Gratias Agimus Tibi: Vivaldi 0.0 / 5 ? MusicMusicASAQA Created by: KatherineCreated on: 30-04-14 10:43 Context within work 4th movement of Gloria. Laudamus te ends in G major and this movement continues straight on in E minor. Smooth transistion. It's a slow introduction followed by a fast fugal movement. 1 of 8 Text and Text Setting "We give thanks to because of your great glory." Even though its joyful, its set in a minor key. It's a syllabic setting except for the word "gloriam" 2 of 8 Melody and Rhythm Slow introduction: Adagio section Uses repeated minims and two crotchet rhythms. The soprano line uses a chromatic C# and conjuct movement. Allegro: starts with 4 repeated crotchets and an ascending 4th followed by a fast quaver movement. this tune is used as a fugual subject. This subject is manipulated throughout the movement. for ex: the altos have a rising 5th. There is a counter subject against main tune in alto. Soprano line at end uses a small sequence and more chromatic movement. Towards end, vocal parts become more chromatic. 3 of 8 Tonality and Harmony Slow intro: Eminor Bar 1: First chord: C major in 1st inversion (chord VIb). Uses A7 in bar 3. Chromatic chord: surprising, uses Vd7. Allegro: E minor but doesn't modulate to dominant as we would expect of a fugue. Starts on chord I. Next chords, alternating between chords I and V. Moves through A in bar 12. Then through D major (bar 13), then B minor (bar 15). After these keys, goes back to E minor. Last chord of movement is a Tierce de Picardie. 4 of 8 Texture Adagio: homophonic. Overall texture of Allegro is imitative and fugal. Soprano starts with subject which is then heard by the altos, the tenors, then bass. Once all parts come in, the texture becomes more contrapuntally dense. For ex: tenors and basses sing subject in parallel 3rds. in the final fugal entry, Vivaldi uses stretto, creating excitement - entries closer together. 5 of 8 Writing for instruments and relationship between v Strings double vocal parts. 6 of 8 Structure Slow introduction and mock fugal exposition. He manipulates the material, in a through composed manner (no repeating sections). 7 of 8 Compositional Devices Imitation Stretto 8 of 8
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