What does a male choir consist of? Female, male, mixed choirs and their composition. Arrangement of three-voice homogeneous choirs of a homophonic-harmonic nature for four-voice mixed ones

With Itza songs - this is how Mitrofan Pyatnitsky called folk songs with love and tenderness. The famous collector of Russian folklore became the founder of the first folk choir in Russia. Natalya Letnikova studied the history of the group.

Peasant - this is how the Pyatnitsky Choir proudly calls itself at concerts. The stage premiere of the group was in 1911. And immediately in the hall of the Noble Assembly - the current House of Unions. Folk music as high art. This was the first time.

"The Lamentations of the Mourners." Such an item in the concert poster could not be ignored by the concert of Great Russian peasants, specially drawn from the Voronezh and Ryazan provinces. Folk songs and epics accompanied by ancient instruments. A real sensation.

The first composition of the choir

“They sing as best they can” is the main principle of the peasant choir. The “song artel” didn’t even rehearse.

The peasants simply came from their villages and sang. Between this and then. Like at home at work, or in the field, or in the evening on the land.

Pyatnitsky appreciated this primordial nature. And he was not alone. Among the choir's fans are Fyodor Chaliapin, Sergei Rachmaninov, Antonina Nezhdanova, Ivan Bunin, and Vladimir Lenin. By order of Lenin, the singing peasants moved to Moscow. They began to work in factories and factories and sing with a permanent cast.

The choir received the name of Pyatnitsky in 1927, after the death of the founder. The musician’s legacy includes more than 400 songs recorded on a phonograph, a unique collection of folk instruments and costumes. But the main thing is attention to the talents of the people, which made it possible to create a unique team.

During the Great Patriotic War, the choir performed on the front line as a front-line concert brigade. And the song “Oh, my fogs...” becomes the anthem of the partisan movement. On May 9, 1945, artists sang on Red Square in honor of the Great Victory. The team carefully preserves letters from the front.

Traditions are also preserved. Folklore is still in the repertoire. Lipetsk choruses are performed exclusively in the dialect of the Lipetsk province, Bryansk - in Bryansk, Vladimir - in Vladimir. Songs recorded by Pyatnitsky at the beginning of the last century are also heard.

Any musical phenomenon has followers. Voronezh, Ural, Northern, Ryazan, Omsk, Volzhsky... choral groups appeared in almost every region. And abroad. The Polish ensemble “Mazowsze”, the Czech “Sluch” are echoes of the noble work of Mitrofan Pyatnitsky.

In 2008, the Pyatnitsky Choir was recognized as a national treasure of the country. And also the Order of the Red Banner of Labor, Friendship of Peoples, the government medal “Patriot of Russia” and an informal award - a personal star on the “Walk of Stars” in Moscow.

Today, about 90 artists from 30 Russian regions sing, dance, and play in Pyatnitsky. The main criterion for selection is talent. To work in the most frequently touring band in the world requires great talent. It’s no coincidence that the choir’s longest number is… taking a bow!

Being a singer at the Danilov Monastery is a great job. After all, the choir in the monastery takes part in almost all of its events. These are, of course, Sunday and holiday services (and given the number of churches and altars in the monastery, holidays occur several times a week). This is the service of akathists, prayers, memorial services and funeral services. Very often the choir takes part in Patriarchal and Bishops' services in the monastery and beyond.

And being a member of a concert choir is doubly difficult. Indeed, in addition to such active liturgical activities, there is no less active concert and educational activity. Performances in the Moscow region, tours in Russia and abroad... Singers hardly have not only free days, but sometimes even free hours!

Many Moscow choir artists moonlight as singers, and many Moscow church singers work in Moscow choirs. But you will not find almost any of the members of the Danilov Monastery choir in other groups. Impossible to combine due to lack of time!

Of course, such a load can only be withstood by being sincerely attached to the monastery and the choir, and this is exactly what all the singers of this group are. Despite the fact that some of them have been working here since its founding - most for 10-15 years, and the youngest members are not yet 30 - the choir is a big family for them, where they share their most intimate things with each other, empathize and try to help each other. friend in everything. Such an atmosphere in the choir was created for many years and is maintained to this day by the artistic director and chief regent of the choir, Georgy Safonov. He, not only as an attentive teacher, a good friend, but also as a kind father, takes care of each of his artists, knows everything about their families, everyday life, and helped or is helping each of them to get settled in life.

