Weelkes - Sing We at Pleasure 0.0 / 5 ? MusicWeelkesASEdexcel Created by: Rebecca GallacherCreated on: 04-05-14 12:15 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) 1 of 9 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. 2 of 9 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. 3 of 9 Melody Stepwise and leaps. "Content is our treasure" Main melody of the whole peice 1st soprano. 4 of 9 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. 5 of 9 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. 6 of 9 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. 7 of 9 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. 8 of 9 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. 9 of 9
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