Weelkes - Sing We at Pleasure

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Weelkes - Sing We at Pleasure

  • Heterophony - a melody is played by several instruments but each one is varied.
  • Elements of counterpoint - stretto.
  • Melodies one after  the other.
  • Individual clear parts.
  • Mainly polyphonic.
  • Homophonic ending - movements into new sections.
  • Layered SSATB - cantus (song) and quintus (5th part)
  • Thick
  • Imitation (stretto entries/canonic imitation)
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Structure.

  • Vocals overlap - like a round.
  • 2 verses - lots of repetition.
  • Fa la la's = Ballett - motet (short piece of music)
    • only happens in a ballett.
  • Binary form - 2 different sections - 2nd verse repeated more or less.
    • 2 sopranos swap parts in 2nd verse.
  • Canon/canonic imitation
    • almost like a round but going to seperate parts
      • doesnt finish the circle - STRETTO.
  • Ostinato - rhythm repeated exactly.
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Tonality.

  • Tonic/dominant notes are emphasised.
  • Use of chords I and V at cadences.
  • F#'s.
  • Passing modulations - C#'s - briefly moving to D major - dominant.
  • 1st/2nd inversions.
  • Diminished chords - bars 10 and 13
  • Passing notes
  • Suspensions - PREPARE | CLASH | RESOLVE
    • IV/III suspension at the end.
  • Hemiola = 2 bars of 3/4 divided into 3 bars of 3/2
    • Different emphasis - almost doubled the music.
    • Last couple of bars - emphasis on dash.
  • Cadences are almost always perfect.
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Melody

  • Stepwise and leaps.
  • "Content is our treasure"
    • Main melody of the whole peice
    • 1st soprano.
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Facts.

  • G major - F#'s - MIXOLYDIAN
  • Passing modulations to C and D.
    • New to time period (RENAISSANCE)
  • Stretto - bars 25-27
  • Cantus and Quintus.
  • Perfect cadences - except bars 33-34
  • Syncopation.
  • Dotted rhythms.
  • Madrigal - Ballett.
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Madrigal.

  • Musical setting of a poem,
  • Began in Italy in the 16th century.
  • Very popular in England.
  • Word painting.
    • "Dancing" - 2nd syllable on quaver, syncopation effect.
    • "ever sing" - soprano ascending scale to top G in imitation.
  • Usually unaccompanied
    • If it were to be accompanied, it would be by a lute or flute/recorder etc.
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Ballett.

  • Fa la la refrains.
  • Light, dance-like style.
  • Syllabic.
  • 3/4 tme signature - 'with gaiety'
  • Stretto - close imitation.
  • "dancing" - 2nd syllable on a quaver gives syncopated effect.
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Structure.

  • AA-B1-B2 - BINARY.
    • 2 soprano parts swap - melody changes to 2nd soprano.
    • more words in section B - 2 sets of rhyming couplets.
    • Fa la la's are shorter.
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Rhythm.

  • Syncopation
    • bar 7+9 - tenor.
    • bar 18+21 - alto.
  • Hemiola - bars 21 and 83.
  • Suspentions - bars 52+53, bars 7+8.
    • associated with syncopation and dance rhythms.
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