According to Georgy Safonov, each of his singers is unique. Of course, each of them has a higher choral or vocal education, experience in artistic and ensemble work, and musical literacy at the highest level. But the most important thing about his artists is the ability to abstract themselves from external circumstances, forget about their problems and give 200% during performances. This is what distinguishes the Festive Male Choir of the Danilov Monastery from other choral groups - purposefulness, sincerity, spirituality, complete unity with the audience, no matter what program the choir performs.

Artistic Director and Chief Regent

Georgy Safonov was born on July 3, 1964 in Belarus, in the city of Minsk. In 1971, at the age of seven, he entered the Secondary Special Music School at the Belarusian State Conservatory in the class of choral conducting. He sang in the boys' choir under the direction of Honored Artist of Russia I. A. Zhuravlenko.

He graduated from school in 1982. In the same year he entered the Russian Academy of Music. Gnesins in the class of the Honored Artist of Russia, Associate Professor M. A. Bondar (a student of the famous conductor in Russia, the last regent of the Synodal Choir, professor of the Moscow Conservatory N. M. Danilin).

He combined his studies at the Academy with work in two groups - the children's chamber choir of the Moskvorechye Children's House of Culture (artistic director) and the chamber choir "Vivat" of the Musical Society of the Moscow Region (choirmaster). In 1988, at the First All-Russian Conducting Competition in the city of Gorky (now Nizhny Novgorod), he became a laureate (II prize). After completing five courses, he entered an assistant-traineeship at the Academy, which he completed in 1991.

During his assistantship, he was a teacher at the Academy's choral conducting department (class of conducting and choral arrangement). In 1990 he became the chief conductor of the Moscow Bach Center choir, and in 1991 the artistic director and chief conductor of the Moscow Ensemble of Soloists “Russian Revival”.

Since 1989, he was invited to serve as a choir singer at the Moscow Novodevichy Convent, where he began to study regency work. Since 1991, he began his singing career at the Danilov Stavropegic Monastery of the Russian Orthodox Church in Moscow.

Choir soloists

Korogod Alexander Ivanovich. First tenor.

She has been singing in the monastery since November 2012.

Born in Mikhailovka, Volgograd region. Graduated from the Volgograd School of Arts named after P.A. Serebryakov, Academy of Choral Art named after. V.S. Popova. Collaborated with the choir of the Sretensky Monastery. He is the founder, art director and producer of the pop art group “Choir Bravissimo”.

Denisov Denis Nikolaevich. Second tenor.

He has been singing in the monastery since 2002.

He received his musical education at the Orthodox St. Tikhon's Epiphany Institute at the faculty of church singing, and graduated from graduate school at the Russian Academy of Music. Gnesins. From 2003 to 2013, artistic director and chief conductor of the choir of the Church of St. Tikhon of the All-Russian Patriarch in Klin.

Savenkov Dmitry Viktorovich. Tenor-altino.

She has been singing in the monastery since 2011.

Born in Ukraine in Kharkov. Graduated from the Russian Academy of Sciences. Gnessins, in 2010 he entered the Moscow State Conservatory named after P.I. Tchaikovsky to the department of opera and symphony conducting. He worked as a choirmaster of the State Russian Choir named after A. A. Yurlov under the direction of G. A. Dmitryak, collaborated with the Moscow Chamber Choir of V. N. Minin, the State Academic Russian Choir named after. A. V. Sveshnikov, State Academic Symphony Chapel of V. Polyansky. He served as a choirmaster in many monasteries in Moscow and the Moscow region.

Obukhov Valery Petrovich. Bass.

She has been singing in the monastery since 2011.

Honored Artist of Russia, graduated from the Moscow State Conservatory named after P. I. Tchaikovsky, GITIS named after A. V. Lunacharsky. Soloist of the Moscow State Academic Children's Musical Theater named after N.I. Sats. He has been performing as a member of the Danilov Monastery choir since 1995, and has conducted more than a hundred touring performances in Russia and abroad.

Choir singers

Alexey Zamlely. Tenor.

He graduated from the Stavropol Regional School of Arts, the Rostov State Conservatory named after S.V. Rachmaninov and postgraduate studies in choral conducting. He was a singer and choirmaster of the Don Choir Chapel “Anastasia”, collaborated with the Rostov men’s choir “Svetilen”. Served as regent at the Church of St. Demetrius of Rostov, led the professional mixed choir named after St. Demetrius of Rostov.

