beginning of the nineteenth century.

In 1909 he wrote a cantata to celebrate the 500-year anniversary of the University. In appearance, he also appeared as an arranger of folksongs for 1906 published Volksliederbuch for male chorus ("Emperor Songbook"). Under Schreck's direction, the St. Thomas Boys Choir was no longer heard only in the St. Thomas St. Nicholas Churches in Leipzig, but increasingly also in concerts in the Leipzig Gewandhaus. His compositions are characterized by a prevailing contrapuntal technique and singable vocal lines.

There are a number of English translations in use, both of the hymn as a whole and the three split hymns. Singable English translations variously begin: "The dawn was redd'ning [purpling] o'er the sky" (Edward Caswall 1849),The Roman breviary : reformed by order of the Holy oecumenical council of Trent : published by order of Pope St. Pius V (1908), p. 406. "With sparkling rays morn decks the sky" (J.A. Johnston 1852), "Light's very morn its beams displays" (J.

Autschbach's compositions make up a large part of his work. He developed his musical language over decades, picking up elements of Jazz, Blues, Rock and Latin American music. Unexpected modulations and changes in rhythm cause surprises, yet the music with its singable melodies always stays tonal, thus allowing less experienced listeners to be able to understand and appreciate his music. Autschbach's interpretations of well-known songs are integrated in this recognizable style of composition by using reharmonization and often a new rhythmic approach.

Martin Luther's singable version of the 14th Psalm ("Es spricht der Unweisen Mund wohl") in the 1524 Erfurt Enchiridion – at that time still using the Septuagint/Vulgate numbering of Psalms ("Der .xiii. Psalm", ). Psalm 14 is the 14th psalm from the Book of Psalms, attributed to David. With minor differences, it is nearly identical in content with Psalm 53.Bennett, Robert A. “Wisdom Motifs in Psalm 14 = 53: Nābāl and 'Ēṣāh.” Bulletin of the American Schools of Oriental Research, no.

Artfully fencing, artfully working, stinging here, joking there, all of your schemes I'll turn inside out. all of your schemes I'll turn inside out. If you want to dance, my little count, If you want to dance, my little count, I'll play the little guitar for you, I'll play the little guitar for you, yes, I'll play for you, yes, I'll play for you. Singable translation So, little master, you're dressed to go dancing, dressed in your best to go strutting and prancing.

Most of his music is in the light secular form of the frottola, an ancestor of the madrigal. 35 of his frottole survive, along with two motets and a lauda. Stylistically they are typical of the time: homophonic texture predominates, with brief imitative passages at phrase beginnings; the melodies are memorable and easily singable. One of his frottola was evidently the favorite song of Cesare Borgia, the son of Pope Alexander VI, according to a manuscript source of the time.

The hymn was used as the base for a 1640 composition by Johann Crüger and a four-part setting by Samuel Scheidt, written in 1650. Johann Pachelbel used it in part 3 of his chorale preludes on hymns about dying, . Georg Philipp Telemann wrote a cantata of the title, translated to singable English as My longing is unbounded, for the feast of Purification. Johann Sebastian Bach used the hymn in his chorale prelude, BWV 727, and for his Weimar cantata .

" At the same time, she noted: "Vocal lines were full of melody and eminently singable, pacing was varied and orchestration thoroughly professional." Speight Jenkins, writing in Musical America, stressed similar points. He wrote: "Moreno Torroba's music suggested a time warp: the composer seemed to be creating as Giordano might have and in no case were there harmonies which suggested the music of this century. The surprise was the honesty of the writing; most 'romantic' music composed in 1980 suggests a febrile Puccini, with the vivid color removed.

In an interview with the Daily Independent newspaper in Ashland, Kentucky, the director of the play Edward Figgins states, "Music by composer Mark Daniel Merritt captures the mood of Peterson's lyrics.The Daily Independent Newspaper, Ashland, Kentucky, July 2007" The American Organist gave the following review of Merritt's published Christmas piece, "Deo Gratias:" > This setting of "Adam lay ybounden" will give Boris Ord's a run for its > money. Well crafted and singable, this is sung with "traditional" harmonic > language. An accompaniment for rehearsal is provided.

" : "Mr. Morrison's music, highly eclectic (Mahler, Stravinsky, Bartok, you name it), doesn't so much animate the plot as merely react to it. Melodies are too often of that aimless, blandly zigzag variety favored by composers who don't want to sound harshly atonal or tunefully accessible." : ".....the score to Oscar is derivative to the point of anonymity; and while Morrison sets words in fluent, singable lines, his music lacks the sharp edge needed to draw us into Wilde's tragedy, a problem it shares with the libretto.

Arcadelt's several hundred madrigals, composed over a span of at least two decades, were usually for four voices, although he wrote a few for three, and a handful for five and six voices. Stylistically his madrigals are melodious and simple in structure, singable, and built on a clear harmonic basis, usually completely diatonic. The music is often syllablic, and while it sometimes uses repeated phrases, is almost always through-composed (as opposed to the contemporary chanson, which was often strophic).Brown 1999, p. 201.

In contrast to the verse of a song, the chorus tends to be simpler, more memorable and singable and it often uses repetition of lyrics (e.g. "She loves you yeah, yeah, yeah..."). In the 19th and early 20th centuries into the 1940s, the term "chorus" described what is now defined as an "intro", sung only once at the beginning of the song. As an example from 1966, the three measure introduction to the Paul McCartney song "Here, There and Everywhere"... "to lead a better life" etc.

