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)

Singing in the top part of the male vocal range Limited use of chords – limited to just Bb. 47-50) and back to B minor (b. 43-50) Dialogue between the voice and the lead guitar (b. 45-49 in the piano) (b. 61-63) to give the piece a sense of finality (again. 33) (close! The actual bars are b. close! The actual bars are 60-63) Chromatic movement (b. 43-47) Sudden unexplained key change to D# minor (b. 10-14) Melody based around pentatonic shapes Cross-rhythms due to improvisation (b. 4) and b. lead guitar. 6) Three-part polyphony during the instrumental between the saxophone. 1. 39) Harmonica punctuates texture with characteristic chords (b. 32-33) Pictorial representation in Tierce di Picardie in final cadence leaving the listener wondering Bass pedal (b. 50-53) (b. 3 12-bar-blues chord progression in G (b. Eb and F Dialogue between the voice and the lead guitar Cross-rhythms between lead guitar and bass guitar in the instrumental section . 54) (b. 10) Shuffle rhythm used by the rhythm guitar Wordless “whoo” vocalisations during instrumental (b. 15-17) Use of slides in the voice and guitars (b. Dm/A.        German augmented 6th chord (b. 4) I’m Leavin’ You            Blues notes in the lead vocal (b. 3-14) Stop chorus (b. acoustic guitar and bass guitar. 41) French augmented 6th chord (b.phrases often begin on the second semiquaver of the bar (b. 51) Use of minor keys throughout to reflect the text Use of bare 5ths to reflect emptiness (b. 33) Piano is comping Tupelo Honey        Melody based around pentatonic shapes Syncopation.