Sing We At Pleasure Bar Numbers

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  • Created by: Hayley
  • Created on: 25-04-14 22:05
What bars in Weelkes' 'Sing We At Pleasure' show rhythmic interest?
Bar 20-21 in all parts- hemiola, Bar 7 (& 12) in the alto- syncopation (which also adds harmonic interest as it also has suspensions), Bar 62-64- all parts are homorhythmic.
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What bars in Weelkes' 'Sing We At Pleasure' show harmonic interest?
Bar 7 in alto- suspensions from G to F#, Bar 10 in alto- an unprepared tritone, Bar 33-34 in all parts- one of the few imperfect cadences in G major
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What bars in Weelkes' 'Sing We At Pleasure' show tonal interest?
Bar 25-26 in cantus soprano part- both F# and natural are used showing the pieces mixolydian modal key system, Bar 2-3 in bass- emphasised tonic and dominant notes in melodic phrases, Bar 84-85 in all parts- a perfect cadence, G to D (one of the few)
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What bars in Weelkes' 'Sing We At Pleasure' show melodic interest?
Bar 13 in quintus soprano & alto- Upwards movement balanced by downwards movement in the other part, Bar 46 in the bass- A falling octave which is one of the biggest leap, Bar 22 in all parts- word setting is syllabic throughout
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What bars in Weelkes' 'Sing We At Pleasure' show textural interest?
Bar 34-43 in both soprano parts- The longest canonic imitational passage, Bar 34-43 in both soprano parts- Ostinato with the same phrase alternating between the parts four times, Bar 32 in all parts- Homophonic in the middle of the 2nd verse.
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What bars in Weelkes' 'Sing We At Pleasure' show instrumentational interest?
Bar 56-60 in both soprano parts- These parts swap roles here, Bar 1- part ranges: soprano=F# to G (9th), alto=middle C to C (8ve), tenor=D to G (11th), bass=G to D (12th), Bar 42 in bass- The D is used here os the bass can imitate the tenor part
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What bars in Weelkes' 'Sing We At Pleasure' show structural interest?
Bar 8-22 in all parts- The 1st fa-la refrain repeats 2 more times as does the 1st verse, Bar 22-43 in all parts- This section uses 2 rhyming couplets instead of 1, Bar 43-53 in all parts- the 2nd fa-la refrain which is shorter than the 1st one.
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What bars in Weelkes' 'Sing We At Pleasure' show stylistic interest?
Bar 8-22 in all parts- The fa-la refrain was typical of the ballett, Bar 10 in the alto- The unprepared tritone was associated with devil worship, Bar 1- 8 in all parts- Having no accompaniment just vocals, shows it to be a madrigal as well
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Other cards in this set

Card 2

Front

What bars in Weelkes' 'Sing We At Pleasure' show harmonic interest?

Back

Bar 7 in alto- suspensions from G to F#, Bar 10 in alto- an unprepared tritone, Bar 33-34 in all parts- one of the few imperfect cadences in G major

Card 3

Front

What bars in Weelkes' 'Sing We At Pleasure' show tonal interest?

Back

Preview of the front of card 3

Card 4

Front

What bars in Weelkes' 'Sing We At Pleasure' show melodic interest?

Back

Preview of the front of card 4

Card 5

Front

What bars in Weelkes' 'Sing We At Pleasure' show textural interest?

Back

Preview of the front of card 5
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