That year, Elektra-Nonesuch released a recording of the 15-year-old symphony performed by the London Sinfonietta, that topped the classical charts in Britain and the United States.Alison Moore, Is the Unspeakable Singable? Henryk Górecki’s Symphony of Sorrowful Songs and the Ethics of Holocaust Empathy, Portal, Journal of Multidisciplinary International Studies, 8 (1) January 2011, 1-17. To date, it has sold more than a million copies, vastly exceeding the expected lifetime sales of a typical symphonic recording by a 20th-century composer.

He has edited and contributed to books of haiku in Irish, English, Scots and Japanese. He is a prolific translator into Irish of international poetry (among others Ko Un, Seamus Heaney, K. Satchidanandan, Rabindranath Tagore, Muhammad Iqbal, Hilde Domin, Peter Huchel), plays (Beckett, Frisch, Yeats) and songs (Bob Dylan, Kate Bush, The Pogues, Leonard Cohen, Bob Marley, Van Morrison, Joni Mitchell). He also has singable Irish translations of Lieder and other art songs. He appears in the anthology Best European Fiction 2012, edited by Aleksandar Hemon, with a preface by Nicole Krauss (Dalkey Archive Press).

A.N. > Johnson (Boston), 1846. The four-part chorus favors a single bass and three > tenors: the first and third tenors harmonize in thirds with the second > completes the triads or doubles the root, sometimes crossing the melody > line. The versions published in 1846 differed rather markedly: "De Blue Tail > Fly" is modal (although Lhamar emends its B♭ notation to C minor) and > hexatonic; "Jim Crack Corn", meanwhile, is in G major and more easily > singable. Its simplicity has made it a common beginner's tune for acoustic > guitar.

Moravian sacred vocal music was used in Moravian worship in America through the early part of the 19th century. With the gradual change from German to English services however, the musicians found that it was often easier to write a new work in English that it was to translate one from German to English and make it “singable”. As the American Moravians became more “American”, their old style music fell out of favor. Because of the penchant of Moravians to carefully keep their old stuff, the music was not discarded completely.

Hunold published the text in the collection (Selected and partly never printed poems of different notable and skillful men) in Halle in 1719. Other texts published by Hunold include that of Bach's cantata , written for the prince's birthday on 10 December 1718. Literally "Heaven thought of Anhalt's glory and fortune", it has also been translated in a singable version as "Since Heaven Cared for Anhalt's Fame and Bliss". The text of the serenata , for most of the movements, recounts a dialogue between two allegorical figures: Time, representing the past, and Divine Providence, representing the future.

The music of the Classical period is characterized by homophonic texture, or an obvious melody with accompaniment. These new melodies tended to be almost voice-like and singable, allowing composers to actually replace singers as the focus of the music. Instrumental music therefore quickly replaced opera and other sung forms (such as oratorio) as the favorite of the musical audience and the epitome of great composition. However, opera did not disappear: during the classical period, several composers began producing operas for the general public in their native languages (previous operas were generally in Italian).

In the choral version, the men's voices enter in unison in the second verse. In the third verse, focused on human relationships, the men sing the melody with the women adding a descant melody. In the final verse, the melody is given to the altos, with a high counterpoint in sopranos and violin. A reviewer noted Rutter's gift for composing melodies that are singable by lay singers and children, and that he "writes for enjoyment ... He gives them sufficient challenge, specially in keeping the rhythms neat and lively ...".

Billy Dukes of Taste of Country gave the song 4.5 stars out of 5, saying that "[its] overall feel is one that’s repeated each summer, but few have brought it back as effortlessly as McGraw in recent years." Giving it a "B", Joseph Hudak of Country Weekly gave it a "B" grade, and said that "[the song]'d all feel a little trite and disposable if [it] didn't have a monster groove to prop it up." He also said that the song was "utterly singable" and "the ideal summer anthem".

Popular music songs and pieces typically have easily singable melodies. The song structure of popular music commonly involves repetition of sections, with the verse and chorus or refrain repeating throughout the song and the bridge providing a contrasting and transitional section within a piece. In the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have a wide appeal within the culture of their origin.

"Mine" is a country-pop song with a length of three minutes and 52 seconds. KILT-FM described "Mine" as "an uptempo song that's unmistakably Taylor" with "a big chorus and [is] very singable." Blake Boldt of Engine 145 explained that the song "is a mishmash of ideas bolted together by a terrific power-pop chorus that will stick in your brain after the second or third listen." The song is set in the time signature of common time, and has a moderate tempo of 120 beats per minute.

Pete Seeger entertaining left Theodore C. Blegen included the song in his 1936 book Norwegian Emigrant Songs and Ballads, which had the original lyrics, a literal translation by Martin B. Ruud and musical notation. Eight years later Blegen himself wrote a singable translation consisting of 22 verses. Folksinger Pete Seeger learned Oleanna from Blegen's book and in 1955 wrote a six-verse translation that was later published in Sing Out! magazine.The collected reprints from 'Sing Out!' the folk song magazine. Vols. 1-6: 1959-1964, (Bethlehem, PA: Sing Out Corporation, 1990).

Morley is the only composer of the time who set verse by Shakespeare for which the music has survived. His style is melodic, easily singable, and remains popular with a cappella singing groups. Wilbye had a very small compositional output, but his madrigals are distinctive with their expressiveness and chromaticism; they would never be confused with their Italian predecessors. The last line of Gibbons' "The Silver Swan" of 1612, :"More Geese than Swans now live, more Fools than Wise." is often considered to be a lament for the death of the English tradition.

