Then after chorus, soloists, at first enter With and And, then T and B join them, after all chorus solo enters. And such change of chorus and soloists lasts throughout all concert that is inherent in Bortnyansky. All these changes of rates, the sizes and structure corresponds to character and the content of work. Bright contrast, dynamic development of images, scale of forms, all this sounds in work.
Quality of a pronunciation of the text is influenced by tessiturny conditions and sound intensity. In a high texture of the word it is more difficult to say, than in average. The greatest conditions of a pronunciation of the text – the moderate force of sonority. It is not enough correct pronunciation of words, it is necessary to open contents of the text.
The national song occurred not only among a people at large, but also in the highest feudal circles, up to the princely yard. Buffoons and Bayans – representatives of song tradition were the main carriers of secular art culture.
Works with constant polyphony usually represented four-part processing of melodies znamenny and other singsongs. The leading melody was located in tenor party, cantos supplemented it before formation of triads, sometimes the incomplete. The bass – forming the basis to harmony, was characterized by the developed melodic movement and along with accord tones included auxiliary to them and the passing sounds. In the same sort also secular choral works were created, the drinking song of the unknown author can be an example of that.
The final part is written in the form of the fugue which subject is intonatsionno related to an initial subject of a concert. In Im carrying out the subject is stated 2-part, with the supporting voice accompanying it. This welcome is often got at Bortnyansky, emphasizing a harmonious basis of its polyphony.
They were written over other signs and in more vast scale as the notation looked two-lower case. A large number of singing signs was the share of one syllable of the text. From here it is clear that this sort of singing abounded with melizm with long extension of separate syllables.
It should be noted that all parties in chorus are equal as all of them bear semantic loading. The party of a soprano conducts the melodic line in chorus. Mobile, easy sounding is inherent in tenors. Sometimes they carry out a role of leading party, execute a melody independently and together with a soprano.
Long singing of syllables in the middle of the III part gives to a concert a saturation and beauty. Voices in each party sing serially singing a syllable which is equal to the whole note. The singsong of one word begins on the third share of a step, and comes to an end on the second.