Some purpose was behind every classic Celtic song: laments, lullabies, or work songs. "Sprung" rhythms are completely at will of the musician because they are written differently than they are performed. The rhythm is often compound, but some compositions are classified as non-mensural music without time signatures - most in the lament category. A "double tonic" is sometimes created in Celtic tonal music because the piece will advertise two chords equally and may cadence on a note contrary to the perceived home note. Typical modes are pentatonic modes, hexatonic modes, and heptatonic modes. Strophic form is common, which uses repeated verses or adds a refrain. T he harmony has a heterophonic texture having a group of musicians sing or play the same melody, but each will vary it in some manner. Wide intervals are another characteristic of both the melody and the harmony of Celtic music. The second inversion of chords is used so often that it is almost interchangaeble with the root position. The fourths and fifths are pronounced in chordal texture. The melody in Celtic music frequently uses parallel octaves it is also subject to variations or improvisations.
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