Editors bring extensive knowledge of theology, poetry, and music to the process of compiling a new hymnal. They seek texts that are capable of communicating complex theological concepts to lay people, and they strive to partner those texts to tunes which are singable by the non- professional musicians of a congregation. When editors choose a text for the planned collection, it may already be paired to a tune that supports its meaning, catches its spirit, and allows for congregational participation. This pairing may be used elsewhere, even ecumenically recognized, appearing in many other hymnals.

He was able to capture an astonishing variety of moods in his music, from ecstasy to despair, longing, joy, and devotional stillness; his music remained popular for hundreds of years, especially in cathedrals in Latin America. Stylistically he preferred homophonic textures, rather like his Spanish contemporaries, and he wrote memorable, singable lines. One interesting feature of his style is how he anticipated functional harmonic usage: there is a case of a Magnificat discovered in Lima, Peru, once thought to be an anonymous 18th century work, which turned out to be a work of his.Stevenson, Grove, vol.

Portrait of Methfessel from the Bibliothèque nationale de France With his solo voice and choral compositions, Methfessel was a key figure, not only of German folk singing in the 19th century, but of popular singing of the male voice in general. Many of his songs, in particular patriotic songs included in the five editions of "Allgemeinen Commers- und Liederbuch", were considered the model for student songs. His songs were described by his contemporaries as "fresh, singable, pleasant, and pleasing". The instrumental accompaniment for his songs have no independence to the melody, merely supplying simple harmonic support to the vocalist.

Velvel Pasternak, a Jewish music producer and historian, described Shenker's own melodies as "singable" by the masses. Many of Shenker's songs have become so much a part of the fabric of Ashkenazic Jewish Orthodox life that they are erroneously thought to be much older songs whose authorship is unknown. Shenker, a humble man, did not mind the anonymity, and was typically surprised when approached as a celebrity. Two songs in particular became global Sabbath meal standards (even in Sephardic homes, unusual for Ashkenazi material): Eishes Chayil (1946) on Friday nights, and variations of his Mizmor LeDovid (1953) on Saturday afternoons.

Raffi also incorporated many world music sounds into his records, including "Sambalele" (More Singable Songs, 1977) and "Anansi" (The Corner Grocery Store, 1979). Raffi preferred to play in small intimate settings. In his autobiography he notes that he turned down a very lucrative offer to perform a concert at Madison Square Garden because he thought the venue was too large for him to connect to children. He also wrote that early in his career, he found it difficult to perform for kids under 3 years old because their short attention span was distracting to him and to the rest of the audience.

The LP's presentation took place in December at the Ferrocarril Oeste Stadium (or Ferro). As the song "No bombardeen Buenos Aires" drew to a close near the end of the show, backdrop props simulating Buenos Aires were destroyed with fireworks. García and Luis Alberto Spinetta in 1984 In 1983, Charly left Buenos Aires with a small suitcase. When he came back to Buenos Aires from New York, he brought a quality LP titled Clics modernos ("Modern Clicks") that was different from anything previously done in Argentine rock — it was highly singable rock music you could also dance to.

When Mendelssohn studied in Berlin with Carl Friedrich Zelter, he was introduced to the lieder of Zelter, Ludwig Berger, Johann Friedrich Reichardt and Bernhard Klein,who have become known to musicologiats as the Zweite Berliner Liederschule ("Second Berlin Song School"). Their concepts included simple strophic form and singable melodies, trying to convey the characteristic moods of the poems which they set. Mendelssohn followed these ideas, which were also promoted by Goethe, in his songs. Mendelssohn composed his songs for four mixed voices during the summer months which he spent with his family in Frankfurt or on his uncle's winery in Horchheim.

Awarding the album four stars at CCM Magazine, Grace Aspinwall writes, "With its refreshing, clean and clear sound, Banner succeeds in all aspects: vocals, musicality and arrangements." Barry Westman, giving the album four and a half star from Worship Leader, states, "Banner, an album of epic proportions". Indicating in a three and a half star review for New Release Today, Sarah Fine says, "What Banner lacks in musical originality, it more than makes up for in spiritual substance." Matt McChlery, rating the album an eight out of ten at Cross Rhythms, describes, "This is a great album that contains numerous singable songs".

One version of a melody for Aiken Drum The Scottish storytelling group, Macastory, perform this song for children in an interactive way by allowing the children to decide the foods of which Aiken Drum is made. One such version recorded by The Singing Kettle is included on their CD Singalong Songs from Scotland, produced in 2003 for Smithsonian Folkways Recordings.Cd liner notes: The Singing Kettle — Singalong Songs from Scotland, Smithsonian Folkways Recordings, 2003. Popular Armenian-Canadian children's singer Raffi played a version of the song, called "Aikendrum," on his album Singable Songs for the Very Young (1976).

Bradley Torreano, writing for Allmusic, stated that with this album, Ozma has "arguably written the best Weezer album of 2001 (and yes, the real thing also had an album come out the same year)." The "11 slabs of infectiously singable power pop on this little- album-that-could" compelled Weezer frontman Rivers Cuomo to insist that Ozma open two nationwide tours for Weezer in 2001 and 2002. In an "Ask Me Anything" interview on the website Reddit, Cuomo recommended Rock and Roll Part Three in response to what two albums every Weezer fan should listen to (the other album being Pet Sounds).

