Stylistics

The Lamb
Alto part sings a direct inversion of the soprano part (b. 2)
Retrograde (b. 4 is retrograde of b. 3)
Rhythmic augmentation (b. 10 is b. 9 rhythmically augmented)
Lack of time signature music is guided by words
Bitonality (b. 2). Soprano sings in G Major while Alto sings in Eb Major
False relations between soprano and alto (b. 2 soprano sings F#, alto
sings F)
Use of E Aeolian mode (b. 10 has a B minor E minor perfect cadence)
Limited tessitura for the soprano, alto and tenor parts

Flow My Tears
Use of false relations between the lute and voice (b. 5)
Phrygian cadence (b. 2 in the lute)
Perfect cadence with a Tierce de Picardie (b. 7-8)
Word painting as highest note is sung at happie (b. 20)
Word painting as opening melody falls (b. 1)
Mainly syllabic, with more important syllables having longer rhythms
4-3 suspension (b.7 in the lute)

Ohime, se tanto amate

Bass tonic pedal (b. 1) which resolves to the dominant.

Unprepared dissonance (b. 2 Ohime in the canto and quinto parts does
not fit the chord of G and is not a prepared suspension)
Word painting as Ohime is sung with a descending third to show sadness
(b. 1 in the tenor and alto lines)
Use of mainly root position or first inversion chords
Use of false relations between canto, quinto and bass (b. 49-51)
Perfect cadence with Tierce de Picardie (b. 18-19)
Note clusters (b. 15 between the canto and the quinto)
Dominant pedal point (b. 61-67 in the bass)

Der Doppelganger

Word painting as the first notes are monotonous to reflect a still night (b. 5
- voice)
Internal dominant pedal held on for a long time (b. 1-40 in the bass piano)
Neapolitan chord (b. 59)
German augmented 6th chord (b. 41)

French augmented 6th chord (b. 33) (close! The actual bars are b. 3233)
Pictorial representation in Tierce di Picardie in final cadence leaving the
listener wondering
Bass pedal (b. 61-63) to give the piece a sense of finality (again, close!
The actual bars are 60-63)
Chromatic movement (b. 45-49 in the piano) (b. 43-47)
Sudden unexplained key change to D# minor (b. 50-53) (b. 47-50) and
back to B minor (b. 54) (b. 51)
Use of minor keys throughout to reflect the text
Use of bare 5ths to reflect emptiness (b. 1, 4)

Im Leavin You

Blues notes in the lead vocal (b. 4) and b. 3

12-bar-blues chord progression in G (b. 3-14)
Stop chorus (b. 15-17)
Use of slides in the voice and guitars (b. 10)
Shuffle rhythm used by the rhythm guitar
Wordless whoo vocalisations during instrumental (b. 39)
Harmonica punctuates texture with characteristic chords (b. 43-50)
Dialogue between the voice and the lead guitar (b. 10-14)
Melody based around pentatonic shapes
Cross-rhythms due to improvisation (b. 33)
Piano is comping

Tupelo Honey

Melody based around pentatonic shapes

Syncopation- phrases often begin on the second semiquaver of the bar (b.
6)
Three-part polyphony during the instrumental between the saxophone,
lead guitar, acoustic guitar and bass guitar.
Singing in the top part of the male vocal range
Limited use of chords limited to just Bb, Dm/A, Eb and F
Dialogue between the voice and the lead guitar
Cross-rhythms between lead guitar and bass guitar in the instrumental
section