Madrigal - Secular work for a group of solo voices, in this case unaccompanied
Setting of a text by poet Guarini
Published 1603
New style, as opposed to the older Renaissance style
The word is regarded as the master of music
Absence of performance directions
Seconda Prattica
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Rhythm and Metre
Attempted to reproduce inflations of speech
Considerable variety in rhythmic patterns
Occuring pattern for 'Ohime'
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Melody and Word Setting
Mainly syllabic for clarity (Bar 42 = First Melismas)
Use of tritone interval (diminished 5th, bar 4 beat 2)
and 7ths
Chromaticism and sequence
Sigh-like falling 3rd of 'Ohime'
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Harmony
Unprepared dissonance (bar 2 beat 2)
False relations
Tierce de Picardie
Tonic and Dominant pedals
IIIb-I final cadence
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Tonality
Based on Gminor ('Modal' key signature with only one flat)
Has sections in Dminor and Bflat major
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Structure
Through-composed, each section of the text being treated differently
Falling 'Ohime' is an unifying element as it recurs frequently
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Texture and Performing Forces
Five unaccompanied voices, Canto/Quinto/Alto/Tenor/Bass
Various textures: Paired Alto and Tenor in dialogue with paired Canto and Quinto over sustained Bass (bar 47) Homohpony for 3 voices in various groupings (bar 20) Homophony for 5 voices (bar 62) Some limited imitation Free counterpoint
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