Tone quality and tone color are synonyms for timbre, as well as the "texture attributed to a single instrument". However, the word texture can also refer to the type of music, such as multiple, interweaving melody lines versus a singable melody accompanied by subordinate chords. Hermann von Helmholtz used the German Klangfarbe (tone color), and John Tyndall proposed an English translation, clangtint, but both terms were disapproved of by Alexander Ellis, who also discredits register and color for their pre-existing English meanings . The sound of a musical instrument may be described with words such as bright, dark, warm, harsh, and other terms.

"Is She Really Going Out with Him?" has been described by critics as "snotty piano pop" and "the sound of New Wave boiled down into three minutes and 35 seconds." The song contains a "soft seesaw rhythm of plunking guitar and bass"; the bass line, played by Jackson's longtime collaborator Graham Maby, has seen praise from critics. Steve Huey of AllMusic praises the rhythm section's performance for "immediately setting a vibe of cool indignation". The song's chorus, which has been described as "perfectly singable" and "strong and emotionally compelling", contains "clean guitars and tight bass and drum groove" accompanied by Jackson's "lush vocals".

Telangana has a diverse variation of music from carnatic music to folk music. [Kancherla Gopanna, popularly known as Bhakta Ramadasu or Bhadrachala Ramadasu was a 17th-century Indian devotee of Rama and a composer of Carnatic music. He is one among the famous vaggeyakaras (a person who not only composes the lyrics but also sets them to music; vāk = word, speech; geya = singing, singable; geyakāra = singer) in the Telugu language. The folk songs of Telangana had left a profound impact on the Statehood movement as it played a significant role in the success of the Dhoom-Dham, a cultural event that was a vital part of the agitations.

She was close to Isabella de' Medici and dedicated some of her music to her. In 1570, 1583 and 1586 she published other books of madrigals. In the dedication to her first book of madrigals, she shows her feelings about being a female composer at a time when this was rare: "[I] want to show the world, as much as I can in this profession of music, the vain error of men that they alone possess the gifts of intellect and artistry, and that such gifts are never given to women." Her style is contrapuntal and chromatic and her melodic lines are singable and attentive to the text.

He wrote music in many of the forms which were current, music which was melodic, singable and memorable (more than half of his sacred music consists of simple harmonizations of plainsong, for example). Contemporary with Dufay were composers such as Gilles Binchois, who was at the Burgundian court between approximately 1430 and 1460, and Hayne van Ghizeghem, a composer, singer and soldier who may have been killed in the last military campaign of Charles the Bold. After the death of Dufay in 1474, the most prominent Burgundian musician was Antoine Busnois, who was also a prolific composer of chansons, and who possibly wrote the famous L'homme armé tune.

Though predominantly a composer of frottolas, a light secular form and ancestor of the madrigal, he also wrote a few sacred pieces, including a three-voice Salve Regina (one of the Marian Antiphons) as well as seven laude spirituali. His frottolas are for the most part homophonic, with short passages of imitation only at the beginnings of phrases; they are catchy, singable, and often use dance-like rhythms. The poetry for most of his 100 frottolas is anonymous, though the authors of 16 poems have been identified. Most of the poems are in the form of the barzellette, but there are also strambotti, sonnets, capitoli and ode.

In 2012, Aaron Lariviere of Stereogum ranked the song #2 on his list of the 10 best Misfits songs, writing that while it has been "practically played out ... the song still stands as one of the best the Misfits would ever produce. Heck, it's one of the best songs ever produced by the punk genre." In 2015, the song was also ranked #2 on an Ultimate Classic Rock list of the top 10 Misfits songs, with writer Eduardo Rivadavia calling it "simultaneously the Misfits' most offensive and singable ditty". The following year, Rivadavia included the song in an article published by Loudwire of "50 Disturbing Songs That People Love".

The rejection of so much accumulated learning and formula in music is paralleled only by the rejection in the early 20th century of the entire structure of key relationships. Not every contemporary was delighted with this revolutionary simplification: Johann Samuel Petri, in his Anleitung zur praktischen Musik (1782) spoke of the "great catastrophe in music" . The change was as much at the birth of Romanticism as it was of Classicism. The folk-song element in poetry, like the singable cantabile melody in galant music, was brought to public notice in Thomas Percy's Reliques of Ancient Poetry (1765) and James Macpherson's "Ossian" inventions during the 1760s.

As part of the new galant style in the mid-18th century, with its emphasis on lighter and more varied textures, and singable melodies, orchestral music gradually phased out the basso continuo, and solo-with- accompaniment textures increasingly featured fully written-out accompaniments. By the second half of the 18th century, figured bass was almost entirely eliminated, except in sacred choral music, where it lingered until well after 1800. Many composers and theorists of the 16th, 17th, and 18th centuries wrote "how-to guides" for chord-playing musicians, to aid them in realizing figured bass notation, including Gregor Aichinger, Filippo Bonaffino, Friedrich Erhard Niedt, Jean-Philippe Rameau, Georg Philipp Telemann, C. P. E. Bach, and Michael Praetorius.

" Also of New Release Tuesday, Dawn Teresa reflected that "upon repeated listening, these songs get under your skin", which the listener will "find the record is worth many listens." Shannon Zabroski of Oncourse told that "these two [are] back in full-album form," which this is because "they are a rare duo that brings a distinct flavor of worship in a sea of sound-alike groups." At The Phantom Tollbooth, Larry Stephan said that "it may have served the record better to pull back on the throttle in places." At Christianity Today, Joel Oliphint claimed that "the songwriting is so formulaic that the songs run together", which leads "to singable yet unmemorable, overdramatic refrains.