Alexander Pronin. Tenor.

He was educated at the Russian Academy of Music. Gnesins. He worked in the Moscow Chamber Choir under the direction of V.N. Minin, and at the same time was a soloist of the Moscow Philharmonic. He has been singing in the choir of the Danilov Monastery since the early 2000s.

Igor Krasnoshchekov. Tenor.

Graduated from the Rostov State Conservatory named after S.V. Rachmaninov, viola class. As a violist, he collaborated with the Radio and Television Orchestra, the large symphony orchestra conducted by V. I. Fedoseev and the Symphony Orchestra of Cinematography. He worked as a singer in the choir named after A. A. Yurlov, as well as in the synthesis choir under G. Shaidulova.

Alexander Kandzyuba. Bass.

Born in Donetsk. Graduate of the Ural State Conservatory named after M. P. Mussorgsky. He worked at the Kemerovo State Institute of Culture as a teacher in the department of choral conducting, and at the same time was the regent of the Cathedral of St. Nicholas the Wonderworker in Kemerovo. Organized the 1st festival of church choirs of the Urals and Siberia “Meeting”.

Andrey Ukraintsev. Bass.

Born in Chelyabinsk, where he graduated from a music school and an art institute, he worked as a regent at the Chelyabinsk Cathedral.

He enjoys fishing, picking mushrooms, canning and winemaking, and also knits.

Evgeny Ilyinsky. Bass.

He received his education at the Russian Academy of Music. Gnesins, worked in the chamber choir of the USSR Ministry of Culture. V. Polyansky, in the ensemble "Peresvet". Laureate of the international competition in Los Angeles as part of the “Choral Academy” p/u. A. Sedogo. In the choir of the Danilov Monastery since 1997.

Alexander Bezdenezhnykh. Baritone.

Serves in the choir of the Danilov Monastery for more than 20 years, assistant artistic director both in the choir and beyond. He graduated from the church singing department of the Moscow City Teachers' Seminary, worked with the “Orthodox Singers” choir under G. Smirnov.

Kirill Kislyakov. Baritone.

Born in Bulgaria, Varna. Graduated from the Academy of Choral Art named after V. S. Popov. He collaborated with the World of Art charity foundation under V. M. Teterin in various regions of Russia, and studied music with orphans and the disabled. Organizes concerts.

Alexander Konev. Baritone.

Born in the Komi Republic. Graduate of the Russian Academy of Sciences named after. Gnesins. Regent, organizes concert activities of the Danilov Monastery choir.

Sergey Gerasimov. Bass.

Born in the Urals, he loved folk music since childhood, playing the harmonica and accordion. He studied vocal singing with Professor Helena Bagislavovna Sodovskaya. Singing member of the Danilov Monastery choir since 1998. Successfully combines medical practice as a psychiatrist-narcologist with singing in a church choir.

Ivan Pimenov. Tenor.

Born in Moscow. In 2005 he graduated from the Moscow Orthodox Theological Seminary. Worked in the Architectural Bureau. He speaks Greek, thanks to which he collaborates with the Alexandria Metochion, the Greek Cultural Center, Moscow State University, and the Ministry of Foreign Affairs. She has been singing in the monastery choir since 2006.

He is interested in sports, likes cycling and skiing.

Alexey Yurchenko. Baritone.

Born in Kamchatka. In 2000 he graduated from the Kamchatka Regional Music School and entered the Astrakhan State Conservatory in the class of choral conducting. Since 2004, he served as regent of the Skimen men's choir at the St. John the Baptist Monastery. In 2007 he created the boys’ choir “Resurrection”. From 2009 to 2011 - artistic director of the men's choir at the Astrakhan Philharmonic. She has been singing in the monastery since 2013.

Born and lives in Moscow. He received his musical education first at the Moscow Boys' Chapel, then at the Moscow School at the Moscow Conservatory as a choral conductor. After college, he entered GITIS to study at the musical theater actor department. He worked as a soloist at the Moscow State Academic Children's Musical Theater named after. N. I. Sats. Served as a singer in choirs under the direction of V.K. Polyansky, A. Sedov, V.N. Minin. He was a soloist of the ensembles GSVG (group of Soviet troops in Germany) and “Don Kazaken” (Germany). He has been singing in the choir of the Danilov Monastery since 2010.

