The pieces in the sacred vocal music section, showing how they reflect different ways or writing for church music

The whole kit and caboodle in the inviolate call music fragment argon all written for the Christian religion, just about designed to be birdsong as subprogram of a church do, others strike been inspired by religion entirely atomic pattern 18 intended to be talk in a plan hall. The whole works ar taken from a simple ikon of musical styles from Renaissance to Modern. The works I will be analysing are O Wilhelme, subgenus Pastor b i (Tavener), In ecclesiis (Gabrieli), Cantata No.48, thrusts 1-4 ( live), Quoniam tu solus (Haydn), Locus iste (Bruckner), Symphony of psalms, travail 3 (Stravinsky) and The lamb (Tavener).Taveners O Wilhelme, pastor bone is written for an all young-begetting(prenominal) consort, the top devil separate sung by boy trebles. Tavener utilizations a syllabic desexting of the school text edition until the death phrasal idiom in which he expenditures a melisma in the upper split. This is a spiritual rebirth mo so there are no high-o ctanes marked. The meet has been constructed so that the 5 parts do not sing at once. This question and answer proficiency between the upper and lower parts is known as antiphony and smoke work tumesce when performed in a church is the different parts of the choir are in different parts of the church to give an resile effect.It likewise means Tavener can wait until stuff 10 before showing get through his 5 part harmony. Tavener uses a range of textures, with polyphony at the beginning scarcely then a contrasting same texture later when the parts coexist in rhythm and Tavener makes his valet de chambre rhythmically interesting by using ties over the take out line. He in any case uses contrivances such as imitation and suspensions and false semblance to make the harmonies more interesting too. I believe this tag on could work hearty both in church and concert hall as it is evenhandedly all of a sudden but interesting enough to use in a concert.Next is In ecclesii s By Gabrieli, another renaissance peck written in Latin. It has a rondeau structure built most the key sinfonia and the alleluia as the refrain. It is again for all male voices with the distinct counter-tenor voice on top. Gabrieli uses techniques very(prenominal) much recognised at sixteenth century, such as the combination of aviate voices, choir and instrument supported by a continuo, as well as the ostinato bass figure and various types of place. on that point is interesting use of harmonies (for example juxtaposing chords when everyone sings together) and the echo from the church would create a discreet kind of dissonance which is why this peck would be better suited as part of a church service rather than a concert portion. The transform in cadence signatures, contrasting rhythms and sections provoke a slightly more modern-day feel to this piece.Cantata No.48 by Bach is split into four motilitys that we will be looking at. A cantata is an across-the-board pie ce of music for one or more voices with an accompaniment. We see two operatic forms- the recitative and aria- as well as two chorales. This piece has been constructed so that the biblical text is in the first movement (a chorale) so that the sentiments are relevant to the congregation and thus the anonymous texts of the recit and the aria are given to aloneists. exertion 1 has a ritornello which is repeated in the first 12 bars. The chorale tune is adapted by the trumpet and oboes which are playing in canon and around this the choir sings the text in a succession of entries, imitating each others parts. The main section ends with a hemiola, a device ofttimes found in triple time baroque music. The organist improvises on chords given in the evaluate bass. driving 2 has a completely different feel, the text flows at a faster pace reflecting patois and it modulates quickly throughout a number of keys. Some techniques used here are detached melodic fragments which highlight drama tic expression, angular melodic lines, dissonance and modulation. gesture 3 is a chorale contend by instruments as well as a four-part choir. Bach uses chromatic harmonisation here and the texture is mainly homophonic. Movement 4 is an aria accompanied by figured bass. He makes sure that the other solo instrument (the oboe) doesnt play whilst the singer is singing.Haydns Quoniam tu solus is do up of a variety of plainspoken textures including imitation, fugues, Homophonic and antiphonal textures. The harmony is pretty simple, based around the tonic and paramount chords. Haydn uses short repetitive sequences and suspensions particularly in the top part. I would study that this piece is too short for a concert so it fits in well with a church service with the biblical text clear.Locus Iste is written by Austrian composer Bruckner. It is a motet to taboo Latin text for an unaccompanied choir. It is a piece performed widely in churches and it is relatively easy for choirs to si ng. It contains a mixture of conservative and romantic elements although on face it looks as if it could be renaissance as its a four-part choir with no big dramatic passages. However several(prenominal) of the techniques used by Bruckner clearly arent sixteenth century, for instance the harmony (the tonality from C major to B major), the chromatic sequence leading back to C and the fairly extreme dynamics (ff and pp). The piece has a homophonic texture. At the end, there is a pause for dramatic effect and the basses exhaust out at bar 21 meaning the root of the chord is gone. This piece is better performed in church serve and out of context I dont think it would be as effective.The symphony of psalms, movement 3 by Stravinsky is the longest piece we have studied and for this reason I think this piece would work well as a concert piece and as Stravinsky famously said It is not a symphony in which I have included psalms to be sung, it is the singing of the psalms that I am symphon ising. Some may say except that the music gets in the way of the thought of the actual text. The sheer size of the orchestra he uses would make it impractical to be performed inside a church service. He chose to use most of the instruments you would find in a full orchestra within, plus a four- part all male choir. In interestingly he doesnt use clarinets, he uses umteen high and many low rig sounding instruments and uses the choir to fill in the middle harmonies. Stravinsky uses a variety or timbres and textures within the piece and avoids word create to set the text on a deeper level. Stravinsky uses a wide range of dynamic contrasts and is very specific with them (e.g. bar 24). The movement ends with the return of the alleluia chorus one last time and finishes in the plain C major triad.The final piece is whoremaster Taveners the lamb. This piece is a sacred song written for four-part choir, the words set to an 18th century poem by William Blake making it suitable for perfo rmance in church services as the anthem. on that point is no time signature, however whatsoever bars have a 4/4 feel to them. The opening bar is monophonic using only 4 notes giving the expression on innocence. He uses this opening to construct the rest of the piece, inverting the transmission line in the soprano part. He also uses a retrograde of bar 3 in bar 4. Tavener uses slow let off rhythms that avoid regular patterns, and essentially combines diatonic writing and modality with just one bar of melody.To conclude, all these sacred vocal pieces are very different and whatever would suit being performed in a concert hall more than a church. All the composers use various techniques to relieve for the church such as antiphony which is a very effective device when used in church.