"I judged that the tune was very singable, added some harmony (a guitar accompaniment) and thought the one-word chorus would be an easy hit with the teens (it was). But a typical original verse consisted of one line repeated once, and I thought a rhyme would be more interesting to the teenagers at Shaker Village Work Camp, where I introduced it. So I adapted traditional African-American couplets in place of the original verses." That summer, Saletan taught Michael Row the Boat Ashore to Pete Seeger, who later sang it with the Weavers, one of the most important singing groups leading the American folk music revival of the 1950s to mid-1960s.

While working there, he took to writing parody lyrics to some of the popular songs of the day. In the 1930s, he took a job with the music publishing firm headed by talent agent Irving Mills, at first writing only lyrics, but subsequently writing music as well. After Gordon was introduced to Duke Ellington in 1937, Ellington sometimes invited him to put words to his compositions. However working with Ellington was probably one of the most difficult commissions there was, since most of the Ellington songs were really instrumental pieces whose singable potential only emerged after they had been played and recorded by one or another of the soloists in the Ellington orchestra.

Barbershop music features songs with understandable lyrics and easily singable melodies, whose tones clearly define a tonal center and imply major and minor chords and barbershop (dominant and secondary dominant) seventh chords that resolve primarily around the circle of fifths, while making frequent use of other resolutions. What sets barbershop apart from other musical styles is the predominant use of the dominant-type seventh chords. Barbershop music also features a balanced, symmetrical form and a standard meter. The basic song and its harmonization are embellished by the arranger to provide appropriate support of the song's theme and to close the song effectively.” So-called barbershop seventh chords should represent at least one third of the song’s duration.

The central figures of the Ramayana: Rama, his wife Sita, the devotee Hanuman and Rama's three brothers (Lakshmana, Bharata and Shatrughna) Geet Ramayan was conceptualized in 1955, four years before the introduction of television in India in 1959. During the early days of All India Radio, Pune (also known as Aakashwani Pune), station director Sitakant Lad wanted to begin a radio programme which would be entertaining and provide moral education. He hence outlined his plan to poet and writer G. D. Madgulkar (popularly known as "Ga-Di-Ma"). Since the Ramayana (written by Valmiki) is an Indian epic, Lad and Madgulkar came up with an idea of a version in singable verse.

City Harbor garnered positive reception from the ratings and reviews of music critics. Grace S. Aspinwall of CCM Magazine rated the album three stars, noting how the album "is cheerful and engaging" on which the release "is breezy and fun, and indicates good things to come from the pair." At Worship Leader, Barry Westman rated the album four-and-a- half stars, calling "The production quality is superior, the harmonies are ever so tight, very singable melodies, lyrics that draw you into worship, and an all around exceptional debut album." Stephen Curry of Cross Rhythms rated the album eight out of ten squares, stating that this is a "debut album to be proud of" by the duo.

"Bring me my Chariot of fire" inspired the title of the film Chariots of Fire.IMDb trivia – Origin of title – Accessed 11 August 2008 A church congregation sings "Jerusalem" at the close of the film and a performance appears on the Chariots of Fire soundtrack performed by the Ambrosian Singers overlaid partly by a composition by Vangelis. One unexpected touch is that "Jerusalem" is sung in four-part harmony, as if it were truly a hymn. This is not authentic: Parry's composition was a unison song (that is, all voices sing the tune – perhaps one of the things that make it so "singable" by massed crowds) and he never provided any harmonisation other than the accompaniment for organ (or orchestra).

Fogliano evidently wrote his motets and laude in the early 16th century, probably intending them to be performed by the singers at the cathedral. They are relatively simple and uncluttered in texture compared to similar works of the time from other musical centers, and are singable by amateurs or lightly trained musicians. As the singers in the provincial establishment at Modena were unlikely to have attained the levels of virtuosity found in places such as Ferrara and Venice, these pieces were well suited for this choir. The keyboard ricercares, composed in the 1520s or 1530s and among the earliest examples of the form, are contrapuntal, in the manner of contemporary vocal music, but with shorter points of imitation.

"I judged that the tune was very singable, added some harmony (a guitar accompaniment) and thought the one-word chorus would be an easy hit with the teens (it was). But a typical original verse consisted of one line repeated once, and I thought a rhyme would be more interesting to the teenagers at Shaker Village Work Camp, where I introduced it. So I adapted traditional African-American couplets in place of the original verses." During the summer of 1954, Saletan taught "Michael Row the Boat Ashore" to Pete Seeger, who later sang it with the Weavers, one of the most important singing groups leading the American folk music revival of the 1950s to mid-1960s.

This is made possible by writing the music without clefs or key signatures, allowing the singers to assume those suited to the chosen mode. This unusual and complex idea has led the musicologist Fabrice Fitch to describe the mass as "the work chiefly responsible for Ockeghem's reputation as an artful pedant". Although Leeman L. Perkins describes the Missa Cuiusvis Toni as "not unduly complex in its contrapuntal style", to compose a work to be singable in any of the four modes is a considerable technical challenge, because the cadences suitable for the Phrygian mode are unsuitable for the other modes, and vice versa. Ockeghem's solution is to write cadences that today would be called plagal cadences.