Nikolai prefers classical music, jazz and Soviet films.

Peter Fomin. Tenor.

Born in Moscow. In 1988 he graduated from the Moscow Energy Institute. From 1983 to 1989 he sang in the Youth and Students Choir under the direction of B. G. Tevlin, from 1991 to 1993 - in the choir of the Novospassky Monastery. He served in the “Old Russian Chant” choir, as well as in the courtyard of the Pskov-Pechersky Monastery in Moscow (Sretensky Monastery). From 1989 to 1991, and then from 1999 - work in the choir of the Danilov Monastery.

Alexander Kadin. Bass.

Born in the city of Osh, Kyrgyz Autonomous Soviet Socialist Republic. In 1982 he moved to Abkhazia, graduated from school in the city of Tudauta and the music school in the city of Sukhumi. Since 1998, he worked in the choir of the New Athos Monastery and in the Abkhaz choir chapel. Since 2007 he has lived in Moscow. She has been singing at the Danilov Monastery since 2010.

Alexander is married and has 6 children.

Alexander Garkusha. Baritone.

He received holy baptism in the South Kazakh city of Turkestan, where many exiled Greeks lived, thanks to whom a strong church community was formed. He acquired the skills of singing in church from his grandmother, who served God in the choir. After graduating from school, he entered the music school in the piano department. From 1973 to 1975 he served in the special forces. In 1983 he graduated from the conducting and choral department of the Alma-Ata State Conservatory, after which he was accepted into the percussion group of the State Symphony Orchestra. Since 1986, he has been working as an instrumental artist in the Kazakh touring and concert association “Kazakhconcert”. Later he worked as an accompanist and piano teacher in children's music schools in the Moscow region. Since 1990, he has served as a singer in the Novodevichy Monastery, after which in 1993 he was accepted into the position of a singing fraternal choir, and then the festive choir of the Danilov Monastery, where he serves to the present day.

Alexander is very interested in Russian sports, loves football and MMA competitions.

Mixed choir is formed as a result of combining a children's or women's choir with a male one; in a mixed choir there are two groups of voices: the upper group is female or children’s voices, the lower group is male voices.
A typical four-voice mixed choir consists of sopranos, altos, tenors and basses. An example of such a composition is the chorus from Act I of Glinka’s opera “Ruslan and Lyudmila” - “To the Bright Prince, Health and Glory”:

A. Incomplete composition of the mixed choir
A mixed choir may not include all of the named parts, but only some of them. For example, a choir may have altos, tenors and basses; or sopranos, altos and tenors; any combination of one of the choral parts of the upper group can be combined with one of the parts of the lower group (sopranos + tenors, altos + basses, altos + tenors, etc.). Such compositions form an incomplete mixed choir.

B. Doubling voices in a mixed choir
Depending on the texture of the musical work, a mixed choir can sing in unison (rare cases) or in an octave, the so-called octave unison (common case); can also sing in two voices; in the latter case, the soprano part is usually doubled into an octave by the tenor part, and the alto part by the bass part. All one-voice and two-voice choral works can thus be performed by a mixed choir with octave doublings.
When a mixed choir performs a piece of music written in three voices, the most common method of doubling is octave doubling between the first sopranos and the first tenors, between the second sopranos and the second tenors, between the altos and basses.
An example of duplicating voices in unison and octave is the following excerpts from the opera “Prince Igor” by I. Borodin:

B. Possibilities of a mixed choir due to the division of voices

It was said above that a mixed choir is basically four-voice. However, the possibilities of a mixed choir far exceed this typical presentation. If in choral scores designed for a homogeneous composition, the division reaches four, five, six and even seven voices, then it is not difficult to imagine the possibility of dividing the parts of a mixed choir that has two homogeneous choirs.
Let's consider some combinations resulting from dividing the voices of a mixed choir, adopting the following conventions: voices are designated by letters (C - soprano, A - altos, T - tenors, B - basses); the numbers next to the letter indicate the part being performed - the first or second, etc. For example, C 1 denotes the first sopranos, C 2 the second sopranos, etc.

