Handling of

Instruments/Voice

The Lamb
For four-part choir
Unaccompanied
Narrow ranges for SAT
Major 9th range for B. Low Es at the
end of each verse provides special
depth and weight.
Difficult to sing due to unusual
tonalities and melodic intervals
Flow My Tears
Range of voice part is a ninth
Can be performed by one person or
by a small group
Accampanied by a lute, a plucked
string instrument

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Ohime, se tanto amate

For five soloists
Canto (compound perfect fifth)
Quinto (compound minor third)
Alto/High Tenor (compound major
third)
Tenor (compound minor third)
Bass (compound perfect fourth)
Highest notes for Canto, Alto and
Tenors are on the first syllable of
ohime in bars 6 and 9, showing word
painting as they are crying out at the
tops of their voices
Der Doppelganger
For one male voice and piano
Voice was written as voce
unspecified as to whether Bass,
Baritone or Tenor
Wide tessitura for the voice
(compound minor 6th)
Mainly sung in the lower registers to
reflect the dark text. High notes
show the more dramatic moments of
the piece (b. 40-42)

Piano part is mostly low, with bass

clefs for both hands (except b. 13-14
and 23-24)

Im Leavin You
Vocal remains mainly in the middle
range, but the overall range is a
compound minor 3rd
Mainly syllabic
Many slides and bends in the voice,
as well as half-spoken inflections
Wordless whoo vocalisations (b. 39,
41)
Harmonica punctuates texture with
characteristic chords (b. 43-50)
Rhythm guitar plays a shuffle rhythm
riff with stepwise notes above a
repeated lower note
Lead guitar opens the song with a
typical blues introductory feature
Piano comps chords throughout,
improvising around the basic
sequence
Bass guitar plays roots of chords to
shuffle rhythm
Drums play shuffle rhythm, with
accents on the backbeats.
Tupelo Honey
Vocal line influenced by soul/gospel
and celtic singing styles.
Mainly syllabic
Range of a compound perfect 4th with
high Bb (b. 37)
Higher notes occasionally sung
falsetto
Backing vocals used in dialogue with
lead vocals (verses 2, 3, 4 and coda
1)
Both guitars keep up dialogue with
the vocals, playing short florid
passages in a high register
Piano/Organ provides chordal
backing throughout. Occasional the
piano plays improvised fills

Drums play a straight rock beat

throughout with cymbals and tomtom fills at the ends of phrases
The bass plays a repetitive line with
improvised variations, where bars
one and three usually contain Bb
descending to A.
Flute plays a simple two-bar idea at
the beginning end of the track.
Very heavily improvised, hence the
busy, cluttered texture

Texture

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The Lamb
Variety of different textures:
Monophonic in b. 1, 3-4, and in
octaves at b. 11, 13-14.
Two-part harmony in b. 2, 5-6 and
then two-part doubled in octaves in
b. 12, 15-16.
Four part harmony b. 7-10, 17-20.
Soprano has the main melodic
interest, the others providing
harmonic support.
Could be described as homorhythmic
or chordal as all parts have similar
rhythms.
In the two-part the melodic interest
is shared between the two parts,
making them related contrapuntally.
Flow My Tears
Essentially a melody-withaccompaniment texture but the
individual movement in each parts
means it could be called
contrapuntal
Lute plays chords occasionally and
can play up to six notes at once (b.
16)
Imitation between the parts in bars
12 to 15.
Lute plays in 6ths with the soloist (b.
12)
Ohime, se tanto amate
Five parts often sing together with
passages for three-voice groupings
with antiphony
In canto, quinto and bass in bars 4651
In alto, tenor and bass in 57-61
Four part writing is not used
Often all voices share the same
rhythm (e.g. b. 1 Ohime between
the alto and tenor is the same
rhythm)

Der Doppelganger
Homophonic
Voice has the main melodic interest
The piano part is almost entirely
homorhythmic
Im Leavin You
Mostly homophonic in the verses as
strong chordal accompaniment acts
as a backing for the vocals
Dialogue between voice and lead
guitar
Stop time textures in the first three
bars of verses 2, 3, 5 and 6.
Tupelo Honey
Mainly homophonic, but the
accompaniment improvises fills in
dialogue with the vocals
Instrumental section is three-part
polyphony. When the saxophone
drops out, Morrison compensates by
increasing the rhythmic complexity
of the guitar lines to maintain
interest.
Textures become busier and louder
as the piece progresses. Instruments
drop out at Coda 1 though allowing
for the build-up during verse 4 for
the ending.