Awarding the EP four stars from CCM Magazine, Andy Argyrakis states, "Mike Lee makes another artistic and spiritual leap forward on this impressive EP". Amanda Furbeck, giving the EP four stars at Worship Leader, writes, "All I Need lends itself well to personal times of devotion". Rating the EP an eight out of ten for Cross Rhythms, Stephen Curry says, "Lee has a habit of coming up with singable lines". Jonathan J. Francesco, signaling in a three star review by New Release Today, describes, "Mike Lee has crafted a deeply personal and relevant EP. Filled with honest reflections, powerful worship, and effective music...it's a success on many fronts, and it is a commendable achievement".

The album's first track is "That's When I Reach for My Revolver," which features a singable, anthemic chorus that helped make it one of the band's most popular songs. Though Mission of Burma's live performances were characterized by noise and chaos, Signals, Calls, and Marches has a notably "cleaner" sound in comparison to the band's live performances and subsequent recordings. Marc Masters of Pitchfork called this different sound "somewhat misrepresentative" of the band, as "[Producer Richard] Harte's production cleaned up the band's brutally loud live sound." Guitarist Roger Miller noted that the sound probably helped the band become more accessible, recalling: > We played a show in Cleveland ('81 or '82) and we were on the street in > front of the club.

Most forms of choral composition place the melody on the top (treble) line, where it can be best heard by an audience, with the other parts written so as not to obscure the melody. In contrast, Sacred Harp composers have aimed to make each musical part singable and interesting in its own right, thus giving every singer in the group an absorbing task.Horn (1970, 86) For this reason, "bringing out the melody" is not a high priority in Sacred Harp composition, and indeed it is customary to assign the melody not to the trebles but to the tenors. Fuging tunes, in which each section gets its moment to shine, also illustrate the importance in Sacred Harp of maintaining the independence of each vocal part.

Schumann, the last sonatas' dedicatee, reviewed the works in his Neue Zeitschrift für Musik in 1838, upon their publication. He seems to have been largely disappointed by the sonatas, criticizing their "much greater simplicity of invention" and Schubert's "voluntary renunciation of shining novelty, where he usually sets himself such high standards", and claiming the sonatas "ripple along from page to page as if without end, never in doubt as to how to continue, always musical and singable, interrupted here and there by stirrings of some vehemence which, however, are rapidly stilled".Robert Schumann, "Schubert's Grand Duo and Three Last Sonatas"; the translation cited here appears in Brendel, "Schubert's Last Sonatas", p. 78. Schumann's criticism seems to fit the general negative attitude maintained towards these works during the nineteenth century.

Stylistically, his music can be considered a midpoint between the simplicity and homophonic textures of Dufay and Binchois, and the soon-to-be pervasive imitative counterpoint of Josquin and Gombert. He used imitation only occasionally but skillfully, created smooth and singable melodic lines and had a strong feeling for triadic sonorities, anticipating 16th-century practice. According to Pietro Aron, Busnois may have been the composer of the famous tune L'homme armé, one of the most widely distributed melodies of the Renaissance and the one more often used than any other as a cantus firmus in Mass composition. Whether or not he wrote the first Mass based on L'homme armé, his was by far the most influential; Obrecht's setting, for example, closely parallels that of Busnois, and even Dufay's quotes from it directly.

Philip Paul Bliss The first published use of the term "Gospel song" probably appeared in 1874 when Philip Bliss released a songbook entitled Gospel Songs. A Choice Collection of Hymns and Tunes. It was used to describe a new style of church music, songs that were easy to grasp and more easily singable than the traditional church hymns, which came out of the mass revival movement starting with Dwight L. Moody, whose musician was Ira D. Sankey, as well as the Holiness-Pentecostal movement. Prior to the meeting of Moody and Sankey in 1870, there was an American rural/frontier history of revival and camp meeting songs, but the gospel hymn was of a different character, and it served the needs of mass revivals in the great cities.

Rutherford assumed lead guitar duties for Genesis in 1977. Previously he had made occasional lead guitar contributions to Genesis music if they were best played by him (such as the electric sitar parts on Selling England by the Pound), but following the departure of Hackett and the band's decision not to replace him with a new guitarist, despite toying with auditioning new guitarists or using a studio guitarist on ...And Then There Were Three..., Rutherford assumed all guitarist roles in the recording studio, having felt confident enough to double up on lead guitar as well as bass. As a lead player he has favoured long, melodic tones, bending the notes into plaintive, almost vocal lines. This results in "singable" solos or the creation of sonic atmospheres rather than showy displays of technical prowess.

In the 17th century, Ut was changed in most countries except France to the easily singable, open syllable Do, said to have been taken from the name of the Italian theorist Giovanni Battista Doni, but rather Do have been taken from the word "Dominus" in Latin with the meaning "the Lord".. Catholic monks developed the first forms of modern European musical notation in order to standardize liturgy throughout the worldwide Church,. and an enormous body of religious music has been composed for it through the ages. This led directly to the emergence and development of European classical music, and its many derivatives. The Baroque style, which encompassed music, art, and architecture, was particularly encouraged by the post-Reformation Catholic Church as such forms offered a means of religious expression that was stirring and emotional, intended to stimulate religious fervor.