1. (C 1 + C 2) + A + T + B
2. C+(A 1 +A2)+T+B
3. C+A+(T 1 +T 2)+B
4. C+A+T+(B 1 +B 2)

1. (C 1 + C 2) + (A 1 + A 2) + T + B
2. (C 1 + C 2) + A + (T 1 + T 2) + B
3. (C 1 + C 2) + A + T + (B 1 + B 2)
4. C+(A 1 +A 2)+(T 1 +T 2)+B
5. C+(A 1 +A 2)+T+(B 1 +B 2)
6. C+A+(T 1 +T 2) + (B 1 +B 2)

1. (C 1 +C2)+(A 1 +A 2)+(T 1 +T 2)+B
2. C+(A 1 +A2)+(T 1 +T 2)+(B 1 +B 2)
3. (C 1 + C2) + A + (T 1 + T 2) + (B 1 + B 2)
4. (C 1 +C2)+(A 1 +A 2)+T+(B 1 +B 2)

(C 1 +C 2)+(A 1 +A 2)+(T 1 +T 2)+(B 1 +B 2)

Other combinations are also possible. There are often cases when a piece of music requires performance by two or even three choirs.
Thus, according to the number of voices for which the work being performed is designed, a mixed choir can be one-voice, two-voice, three-, four-, five-, six-, seven-, eight-voice, etc.

There are many polyphonic choirs in Russian musical literature. We recommend that the student analyze the choirs of Taneyev op. 27.

The type of choir is determined depending on which parts make it up. A choir consisting of female voices is called a homogeneous female choir. Similarly, a male choir is called a homogeneous male choir, and a choir consisting of boys and girls is called a children's choir. There is a tradition of performing works written for children's choirs by female members and vice versa. It is possible to determine what type of choir the author intends in this case, if he does not indicate specific types of voices, based on the figurative content of the work.

A choir consisting of male and female voices is called a mixed choir. A variation of it is a choir in which the parts of female voices are performed by boys; it is often called a boys’ choir. As a rule, all Orthodox spiritual hymns written before the beginning of the 20th century were intended to be performed by such a mixed choir.

The type of mixed choirs also includes incomplete mixed choirs. Incomplete mixed choirs are those choirs where any one of the parts is missing. Most often these are basses or tenors, less often – some of the female voices.

Each type of choir corresponds to certain types of choirs. The type of choir indicates the number of choral parts included in its composition; choirs can be one-voice, two-voice, three-voice, four-voice, etc.

Homogeneous choirs usually have two main parts (sopranos + altos or tenors + basses), therefore, the main type of homogeneous choir is two-voice. The mixed choir consists of four main parts, and its most characteristic type is four-voice.

Reducing and increasing the number of actually sounding parts by duplicating or, conversely, dividing can give new types of choir. For example: homogeneous one-voice choir, homogeneous four-voice choir, mixed eight-voice choir, mixed one-voice choir, etc.

Duplications and divisions can be either permanent or temporary. A choral score with an unstable change in the number of voices will have the form called episodic one-, two-, three-, eight-voice, with the obligatory indication of a stable number of voices (for example, a homogeneous two-voice female choir with episodic three-voice). With temporary divisions, sometimes designated by the Italian word divisi, the new voices that arise usually have a subordinate meaning.

In addition to simple choirs, there are also multi-choir compositions, when several choirs, having independent choral parts, simultaneously participate in the performance of works. Such multichoric scores are especially common in opera music. In Orthodox musical practice there is also a tradition of composing so-called antiphonal works, in which two choirs sing, as if answering each other. Such compositions are called accordingly: double, triple, etc.

2. Range and tessitura features of the work

After determining the type and type of choir, it is necessary to find out the range and tessitura features of the choral parts. First of all, the overall range of the choral score is determined. To do this, it is necessary to “measure” the distance between the extreme lower and upper sounds found in a given score. For clarity, you can mark them on the staff as follows:

The concept of range is closely related to the concept of tessitura, the most used part of the range in a given work. To evaluate the tessitura, it is necessary to carefully study the use of register capabilities of voices in all parts, throughout the entire composition. Tessitura, depending on the range and register characteristics of a particular part, can be medium, high or low. For example, the registers of a soprano part would look like this.

Example 20

Similarly, taking into account the characteristics of vocal ranges, registers will be distributed in other choral parts.

