Gabrieli - In Ecclesiis

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Texture

BAROQUE

  • 6-part homophony
  • Organ continuo
  • Imitation
  • 2 canons - one between chorus alto and tenor and one between soloists

RENAISSANCE

  • Monody - solo part and organ
  • Polyphonic texture
  • Contrapuntal 6-part instrumental and continuo accompaniment, alongside alto and tenor duet
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Structure

BAROQUE

  • Similar to baroque cantata - succession of short movements (A, B, C, B, Sinfonia, D, B, E, B, F, B with extension - rondo form)
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Harmony

BAROQUE

  • Augmented chord with secondary 7th
  • Rising circle of 5ths
  • Tertiary progressions involving unrelated chords
  • Unprepared 7ths
  • Dominant pedal - adds tension

RENAISSANCE

  • Suspensions - adds tension
  • Consonant 4ths - adds tension
  • Passing notes - adds tension
  • False relations
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Melody

BAROQUE

  • Florid ornamentation
  • More elaborate writing for solo voice
  • Repetition of phrases

RENAISSANCE

  • Similar to 16th century polyphony and plainsong
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Rhythm and Metre

BAROQUE

  • Syncopation

RENAISSANCE

  • Declamatory style - prolonged virtuoso melisma and irregular pulse at times
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Performing Forces

RENAISSANCE

  • Male voices perform 'soli' parts
  • Latin lyrics - accented syllables on strong beats
  • A motet - performed in church/cathedral, originating at St. Mark's Cathedral in Venice
  • 'Stile Concertato' - interaction of more than one group of instruments or voices. 
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