" Giving the album a four-and-a-half star rating in a Hallels review, Timothy Yap says "They [Hillsong Worship] manifest theological depth in their lyrics; the songs are well-tested for congregational singing (even for small churches) and most importantly they are memorable." In a favourable review by Kevin Davis of NewReleaseToday, he says that "There Is More is loaded with several stirring new worship songs that set me in the proper mindset to praise God for His love. I really enjoy the exciting musical vibe of this album, loaded with stellar vocals, catchy melodies and solid lyrics reflecting unashamed faith in Jesus." Gerod Bass of Worship Musician Magazine was full of praises for the album, concluding that "Hillsong just keeps doing what they have been doing for 2 decades: bringing singable, rich worship music to connect people with God’s heart in worship.

Millard said the album was "a little bit more on the rock side" and that the major goal was to provide "singable" songs suitable for corporate worship. The album's title came from Millard, who said that he had been "consumed with the idea that God is so crazy in love with us — just knowing that we are part of something bigger and we worship a God who’s in complete control no matter how good or bad things get. The phrase "spoken for" really stuck with me". Spoken For was recorded by Csaba Petozz, J. R. McNeely, Lee Bridges, and Jim Bryson in several locations: Luminous Sound in Dallas, Texas, The Sound Kitchen in Franklin, Tennessee, Indigo Room in Franklin, Tennessee, HydeAway Sound Lab in Jeckyll Island, Georgia, The Scwoodio in Greenville, Texas, Mountain View Recorders in Glorieta, New Mexico, and Playground Recording in Wylie, Texas.

" Marcy Donelson, reviewing for AllMusic, says that the album "delivers more of the soft-spoken, country-folk-flavored Christian music that they introduced on their 2012 debut, and which landed them on the Billboard 200 with their eponymous follow-up." In a review for Hallels, Timothy Yap lists "I Surrender", "This My Inheritance" and "My Roving Heart" as prime cuts of the album and concluded that though the duo "try to go deep in allowing the history of the church to influence their lyrics, most of the songs are just not singable" and that in a congregational setting "these songs will not cut it". Worship Team Coach's Andrea Hamilton Binley drew to this conclusion: "The concept behind this album is unique, meaningful, and lines up perfectly with the band’s sound and style. ... All Sons & Daughters has wrapped timeless truths in a relatable, beautiful package, and which I believe will strengthen the Church.

As a composer he helped lay the foundations for the development of modern Ukrainian music. His works are formally unsophisticated, often strophic, and usually in the minor mode; but his stage works (notably Prostachka (‘The Simpleton’), 1870) are representative of a popular folk genre that was melodically fluid, singable, pictorial and emotionally evocative. His instrumental writing does not extend far beyond the simple development of folktunes. Nevertheless, he composed 12 so-called symphonies (really overtures), the sixth of which Stanislav Lyudkevich based an orchestral piece and a piano trio. He also composed Zapovit (‘Testament’, 1868), a setting of Shevchenko’s poem for bass solo, double choir and orchestra, the operetta Podgoryane which was staged in Lemberg (now L′viv, 1864), and numerous sacred and secular choral works and songs. He is best known as the composer of the Ukrainian national anthem by the words of Pavel Chubinsky Shche ne vmerla Ukrayiny (‘Ukraine has not Perished’), which in 1917 was adopted by the new Ukrainian republican government.

Mombach arranged choirs for all the main events that took place in the religious life of the Ashkenazi communities throughout England, and many of his pupils went on to become cantors in English and colonial synagogues. With the exception of those selections written in the traditional modes, most of his settings are a blend of the popular German and English folk song. writing on the Zemel Choir's website, says that "Mombach is very singable (in melody and harmony) and it is for that reason that so much has indeed survived as the traditional backbone of Anglo- Jewish synagogue music. His compositional style owes quite a bit to Mendelssohn, and it is noteworthy that motifs from Elijah appear in a number of his pieces." summarises his importance by saying that as a composer of synagogue music Mombach was equalled only by Solomon Sulzer of Vienna, and a large proportion of the now-famous Anglo-Jewish choral melodies were first familiarised by him and his collaborators.

There is a continual debate about the merits of this system as compared to solfege: it holds the advantage that when dealing with abstract concepts such as interval distance a student may easily recognize that the distance between 1 and 5 is larger than the distance between 1 and 4 because of the numerical values assigned (as compared to Solfege, where comparing Do to Sol and Do to Fa remain completely abstract until sung or played). A drawback often pointed out is that numerical numbers are not always "singable," for example, scale degree 7 (ti, in solfege) contains vowels that are hard to tune. Numerical sight singing is not the same as integer notation derived from musical set theory and used primarily for sight singing atonal music. Nor is it the same as "count singing", a technique popularized by Robert Shaw in which the numbers sung represent the rhythms of a piece in accordance with the beat of a measure.

" Ryan Barbee of Jesus Freak Hideout told that the album was "balanced with singable melodies and attractive music that can capture the attention of Christians and non- Christians alike." Also, Barbee felt that "Not only will this album appeal to fans of Thrice, but to anyone looking for a more assertive worship sound that isn't filled with fluffy and cliché-ridden lyrics; as one person put it, 'Dustin's lyrics are like bringing a bear to a fist fight.' He most definitely did that and no doubt can call this album a TKO." At The Christian Manifesto, Lydia Akinola stated that "There's no argument about it; The Water and the Blood puts aside conventional notions of corporate worship in favour for a more singular approach to both song-writing and composition." According to Akinola, this meant that Kensrue "crafted one of the year’s most convincing, and convicting, worship projects. While we’re feasting on the music, he must be eating his words.

