“Instances are not wanting of musicians and composers of the greatest eminence, having been deeply affected by the simple grandeur of congregational unison.” (p. 165)
It’s nice to listen to four-part writing, especially good four-part writing. The harmony and counterpoint is delightful to hear and (for some…freaks…like me) to think about. But joining every voice on the melody (especially a rare good melody) in parallel octaves creates a different effect, both for the hearer and the singer. The parts are no longer independent, but strong, focused and entirely unified.
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