ABOUT
THE AUTHOR
Mark Hanson. 17 Years Old. Writing lyrics for 3 years. Over 500 songs lyrically written. Musician, solo and band. Two solo collections of writings. Vocalist and bassist. Enjoy my musings. [May 2007]
AUTHOR'S OTHER TITLES (5) A Life In The Day (Songs) Part of the 'AfterDark Café' series of writings by me. Full collection at http://drycellbodycrumbles.deviantart.com The story of two young lovers running away from leadership and convincing each other... [348 words] [Motivational] Media Coursework (Essays) Ignore please [3,091 words] [Writing Resource] Sky, Sea, Shade, Suspense (Songs) Inspired by this piece of art- http://angelreich.deviantart.com/art/Bloody-Tears-52986069 [287 words] [Nature] Welcome To The Afterdark Café (Songs) An introduction to the 'AfterDark Café' series of writings. [90 words] Your Blank Label (Songs) About the uprise in lust and the decline in human decency. You can have the worst personality but if you have a great body you'll be just fine. This song is anti-that. Inspired by a Young Enterprise c... [232 words] [Psychology]
Music, Ignore Please Mark E S Hanson
Music Questions
(a)- Comment on the variety of textures in O Wilhelme
The textures in O Wilhelme vary as the piece progresses. It starts off with the treble and mean parts singing together until bar 4 where the counter-tenors, tenors and basses take over using polyphony, almost a repetition of the treble and mean’s parts. We don’t see any change in texture until bar 14, when the piece takes on a homophonic feel up to bar 16 when the treble and mean parts stop again to let the male parts sing together back in the polyphonic style. The homophony returns at bar 33 in the treble and mean parts, and it is also homorhythmic, with chordal progressions. The two polyphonic and homophonic textures seem to alternate throughout the rest of the piece, really being the only two textures involved in the piece. The parts in O Wilhelme are split mostly between the higher and lower parts, and the treble part even splits off into two parts (a gymel), to add to the thickness of the texture.
(b)- To what extent does modal harmony play a part in the motets by Taverner and Tavener?
In John Taverner’s ‘O Wilhelme, pastor bone’, the harmony is essentially modal throughout, a prime example of this being shown in bar 15 when we see the harmony stressing the modality up to a modal cadence at 16, which is shown again at bars 19-20 also. The modality of O Wilhelme after those cadences isn’t really highlighted again, the modes staying the same till the end. In John Tavener’s ‘The Lamb’, the piece is atonal, allowing for a lot of modality to be used in the motet. The most notable example of this can be seen in bar 20, the last bar, where we see the Aeolian mode being used to go through E, F#, G, A, B, C, D and E, to end the piece, making the modal harmony an important part of the whole piece.
(c)-
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