A tessitura can be called comfortable if the pitch of the choral part corresponds to the free sound of the voice. If, during the performance, the voice sounds for a long time in an uncomfortable register, tensely, the tessitura is considered uncomfortable. It is difficult to sing for a long time in the upper register. In the low register, the technical and dynamic capabilities of the voice are significantly limited. In most cases, significant parts of choral parts are placed in the middle, most convenient for singing, tessitura.

However, the above does not mean that the use of extreme cases is undesirable and incorrect. Very often, it is in this way that the composer achieves the necessary timbre highlighting of a particular part, creating a certain color.

The concept of the type of choir as a specific composition and as a specific composition of choral music. Types of choirs. Characteristics of their vocal, technical and performing capabilities. Examples.

Types of choir. Determining the type of choir and choral score. Definition of the concept of “choral part”. Complete choral parts with appropriate solo singing voices. The quantitative composition of choirs and related performing capabilities. Examples of choral compositions of various types.

Various options for the location of the choir.

Terminology on the topic:

Homogeneous choir– a choir consisting of voices of the same type (male, female or children).

Children's choir- homogeneous. There are junior, middle and senior choirs, generally ranging from 6 to 15 years old.

Incomplete choir– a mixed choir in which there is no part.

Mixed choir– a choir consisting of 4 parts: Soprano, Alto, Tenor and Bass.

The consignment- part of the choir singing with the same voices.

Divisions(divisi) is a musical term meaning in a choir score the division of one part into two or more.

7. Build in the choir.

Definition of the concept of “musical structure”. The historical aspect of the emergence and modification of various musical systems called musical systems.

Chorus structure is one of the main elements of choral sonority.

Explanation of the concept of “zone system”. Confirmation of the main conclusions of P.G. Chesnokov in the scientific research and works of Academician N.A. Garbuzov about the zone nature of the vocal system.

Melodic (horizontal) and harmonic (vertical) structure. Melodic structure as the achievement of unison in the sound of a choral part through awareness of modal tendencies and the laws of zone intonation of steps and intervals. Harmonic structure and its relationship with melodic structure. Intonation of chords. Development of auditory abilities in singers. The active nature of vocal hearing and its relationship with muscle sensations. The relationship between breathing and tuning, vocals and tuning. The dependence of achieving harmony on the musical expressive means of the score, tempo, dynamics, etc. Difficulties in achieving harmony associated with working conditions and other external factors.

Terminology on the topic:

Choir structure– one of the main elements of choral sonority, determining the intonation purity of singing.

Intonation– conscious reproduction of music. sound by voice or instrument. Accurate intonation relies on modal connections.

Fork- a device that is a source of sound that serves as a standard for pitch when tuning musical instruments and in singing. The reference tone frequency for the first octave is 440 Hz.

Ensemble in the choir.

The concept of an ensemble in its various meanings, including structural and organizational. The ensemble as one of the main elements of choral sonority. Psychological basis of the ensemble. The ensemble is private and general. Technological types of the ensemble: in terms of sound quality (vocal), in strength (dynamic), in time (rhythmic, tempo). Dependence of ensemble and structure. Vocal ensemble as a unity of vocal position, articulatory form and timbre. A dynamic ensemble includes: a natural and artificial ensemble, an ensemble in conditions of different textures, an ensemble of soloist and choir, an ensemble of choir and instrumental accompaniment. Rhythmic ensemble, its dependence on metrhythm, tempo, texture, etc. Tempo ensemble. The artistic ensemble, its influence on the technological ensemble.

Terminology on the topic:

Choir ensemble(ensemble - together) is one of the main components of choral sonority.

Dynamics in music– sound strength, volume and their changes.

Pace– the speed of alternation of metrical beats in music. Tempo is closely related to the character, style, genre, as well as the personality of the performer.

Meter- the order of alternation of strong and weak beats in music.

Metronome- a device for determining the tempo of a piece of music.

Rhythm– temporary organization of musical sounds and their combinations.

Syncope– discrepancy between metric and rhythmic stress.

Accompaniment– accompaniment by one or more instruments, as well as an orchestra for a solo part (singer, instrumentalist, choir).

Texture– warehouse, structure of musical fabric, the totality of its elements. And the elements of texture, what it consists of: melody, accompaniment, bass, middle voices and backing voices. The texture can be very diverse: homophonic, harmonic, polyphonic, etc.