Ohimé, se tanto amate by Claudio Monteverdi - Complete AS Music Summary

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  • Created on: 10-05-13 14:15
Preview of Ohimé, se tanto amate by Claudio Monteverdi - Complete AS Music Summary

First 387 words of the document:

Piece:
Ohime
se
tanto
amate
Composer:
Claudio
Monteverdi
Melody
Point
Bar
number
Syllabic
Melisma
Voice:
conjunct
movement
Voice:
repeated
notes
Near
the
end
Voice:
small
leaps
(descending
3rds)
`ohimé'
bar
1
Section
1:
Ohime
is
usually
sung
twice
in
succession
with
2
descending
3rds
in
sequence
The
second
step
is
lower
than
the
first/octave
displacement
in
canto
and
quinto
(as
in
Bars
6-7)
Bars
6-7
The
idea
of
ohime
is
built
on
in
section
Section
3
Where
it
is
frequently
used
Prolonged
+
rapid
descending
sequences
as
the
word
ohime
is
repeated
again
and
again
Leaps
of
4th
+
5th
When
6ths
outlines
perfect
cadences
Occasional
larger
leaps
`doloroso'
`e
doloroso'
Normally
between
phrases
e.g.
the
minor
7th
in
`doloroso'
and
`e
doloroso'
Use
of
repeated
notes
fits
with
the
passionate
second
prattica
Harmony
Point
Bar
number
Root-position
triads
Section
3
havrete,
havrete
First
inversion
triads
Section
3
False
relations
Section
3
Dissonant
notes
used
with
freedom
­
different
of
late
16th
century
music
Non-chord
note
always
preceded
by
step
(suspensions
downwards
+
passing
notes
upwards
and
downwards)
to
resolve
a
chord
note
Dissonant
notes
offensive
to
some
traditionalist
critics
e.g.
Giovanni
Free
handling
of
dissonance
was

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Tonality
Point
Bar
number
Functional
tonality
meaning:
Emphasis
on
chords
I
and
V
Diatonic
scales
-
major
and
minor
`
Dorian
mode
of
G
The
composer
blurred
the
mode
by
altering
E
nats
to
E
flats
and
F
nats
to
F
sharps
False
relations
Section
3
Music
sometimes
cadences
away
from
End
of
section
1
(the
D)
G
Start
of
section
3
(B
flat)
Rhythm
Point
Bar
number
Slow
moving
passages
with
minims
with
Section
2(
minim
chords)
few
notes
shorter
than
a
crotchet
Opening…read more

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Part
numbers:
part
wrting
is
little
used
because
it
is
not
differentiated
sharply
enough
from
5
part/3
part
writing
Part
relatioships:
Voice
often
share
the
First
hearing
of
`se
tanto
amate'
same
rhythm
e.g.
chordal
texture
Part
relationships:
Parts
sometimes
have
different
rhythms
simultaneously
- employing
freer
homophonic
style
- occasionally
in
counterpoint
- With
little
imitation
e.g.…read more

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Instrumentation
Point
Bar
number
Canto
Italian
for
`song'
Soprano
range
Middle
C
to
G
A
12th
above
Quinto:
Bars
10-14
Italian
for
5th
part
More
2nd
soprano
than
alto/contralto
Crosses
canto
in
bars
10-14
­
when
previous
idea
was
sung
by
canto
Range
of
D
to
F
A
10th
above
Alto:
High
tenor
F
sharp
below
Middle
C
to
A
A
10th
above
Tenor:
Baritone
rather
than
tenor
Occasionally
crosses
above
alto
D
believe
mid
C
to
F
A
10th
above
Bass:
Low
F
to…read more

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