For a period in the 1960s and 1970s, the song's uncompromising lyrics were appreciated for their directness and militancy by many young people radicalized by the student rebellions of 1968, and the song was often sung at folk music societies. In particular, a 1970 recording by Steeleye Span became very popular. The album's sleeve notes read: :It is strange that a song as powerful and as singable as this should be so rare, yet it has only once been collected, from a man in Bishop Auckland, County Durham, in 1949. Seghill and Seaton Delaval (presumably the Delaval mentioned in the song) are adjacent mining villages about six miles north of Newcastle upon Tyne, but it is difficult to date the song due to the innumerable mining strikes which have occurred. It is, however, interesting as much as it illustrates the violent hatred felt by the “union” men towards the blacklegs. Ashley Hutchings: “This is the most modern traditional song on the album, possibly dating from the early part of the 20th Century, and is sometimes sung by singers from Northumberland.

Giovanni Pierluigi da Palestrina The beginning of the Renaissance in music is not as clearly marked as the beginning of the Renaissance in the other arts, and unlike in the other arts, it did not begin in Italy, but in northern Europe, specifically in the area currently comprising central and northern France, the Netherlands, and Belgium. The style of the Burgundian composers, as the first generation of the Franco-Flemish school is known, was at first a reaction against the excessive complexity and mannered style of the late 14th century ars subtilior, and contained clear, singable melody and balanced polyphony in all voices. The most famous composers of the Burgundian school in the mid-15th century are Guillaume Dufay, Gilles Binchois, and Antoine Busnois. By the middle of the 15th century, composers and singers from the Low Countries and adjacent areas began to spread across Europe, especially into Italy, where they were employed by the papal chapel and the aristocratic patrons of the arts (such as the Medici, the Este, and the Sforza families).

The soprano soloist (vocal range: D4 to F6) performs with an orchestra consisting of pairs of oboes, bassoons, horns, and strings. The three parts of the Queen's discourse are set as musically separate items, each marked by a change in key: # Recitative (B-flat major) – continues the Allegro maestoso tempo marking of the entrance music, but often performed in free tempo # First part of the aria (G minor) – Andante # Second part of the aria (back to B-flat major) – Allegro moderato It is in the third part that the music reaches a high level of virtuosity for the soloist, including the following very difficult coloratura: 500px It can be seen that Mozart aligned the text (dann) to give the singer the most sonorous and singable vowel "a" for most of the passage. The highest note, F6 in scientific pitch notation, is claimed by a posthumous witness to have been mentioned by Mozart on his deathbed; the composer was (if the story is true) imagining his sister-in- law's performance. See Death of Mozart.

161 In his letter, he continues by providing a synopsis, indicating that his favourite singers—Giulia Grisi, Rubini, Tamburini, and Lablache—would be available for the principal roles, and that he would begin to write the music by 15 April if he has received the verses. He also referred to the offer from Naples for April 1836 and noting his financial demands with the questions as to how this might be received. The chosen source was a play performed in Paris only six months before, Têtes Rondes et Cavalieres (Roundheads and Cavaliers), written by Jacques-François Ancelot and Joseph Xavier Saintine, which some sources state was based on Walter Scott's novel Old Mortality, while others state that there is no connection.Osbourne 1994, p. 350 The composer had prepared the way for his librettist by providing him with a scenario of thirty-nine scenes (thus compressing the original drama into manageable proportions), reducing the number of characters from nine to seven and at the same time, giving them names of a more Italianate, singable quality.

Madison Rising received prominent attention for their arrangement of the U.S. national anthem; considering it a contrast to Jimi Hendrix's rendition, lead singer Dave Bray explained that he "took the words and formatted them so that they feel more like a modern day rock song" and "took liberties with the melodies to make it a little more singable." In June 2012, in an attempt to draw attention to what they perceived as negative "attacks" towards the anthem by liberal commentators, the band announced a "One Million Star-Spangled Banner Challenge"—aiming to have a music video of the cover viewed on YouTube at least 1 million times by November 6, 2012. The goal was surpassed on September 14, 2012, after which the band announced a new goal of 5 million views by July 4, 2013. The band has performed the anthem at various sporting events, including the PBR World Finals in Las Vegas, Nevada, the opening ceremonies for the 2014 Special Olympics USA in Newark, New Jersey, the Military Bowl, and was also included on the soundtrack for Dinesh D'Souza's 2014 documentary film America: Imagine the World Without Her.

Librettist Carlo Pepoli In his letter to Ferlito of 11 April, Bellini provides a synopsis of the opera, indicating that his favourite singers, Giulia Grisi, Luigi Lablache, Giovanni Battista Rubini, and Antonio Tamburini, would all be available for the principal roles, and that he would begin to write the music by 15 April if he had received the verses. Before the collaboration had got underway and initially impressed by the quality of Pepoli's verses in general,Bellini to Florimo, date uncertain, in Bellini had prepared the way for his librettist by providing him with a scenario of thirty-nine scenes (thus compressing the original drama into manageable proportions), reducing the number of characters from nine to seven and at the same time, giving them names of a more Italianate, singable quality. But a month later, he comments to Florimo on what it takes working on the libretto with Pepoli: "keeping [Pepoli] moving ahead costs me a lot of weariness; he lacks practice which is a great thing [to have]."Bellini to Florimo, 26 May 1834, in For Bellini, the process of both overseeing the writing of the libretto and working with Pepoli was a struggle, added to by a period of illness.