hocket

The former one uses a hocket effect between a set of voices.

The piece from time to time creates a hocket between the singing and playing.

The two drums fit their beats together in hocket, or interlocking form.

The boys are noticeably knowledgeable: one asks, "Should the second sopranos do a hocket?"

In European music, hocket was used primarily in vocal music of the 13th and early 14th centuries.

The Kasena use a hocket vocal style.

(A hocket means dividing a syllable glotally into more than one note.)

In music, hocket is the rhythmic linear technique using the alternation of notes, pitches, or chords.

Most of the music for the estampies is for two voices, often in parallel fifths, and also using hocket technique.

As the mangtong produces only a single pitch, several mangtong are normally played together in hocket.

The vaksen-s perform repeating patterns in hocket and often strike their instruments rhythmically with a stick while blowing into them.

In medieval practice of hocket, a single melody is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests.

The name refers to the medieval contrapuntal device known as hocket, in which two voices are staggered to create a sharply rhythmic echo effect.

His movements are much longer than other 14th century mass movements, and use imitation extensively, as well as hocket (a more archaic technique).

A six-measure melodic hocket is played by the horn, trombone, euphonium and trumpets, ending with a climax in G major.

Rhythm plays a strong role in his compositions through musical devices such as the Afro-Cuban montuño, medieval hocket and isorhythm.

Some of the material is an introduction to synthesis, and some (e.g., a discussion of hocket) is aimed at experienced musicians.

His interests include hocket, the music of Ancient Greece, and strong differences in instrumental timbre, all of which are reflected in his compositions.

Most harmony comes from two or more notes sounding simultaneously-but a work can imply harmony with only one melodic line by using arpeggios or hocket.

Their polyphonic multi-part vocal music features a sophisticated use of hocket, showing some similarities with the music of the central African pygmies.

I'm fascinated by 'hocket,' the medieval style in which several instruments create a melody, so that the theme and its accompaniment are shared by everybody at the same time.

The clarinets and horns play an alternating rhythm, and the bassoon and the trombone create a hocket as they play the transition to the next section.

Furthermore, "hocket" is linguistically linked to "hiccup" for good reason: the lurching back and forth from high to low in the exposition of basic material seemed almost nerve-racking.

It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or kotekan in Balinese gamelan.

Steigleder employs a vast array of techniques from simple 2 voice settings to double counterpoint, extensive multi-sectional fantasies and toccatas, various canons, hocket, and many more.