The most soaring vocal melody is in Johann Sebastian Bachs Mass in B Minor. A portion of the score.

The most soaring vocal melody is in Johann Sebastian Bachs Mass in B Minor. A portion of the score for the Credo section, number 9, bars 25 to 33, appears in Figure P17.21. The repeating syllable O in the phrase resurrectionem mortuorum (the resurrection of the dead) is seamlessly passed from basses to tenors to altos to first sopranos, like a baton in a relay. Each voice carries the foreground melody up through a rising passage encompassing an octave or more. Together the voices carry it from D below middle C to A above a tenors high C. In concert pitch, these notes are now assigned

The most soaring vocal melody is in Johann Sebastian Bachs Mass in B Minor. A portion of the score for the Credo section, number 9, bars 25 to 33, appears in Figure P17.21. The repeating syllable O in the phrase resurrectionem mortuorum (the resurrection of the dead) is seamlessly passed from basses to tenors to altos to first sopranos, like a baton in a relay. Each voice carries the foreground melody up through a rising passage encompassing an octave or more. Together the voices carry it from D below middle C to A above a tenors high C. In concert pitch, these notes are now assigned frequencies of 146.8 Hz and 880.0 Hz. (a) Find the wavelengths of the initial and final notes. (b) Assume the chorus sings the melody with a uniform sound level of 75.0 dB. Find the pressure amplitudes of the initial and final notes. (c) Find the displacement amplitudes of the initial and final notes. (d) What If? In Bachs time, before the invention of the tuning fork, frequencies were assigned to notes as a matter of immediate local convenience. Assume the rising melody was sung starting from 134.3 Hz and ending at 804.9 Hz. How would the answers to parts (a) through (c) change?

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