Summary CCEA GCE A2 Music Sacred vocal

Sacred Vocal
Mass for b- voices , Agnus Dei
Byrd :
Kyrie and

Mozart :
Requiem Mass , Introit and Kyrie ( orchestral score )
Faure : Requiem Mass , Libebra Me ( orchestral score )

Chilcott : A little Jazz Mass , Kyrie and Agnus Dei (mixed voice version)

,Byrd : Mass for b- voices , Kyrie
Agnus Dei
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between 1594 1595 Renaissance
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intended for Catholic lith orgy
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modes with added music a fi Cta ( accidentals)
E.g Aeolian mode
transposed to C
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Time signatures ,
strict bar lines
Dynamics b. I -2
use of head motif technique Kyrie
Agnus Dei b. I -2
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linksbeginningof each section
of the mass to provide unity
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Word setting is sensitive
of the text
rhythm
mainly syllabic with me / ismas

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exploits timbre
of the voices at his disposal
combinations
IS ATT B) in ever-changing

,Kyrie
C. minor

second last syllable ofelesion
"
"
Head motif lei
→
rising scallicmelisma
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stepwise movement
around central note (G) -


soprano b. 3-4
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imitation -


Soprano -

bass b. 6- 8
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Tenor 114 -

Tenor 16-7-81
Tenor 2141
↓
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At -10141
Bass (C)
Homophonically
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Dominant / Tonic _



perfect cadence
Tenor 1- + Bass
in [ 4-3 suspension
entries altered Major +
* consonances
prepared as
Tiercedepicarde previous beat
on


( 0:40 ) Harmonic feature of
Renaissance
Christie elesioh Imitation
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new motif
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loweranxilary →
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descending scale
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harmonised in 3rd
'
_



soprano b. 9
Tenor 1 b. 11
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Tenor 2 -

Bass / Transposed to F) b. 13
-
additional support
Alto
4-3 suspension of b. 12
descending sequence
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perfect cadence _ -

reaches [ minor ( 2nd inversion
in F
Tierce de Picardie

, " " "
Final Kyrie Transposed -10C minor
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falling scallicmotif -
natural appears more minor
→ than
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dotted rhythm b- 22-1 b. ↳ modal

Introduced by →
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Tenor 2- internal pedal G
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Bass -


Double suspension 4-3
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Sopranos , 2 beat intervals
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Tenor 't by Alto -1 Tenor 1
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Alto ↓
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Bass return in Augmentation Imperfect Cadence
in Cminor
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Tenor 2- ( internal pedal -


parallelisms
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loweravxilarynote

,2021

,Agnus Dei
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3 parts → 4 → Full choir
" "
Miserere nobis repeated
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-
return otcyclicheadmotit

First Agnus Dei Consists otatrio
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Miserenobis ( 0:41
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reuses head motif -


descending
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voices enter fugally scailicidea
treated fugally
fourth note
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different entries
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Minot 3rd rather than semitone cadence Soprano
-
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Bbb .io
É%
"
"
qnitollispeccatamnndi -

Tenor 1- Ebb.it
Alto Bbb
ascending sequence
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-
-
.
"

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false relation lA4tAb) ↓
triad impression of
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augmented interrupted cadence
↓ incminor
Perfect cadence in Gminor Second Miserere
-3-4suspension
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lower auxiliary note
perfect cadence
in Eb major b. 18

, Miserere ✗ 3
second
,A9hUSDei( 0:52) 1 .

_
parallel 3rd
' / 1:09 )
Quartet for _


soprano -11-11-10
soprauoialtoienor 2. Bass 2 .

immediately takenupby
→
-



begins b
soprano -1 bass b. 26
Homophonically in [ 3. _


rising -1 falling
- modulates -10 Bb scallicmotit
+ -
Close imitation
contrapuntal ttltoonc
→ emerge
Bassonc
once Homophonically
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# Soprano
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Tenor one ↓ -




Agnus Dei All b- voices
( )
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1:40
perfect cadence
striking chordal texture
Tierce de Picardie
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Strong Harmonic progressions int
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Plagal cadence b. 34
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Tonic / Dominant/ Tonicinfbmajor b. 35
Dona nobis Pacem
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Imperfect ( Phrygian ) cadence b. 36.37
motif
incminor rising
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Chief melodic motif
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dotted rhythm
→
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imitatively
through all voices
by step towards sustained Bb
"
rises Dei -




then descends again -




long melisma
Tenor 2h34 Dona nobis motif
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connote Kollur
Pickvponquaverfigure
Basses b. 39-1 Alto b. 31 at 2- beat intervals
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repeated in forms Ptérfectcadenceincminor
( minor ↓ tierce de Picardo
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Perfect cadence in # major motif begins one → perfect Cadence

,2018

,2022

,Mozart :
Requiem Mass lk.GG/Introit- Kyrie

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1791
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Requiem strings
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SATB chorus organ continuo
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Joseph Eybler totinishthework -


SATB soloist,
Zbassethorns

Franztxaversiissmayer -

orchestra consisting of Zbassoons
2.trumpets
3. trombones

timpani