Structure

The Lamb
Based on a two-stanza poem, and
each stanza has been given the
same melodic material (despite
textural changes) so the overall
structure is strophic
Verse 1
Verse 2

Six choruses of 12-bar-blues, an

introduction and a coda, strophic
Introduction
Guitar break
Verse 1
Verse 2
Stop time at openi
Verse 3
Stop time at openi
Verse 4 (Guitar Solo)
Wordless vocals an
harmonica
Verse 5
Stop time at openi
Verse 6
Stop time at openi
Coda
Fades out

Tupelo Honey
Flow My Tears
Strophic verse/chorus form.
Tripartite structure, with irregular
Contrast is difficult to achieve due to
internal phrase structures.
similar chord sequences, but is made
Section A
Stanzas 1-2
Section B
Stanzas 3-4
through changes in texture,
Section C
Stanza 5 (repeated)
instrumentation and melodic
material.
Ohime, se tanto amate
Introduction
Flute solo
Through-composed, but it could be
Verse 1
Chorus
suggested that it has 3 sections
Verse 2
Varied melody of
Section 1
Bars 1-19
Chorus
Section 2
Bars 20-38
Instrumental
3-part texture
Section 3
Bars 39-67
Verse 3
Same as verse 2
Chorus
Der Doppelganger
Coda 1 Middle 8
Based on a three-stanza poem,
Verse 4
Same as verse 1
where each stanza had four lines
Chorus
Through-composed as each stanza
Coda 2 Chorus
has different music
Coda
Flute solo return
Music is unified by piano playing an
ostinato
Stanza 1
Stanza 2
Stanza 3

Im Leavin You

Tonality

The Lamb
Both verses open in G Major, but it is
tonally ambiguous as this melody is
harmonised in E Minor at the end of
each verse
Second bar of both verses is bitonal
as the soprano is G major but the
alto (playing the inversion) is in E flat
major
Bars three and four of both verses
contrast G Major and Eb Major
Bars five and six are the same but
the alto is playing the inversion so
when the Soprano is in G Major the
alto is in Eb Major and vice versa
The last four bars of each verse are
in E minor Aeolian
No key signature is used
Flow My Tears
The key is A Minor with some Aeolian
modal inflections
Perfect cadence (b. 7-8) with Tierce
de Picardie
Section B opens in the relative major
(C major)
Phrygian cadence (IVb-V) (b. 15-16)
Perfect cadence (b. 23-24) with
Tierce de Picardie
Ohime, se tanto amate
Non-functional tonality
Written in G Dorian but with Ebs (b.6)
and F#s (b.2)
False relations between quinto and
bass (b.49, 51) between canto and
bass (b. 50)
Perfect cadence in D Major (b.18-19)
with Tierce de Picardie

Der Doppelganger
Written in B minor to reflect sinister
text
No major-key passages
Chromatic ascending pattern in piano
(b.43-47)
Sudden, unexplained modulation to
D# minor (b. 47) and back again to B
minor (b.51)
Im Leavin You
G major throughout
Some modal inflections in the use of
blue notes in both voice and
instrumental parts
No modulations
Tupelo Honey
In Bb major throughout, with no
contrast of keys

Harmony

The Lamb
Harmonic intervals in the two-part
writing do not imply chords as they
are simply the result of playing the
melodys inversion at the same time
as the original melody
False relations (b. 2) between F in
alto and F# in soprano, and A in
soprano and Ab in alto
Chords from bar 7 onwards are built
on triads and seventh chords:
Em, Em7, Am9, F#dim/A, Bm7, Bm,
Em.
Modal harmony with the D in the B
minor chord not being a D#
Flow My Tears
Very typical of the early baroque
period
Most chords are in root position or
first inversion
Phrygian cadences (IVb V)
throughout the piece (b. 2
False relations between G in lute and
G# in voice (b. 5)
Perfect cadence with Tierce di
Picardie (b. 7-8)
4-3 suspension in the lute (b. 7 beat
2)
Dominant pedal (b. 17-18)

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Ohime, se tanto amate

Harmony mainly consists of root
position triads (between all parts b.
44-47) and first inversion triads
(between canto, quinto and bass b.
50-51)
Dissonance created often to give a
sorrowful effect (unprepared Ohime
b. 2 sung by the canto and quinto
parts does not fit the chord of G, and
they do not resolve by step)

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Der Doppelganger
Functional harmony
First chord is a bare 5th, giving an
ambiguous tonality major or minor?
Slow harmonic rhythm (one chord
per bar) shows stillness and
desolation
Internal dominant pedal in F# in the
piano (b. 1-40)
Dominant pedal chord V7c (b. 12-14)
False relation between the A and the
A# (b. 13)
Neapolitan chord (unexpected C
major chord) (b. 59)
Tonic pedal to close the piece gives a
strong sense of finality (b. 60-63)

