Gabrieli - In Ecclesiis

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

BAROQUE

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

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

BAROQUE

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

RENAISSANCE

• Similar to 16th century polyphony and plainsong

BAROQUE

• Syncopation

RENAISSANCE

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

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.