Gabrieli In Ecclesiis

Question 1

Bar number for 6-5 suspension

Answer 1

bb-13-14

Question 2

Where is there a dotted section?

Answer 2

Bar 32, beat 3, to bar 34

Question 3

Where is there a 3-4-3 suspension?

Answer 3

bb33.3-34 - typical madrigalistic feature

Question 4

Which modulation occurs around bb13-14?

Answer 4

cyclical modulation in thirds

Question 5

Where is there a sudden B major chord, and which chord is it approached by?

Answer 5

At bar 41, approached by a minor 7th chord, note the D natural in the tenor part on the next beat.

Question 6

Describe harmony at bars 43-44

Answer 6

Touches of G minor b43, discarded with an F major chord at bar 44 - ‘shock’ harmony

Question 7

Bar numbers for strong perfect cadences

Answer 7

41-2 // 45-6

Question 8

Describe the bar numbers of three unrelated keys

Answer 8

D - 48 (beats 1 and 2) // G - bar 48 (beat 3) // F# - bar 49 (beats 1 and 2)

Question 9

What happens to the instrumental figuration at bars 57-62?

Answer 9

the instrumental figuration increases in complexity, and parts wind themselves round the voices in thirds

Question 10

How is the grandeur of the Alleluia refrain augmented in bars 63-7?

Answer 10

An extra soloist is added

Question 11

During the counter tenor and baritone duet (bb68-95), at which bar does the metre change to triple time, and why is this significant?

Answer 11

The sudden change to triple time at bar 85 could reflect ‘vivificanos’ or ‘give us life’.

Question 12

When are the parts tutti and homophonic

Answer 12

bb102-114

Question 13

What’s significant about the word ‘aeturnum’ between bars 102-114?

Answer 13

The use of canon melismas to word paint in a typical madrigalistic style