Byrd: Kyrie

Question 1

Who composed the Mass for Five Voices?

Answer 1

William Byrd (1543-1623)

Byrd was a prominent English composer of the Renaissance period.

Question 2

What is the estimated date of composition for the Mass for Five Voices?

Answer 2

Between 1594 and 1595

The exact date of composition is unclear.

Question 3

In which mode are the Kyrie and Agnus Dei composed?

Answer 3

Aeolian mode transposed to C

Most modern editions notate this as C minor.

Question 4

What modern elements are imposed on Byrd’s music?

Answer 4

Time signatures, strict bar lines, and dynamics

These elements did not exist in the original compositions.

Question 5

What technique does Byrd use to provide unity in the mass?

Answer 5

Head motif technique

A melodic idea links the beginning of each section of the mass.

Question 6

How is the word setting characterized in Byrd’s music?

Answer 6

Sensitive to the rhythm of the text and mainly syllabic

Melismas typically occur on the penultimate syllable of a phrase.

Question 7

What vocal combination does Byrd exploit in the Agnus Dei?

Answer 7

SATTB

Byrd uses ever-changing combinations of these voices.

Question 8

What is the melodic shape of the head motif in the Kyrie?

Answer 8

Stepwise movement around a central note (G)

This motif is used as a point of imitation in the composition.

Question 9

Fill in the blank: The soprano in the Kyrie is answered by the first tenor on _______.

Answer 9

C

Question 10

What is anticipated by the dominant/tonic relationship of the parts in the Kyrie?

Answer 10

The process of fugal imitation

This reflects the compositional techniques of the Tudor period.

Question 11

What musical feature is elongated in the soprano, bass, and first tenor during the eleison?

Answer 11

A rising scalic melisma.

Question 12

What type of cadence is formed at the end of the contrapuntal lines?

Answer 12

A perfect cadence with tierce de Picardie.

Question 13

What motif is associated with ‘Christe eleison’?

Answer 13

A lower auxiliary followed by a descending scale.

Question 14

Who harmonizes the ‘Christe eleison’ motif in thirds?

Answer 14

The second tenor with support from the alto.

Question 15

What chord does the music move to on the second half of bar 13?

Answer 15

An F minor chord.

Question 16

What rhythmic pattern characterizes the final Kyrie motif?

Answer 16

A falling scalic motif in dotted rhythm.

Question 17

How is the Kyrie motif treated when it returns in the basses?

Answer 17

The last two pitches are treated in augmentation.

Question 18

What role does the second tenor play in the harmonic background?

Answer 18

Acts as an internal pedal.

Question 19

What type of cadence is reached at the end of the final section?

Answer 19

An imperfect cadence in C minor.

Question 20

What forms a double suspension on the third beat of bar 25?

Answer 20

The alto and first tenor.

Question 21

Fill in the blank: The suspensions are resolved with decorative _______.

Answer 21

lower auxiliary notes.

Question 22

First Kyrie

Answer 22

•based motif off stepwise movement
•rising Scalia melisma
•suspensions normally prepared in previous beat
•contrapuntal texture
•ends with perfect cadence and tierce de Picardie

Question 23

2nd Kyrie

Answer 23

•starts with 3rds. New motif
•descending scale and passing notes
•imitation, later transposed to F
•suspension from a descending sequence
•tierce de picardie in F(subdom)

Question 24

3rd Kyrie

Answer 24

•is a falling Scalic motif- dotted rhythm
•pedal in C, contrapuntal texture
•2 beat intervals. Augmentation
•static F minor
•motif from start returns with Bnatural then in C
•ends with suspension and lower auxiliary
•imperfect cadence