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General Concepts

Clarity of Pitch
Shape of line
o Through tops of phrases
o Tucked in ends of phrases
o Like chant
Lean through suspensions
Independence of sections
Text declamation/stress
Kyrie 1
Add F# Tenor Bar 7
Likely

Problems
M1 Alto- D to F( La Mi Sol La)
M2 Soprano-Vocalism D-G (round)
M4 Tenor- Vocalism Ascending C-Eb (u)
M4 Soprano- Descending 5 (La-Re-Fa)
M8 Tenor-Vocalism Ascending line through A
o E natural (C Do,)

Music
Longer Phrase-Three points of tension (Three pulls on rope, three pushes over
hill)
o Ascend through Bb
o Lean through suspension
o Lean on Eb, deemphasize end
Shorter Phrase- emphasize le
Builds to end of section
Elide ky-ri-elie
Renaissance hiccup

Christe
Likely

Music

problems
M13 A-Bb (Mi do re mi)
M14 S-starting C (leaning tone to Bb)
M17 S-Starting High F (u no k)
M17 S&B-E (F Do)
M18 A- A to D (mi la do)

Descending Gesture
o Humility under the weight of Christs sacrifice
Goes to Lei
Grows in the F Major Section
o Comes back last 4 bars

Kyrie 2
Likely

Problems
M22 T-Starting G (u)
M26 T A (not Ab)
M27 Bass A (not Ab)
M27 A-G to g (no weight0
M29 T-A head voice (u)
M28-29 Tonality switch (C do)

Music
Paired Imitation
Suspensions
Two music ideas
o Dotted Rhythm, slight bounce in beginning
o Both lean through suspension come off at end
Antiphonal beginning to POI
Gloria
1-15
Likely

Problems
M1-8 Dotted half quarter rhythmic feeling (count sing)
M4 S Vocalism A to D
M11 A-G Eb C D (La Fa Re Mi
o M 12 B-G Eb C G (La Fa Re La) Fix together
M15 B Ab
M 15 All C major

Music
M1-7 Paired imitaiton
o Rhythmic, Light
M7-12 Antiphonal
o Text Stress
o Deemphasize last notes
M12-15
o POI
Rhythmic

16-29
Likely

Problems
M16-17 Tuning (build chord, root 5th, u)
M21 A-Octave drop
M20 T-G (u)
M22 A-D g G (no weight bottom g)
M23 S-D to B (descending mi 3rd)
M25 A Bb to G (desc mi 3)
Second half of long POI (Solfege, no weight descending 4th)

Music
Two pieces of Text
o Propter
mp
Starts with duet
Long breathed phrases
o Domine
Two POI
Long and short
Both go to De
Long has primary arrival at le and again before end of
phrase
Busy
o Phrases need to ebb and flow
30-38
Likely

Problems
M29 S-F (just sang F#)
M30 A-E and Eb (mi fi sol re me fa mi)
M34 A- sol la do (not triad)
M37 T- Descending scale, not landing heavily on Bb

Music

Major feeling
Brighter, uplifted
More bounce
Ascending triad pater

38-50
Likely

Problems
M38 tonality (F do)
M42 tonality (g la)
M39-41 A- POI differs, more difficult (solfege F do)
Connecting from genite to jesu

M39 S-D to A sing through


M43 T-Eb prepare ahead of time (dont bring up weight)
Renaissance Hiccup
M45 T-Descending line, dont land on low D
M46 B-Starting D (close)
M48 A-F (just had F#)

Music
Long POI framed with a shorter version
Starts F resting tone
o Moves back to g
POI repeating Jesu Christe
o Emphasizing the name of Jesus
51-62
Likely

Music

Problems
Descending 5th sits low in voice (sing through)
M55 B-c g d
M61 T- ascending line (round)
Patris (matching vowel)
Trio (ATB)
o Representative of the Trinity
Leaning notes on both Deus and Dei
Very near imitation
2 POI, each goes through all voices

63-77
Likely

Problems
Ascending 5, falling m3 (tuning 3)
M62 Sop-C to F Vocalism
M65 Alto-rhythmic
M64 B-Extended phrase
M70 Sop-Vocalism moving through break
M72 Alto-a d f (ti mi sol)
Ss on nobis

Music
Second Trio (SAB)
Qui Tolis POI
o Joyful upward leaps of a 4th
o differing lengths and endings of POI
Alto Playful, melisma
o Light, Bouyant moving notes
Miserere POI

74-88
Likely

o
o
o

Descending followed by ascending


Feels major
Rhythmic interplay

Problems
M74 T-f g d Vocalism and descending
M75 Sop-d g (mi la)
M75 B-extended phrase
M78 Sop-c g (beginning of POI work all voices)
o All Voices similar POI, moves through passagi
M84 T-Range
M88 Bass-bb-eb
M88 tenor melisma

Music
Third Trio (Trinity)
o STB
Bass augmented POI
1st POI Jagged
2nd POI moving 2nd half
Both POI move through voices with significant variation
Largely Major feeling
88-101
Likely Problems
M89 C major
M89 Qui Se, Ascending through break (close)
M90 Sop c F Vocalism
M92 Sop C F Bb, descending 5th , vocalism
M92 T S, patris
M93 T F C eb (descending 5th)
M95 Alto F D F (descending m3)
M95 Alto s of bis
M95 Sop F Bb Eb
M97 Tenor Range
M99 Tenor Rhythm
M100 Alto Range
M101 Bass Rhythm
Music
Qui Sed
o Alto Lead Followed by STB
o Jagged
o 4ths and 5ths
Misere POI
o Ascending stepwise followed by jagged

o Moves to Paired imitation


Quoniam
o Largely stepwise
o Smoother
101-112
Likely Problems
Continually moving through passagio
o Stepwise (preparing)
Ascending raised tone, descending flatted
Busy
o Needs thinning
M111-112 Tonality
o Shifting F to D
Music
Text painting
o Sweeping phrases through tu solus altisimus
Phrase repeats
Largely stepwise
Moves to F center
Moving in and out of paired imitation
Short Jesu Christe
o Emphasizes modifier
113-128 (end)
Likely

Problems
M114 Bass Bb Eb Bb
M117 Sop F C Bb
M121 Sop Melisma
M122 Alto-Change of Tonality to D
M123 Cross Relation Sop Alto
M124 Cross Relation Alto Tenor
Amen Descending Scales
o Matching Vowel

Music
Paired imitation
Moves to POI
o For repeat of in Gloria
3 times
o Descending triads
Moves through several tonalities
Briefly extended amen
o Returns to G