Im Leavin You
Standard 12-bar-blues in G
Bars 3-6
G7
Bars 7-8
C9
Bars 9-10
G7
Bar 11
D7
Bar 12
C9
Bar 13
G7
Bar 14
Db-D9 (chromatic
approach to the dominant)
Use of dominant in the last bar forms
a perfect cadence (b. 14-15)
Chords are decorated by improvised
added 7ths and 9ths
Tupelo Honey
Diatonic harmony throughout
Limited range of chords used in two
sequences
Bb, Dm/A, Eb, Bb,
Bb, Dm/A, Eb, F,

Melody

The Lamb
Use of inversions of the melody (alto
of bar 2 is an exact inversion of the
soprano of bar 1)
Melody in bar 4 is retrograde of
melody in bar 3
Conjunct movements (no more than
a third) for soprano, alto and tenor.
Mainly syllabic with occasional
slurred quavers
Flow My Tears
Almost entirely syllabic except for
cadential ornamentation(b. 7, 23)
and the paired semiquavers in bar 1
Melody is mainly development of the
opening four-note motif (b. 9 is just
rhythmic development of the same
four notes, b.17 is an inversion of
these four notes, etc.).
Word painting because it descends to
show sadness (b. 1)
Word painting because Happie
(b.20) is the highest note
Ohime, se tanto amate
Each voice has mainly conjunct
movements
Many notes are repeated to help
project clearly (canto, quinto and
bass b. 5)
Descending thirds are used often (b.
1-4), an example of word painting
because it shows sadness
Occasional larger leaps between
phrases (tenor b. 25)

Der Doppelganger
Melodic interest is almost entirely in
the voice part
Piano echoes the voice (b. 13, 23)
Word painting in singing only an F#
(b.4-5) shows stillness
Triads outlined in the voice singing
melodic intervals of thirds, fourths
and fifths (b. 5-8)
Word painting in higher notes
reflecting pain (voice in b. 31)
Mainly syllabic
Im Leavin You
Consists of 1-bar phrases, most of
which begin on D and descend
Frequent blue notes (Bb, F) clash
with underlying diatonic harmonies
Complex guitar lines with use of the
Blues scale (Bb, F and Db)
Lots of dialogue between voice and
lead guitar parts (b. 10-14)
Lead guitar frequently uses slides
and bends (b. 9-10)
Frequent slides and pitch bends in
both voice and lead guitar
Tupelo Honey
Melodic line is ornate and
rhythmically complex
Many improvised variants on the
melodic shapes
Pentatonic shapes in Bb (Bb, C, D, F
and G)
Higher end of the male vocal range
used - highest voice note comes in at
bar 37

Rhythm and Metre

The Lamb
No time signature
Music is guided by the words
Fairly slow movement, giving a
smooth, gentle effect
Seven syllable lines (b. 3-6) contain
six quavers and a crotchet, helping
to meet the iambic metre of the
poetry.
Rhythmic augmentation of b. 9 in
b.10 and of b. 19 in b. 20.
Slower (b. 17-20) to give a very slow,
tranquil ending.
Flow My Tears
In simple 4/4 time (except b. 19
which is in 3/2 time)
Very inventive rhythms, with few
rhythmic repetitions
Use of tied notes (b. 1-2), dotted
notes (b. 1), rests (b. 11) and
syncopation (b. 6) give a varied vocal
line to accommodate the words
natural stresses
Longer rhythms to stretch out more
meaningful words (b. 1, flow)
Rhythmically the bass line
counterpoints the solo melody
Ohime, se tanto amate
Simple 4/4 time
Some passages are slower than
others, with minim chords (b. 20-30
is particularly slow) and some
passages are rapid with repeated
quavers (b. 5)
Creates a broad sense of diversity

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Der Doppelganger
Voice part closes matches the
rhythm of the textStrong syllables have long notes on
accented parts
Weaker syllables have shorter or
unaccented parts
In simple triple 3/4 time
Im Leavin You
Simple 4/4 time
Shuffle rhythms
Triplets (b. 1)
Semiquaver grouping ending with
scotch snap (vocal part of b. 21)
Snare drum plays the backbeats (2
and 4)
Syncopation in all parts
Cross-rhythms due to complex
rhythms caused by improvisation
(voice and rhythm guitar b. 33)
Tupelo Honey
Simple 4/4 time
Slow ballad tempo allows plenty of
space for soulful decoration and
improvisation
Vocal line is syncopated and contains
anticipations and retardations
Many phrases start on the second
semiquaver of a beat (b. 6)
Bass guitar uses repeated rhythmic
ideas, particularly in bars 2 and 4 of
the phrase
Rhythmic complexity of solos (b. 2136) with cross-rhythmic layering of
rhythms (b. 34-35 semiquavers in
electric guitar against triplets in
acoustic guitar)