This article analyses different types of music texture found in these ensembles. Its goal is to establish the role and interaction between the different parts in the ensemble. It is a key to the correct interpretation of the composer’s intentions. A special step-preparation rehearsal scheme is offered for this process.
The following examples are used: P. Bulahov – “Troika”, F. Mendelssohn-Bartholdy – “Kommt, lasst uns anbeten und knien von dem Herrn” (Psalm 95), “Gruss”, “Herbstlied”, D. Schostakovich – “From the Jewish Folk Poetry”.