Vocal Music - Bach, Williams Flashcards
Includes "Ein Feste Burg", "The Magic Flute" & "On Wenlock Edge" + WL
What is the context of “Ein Feste Berg”?
- Church cantata
- Leipzig
- SATB choir, soloists + strings
- For church services
M1 - Melody
Telleman - Ein Feste Berg
- Cantus firmus - based on lutheran hymn
- conjunct soprano theme
cantus firmus between tenor + sop
M1 - Harmony
Stravinsky - Symphony of Psalms Mvt.2
- diatonic functional chords
- rare imperfect cadence
Bitonal, but with clashing dissonance
M1 - Tonality
Ein Feste Berg
- DMaj to AMaj
- ends in D
M1 - Rhythm
Ein Feste Berg
- simple quad time
- occasional dotted rhythms
Luis de Victoria - Ave Maria
- Very contrapuntal writing
M1 - Sonority
Hallelujah Chorus from The Messiah - Handel
SATB choir + tutti orchestra
SATB w/small orchestra
M2 - Melody
Komm Lass Mich
- Melismatic scalic bass w/angular lines
Melismas in alto
M2 - Harmony
Ein Feste Berg
- Scalic semiquavers
- chromatic bass
M2 - Tonality
Ein Feste Berg
Dom mod to subdom
dom mod.
M2 - Rhythm
Ein Feste Berg
Predominant semiquaver bass is moto perpetuo at 1
Common time with decorative dotted rhythms at 66
M3 - Texture
Melody dominated homophony at 1
M2 - Sonority
Barbara Strozzi - L’amante Bugiardo
Sop + bass duet w/string accomp + oboe solo
Turn - Filled Sop
M3 - Melody
Ein Feste Berg
Conjunct and diatonic with small leaps
Repeated two bar phrases from 1
M3 - Harmony
Vivaldi - Gloria
Diatonic functional chords
Functional Harmony
M3 - Tonality
Ein Feste Berg
Dominant modulation at 2
Subdominant movement to reach relative min at 9
M3 - Rhythm
Ein Feste Berg
Common time with anacrusis
Cadential pauses with pass notes between crotchets
M3 - Texture
Ein Feste Berg
Chordal throughout
Homophonic throughout
M3 - Sonority
SATB choir with orchestral accomp
What is the context of “On Wenlock Edge”?
- Song Cycle
- London
- Piano, strings + tenor voice
- For text setting of poems
OWE - Melody
OWE - Harmony
Eb descent to Ab min
Db/D natural false relation
OWE - Tonality
Stravinsky ROS
GMinor
Bitonality brings blurriness
Bitonality blurs tonality
OWE Rhythm
Beginning triplets and sextuplets
OWE - Texture
Unison trills at 7 before triple pizz at 8
OWE - Sonority
Syllabic writing with vibrato on tenor singing sus notes
Tremolo strings at 1 before sul ponticello at 57
IMTP - Melody
Recitative style followed by cello countermelody from 5
Larger leaps at 14 then intro idea ascends from 55
IMTP - Harmony
D min to G maj chords throughout
Blocked repeated triplet chords at 9
IMTP - Tonality
- Clun
Dorian in modal character
Modal Writing
IMTP - Rhythm
On Wenlock Edge
Meter and tempo changes are common throughout
Long free notes from 5 then sep to quintuplets at 45
IMTP - Texture
On Wenlock Edge
Homorhythmic at 1 before chordal homophony from 5
Fortissimo angry tutti at 50
IMTP - Sonority
On Wenlock Edge
Sung from a distance at 5
Tremolo strings at 37 before muted strings at 55
Bredon Hill - Melody
Ravel - String Quartet Mvt.2
Happy diatonic melody at 24 before flat 7 F at 29
Adds Colour through melody
Bredon Hill - Harmony
On Wenlock Edge
blocked chords throughout
Second inversion 7ths at 29 with elevenths from 52
Bredon Hill - Tonality
Schoenberg - Erwartung Op.17
Untransposed Mixolydian feel
Fellow expressionist w/a-tonality
Bredon Hill - Rhythm
On Wenlock Edge
Tied bell like semibreves
Anacrusis fits iambic meter at 24 then triplets at 52
Bredon Hill - Texture
Jonathan Dove - No.5 Am Rous Sighs
- Melody dominated homophony
MDH
Bredon Hill - Sonority
On Wenlock Edge
Double stopping from 1 with chiming piano bells at 52
Pizz/arco combo from 100 with open harmonics at 114
Schoenberg String Quartet No.2
Antithesis
- Uses Chamber Ensemble
Schoenberg - Erwartung Op.17
Expressionist + A-tonal
