a) 

Royal Estampie No 4 vs Carman's Whistle

The Royal Estampie No 4 is an Estampie by anonymous in the late 13th

century. The Carman's Whistle was written by William Byrd in the

beginning of 1591 for keyboard and lute. The royal Estampie No. 4 is a

13th century collection of trouvere and troubadour songs and dances

called Chansonnier du Roy/Songbook of the King. There are 8 estampies

in the collection. The Carman’s Whistle is a keyboard music with a

theme and 8 variations from the Fitzwilliam Virginal Book. It is based

on a popular 16th century melody about men who took care of their

horses and carts that transported goods. There is extensive fingering

provided by Byrd. The Royal Estampie No. 4 suggests Dorian mode.

Form in 7 sections with 2 phrases each, transcribe ¾ time at moderate

tempo.

The music has syncopation in the first bar. Phrases start with the same

melody and end with an open or closed ending. There is monophonic

texture with a drone and improvised percussion accompaniment. Melody

has skips and small leaps of a 4th, moving in a 6th range. Haut and bas

instruments alternate; haut instruments include shawm and pipe; bas

instruments include vielle and recorder; percussion instruments include

tambourine and nakers. 

It is in Ionian mode, compound duple time which is transcribed into 12/4

time. Theme is in an imitative 2 part texture; imitation continues with

added choral accompaniment. Accompaniment has repeated 16th notes

in the English style. Variation 2 has syncopation in the bass. Variation 7

has 8th note left hand accompaniment. Variation 8 has the thickest

texture creating a full harpsichord sound with imitation between the

hands and the chords. 

b) Machaut vs Haydn

Machaut's music includes motets, masses, and chansons. Haydn’s music

included concertos, string quartets, symphonies, piano trios, and piano

sonatas. Machaut is known as the leading French Ars Nova composer.

He is the first known composer of a complete polyphonic setting of the

mass ordinary, Messe de Nostre Dame. Haydn is considered to be the

“father” of the modern string quartet - wrote 68 string quartets and he let

each instrument play the theme. An example is Quinten and Emperor

String Quartet. He wrote concertos for violin, cello, harpsichord and

French horn, an example being Piano Concerto in D major. Machaut

composed both monophonic and polyphonic music. He wrote 3- and 4-

part polyphonic vocal music. Haydn’s instrumental music featured short

angular melodies. He used monothematic sonata form in his piano

sonatas. Machaut used a wide variety of intervals including 3rds and

6ths. Haydn used slow introductions which started in another key other

than the tonic. Duple and triple meters alternate throughout Machauts

music. Haydn increased the size of the classical orchestra to 40 players

for his symphonies. Machaut used isorhythm, hocket, and syncopation in

the duplum and triplum voices. Haydn’s music had sudden mood

changes which demonstrates the sturm und drang style. Haydn used folk

songs and dances in his works. Machaut used the poem forms rondeau,

ballad, and virelai for songs. Haydn used unusual musical effects in his

symphonies such as sudden loud accents, found in Surprise Symphony,

and ostinatos, found in Clock Symphony. Machaut wrote monophonic

chanson’s in trouvere style with his own poetry. Haydn featured

clarinets, brass, and percussion instruments in his symphonies. He had

equal sharing of themes amongst each instrument in his string quartets

Complete each of the blanks (if applicable)

a) _____ is a _____ composer of  _____
             Title of work & date                                  Genre                                     composer
b) _____________ is composed in the ____________ and is an example of the
            Name of work                                                                era
_____________ 
            Style
c) _____________ is in ______________, _________, marked ____________
            Name of work                                  form                            key                                         tempo

d) This work is composed for ___________________

                                                                            performing forces
For vocal works:
Libretto (or poem) is by _______________ in _________________
                                                               Librettist/poet                                 language

f) background information (if applicable)

Musical features:
1.

2.

3.

4.

5.

Bach (1685 – 1750) is a baroque composer who was a master of counterpoint. Beethoven (1770
– 1827) is a classical composer who composed symphonies, piano sonatas, and chamber music.
Bach is important because he wrote 3-to-5-part fugue throughout his career, and example
being the Well-Tempered Clavier and Art of Fugue. Beethoven is important for writing longer
and dramatic symphonies, his string quartets show romantic style, and wrote piano sonatas
that chronicled the evolution of style. He also added programmatic elements to his piano
sonata and symphonies, an example being Pastoral Symphony and Les Adieux Piano sonatas.

Bach’s musical style included German Lutheran chorale style writing in his cantatas and German
counterpoint. Beethoven musical style consists of themes growing out of short, distinctive
motives. Hi piano sonatas feature lower ranges and double glissandos. Bach used French
overtures, rhythms and ornaments. Beethoven used explosive accents and extreme dynamic
contrasts. Bach used Italian lyrical opera arias, ritornello form and Italian concerto string writing
style and was inspired by Lutheran faith; dedicated all his works “to the Glory of God”.
Beethoven had fugal techniques and fugues in piano sonatas (ex. Piano Sonata Op. 106, and
Piano Sonata Op. 110) and used cyclical structure (Les Adieux Piano Sonata and Symphony No.
5). Bach also wrote virtuoso organ and keyboard music mainly for himself.

Bach wrote keyboard music such as The Art of Fugue, Italian Concerto, and Goldberg Variations.
He wrote over 200 Lutheran cantatas such as cantata No. 80 and Heart and Mouth and Deed
and Life. Bach also wrote choral music such as Mass in B minor, 20 secular sonatas, and Coffee
cantata. He wrote chamber music such as The Musical Offering and Organ music such as
Toccata and Fugue in D minor.

Beethoven wrote 9 symphonies including No. 9, “Choral”. He wrote some overtures including
Leonore No. 1 to 3 and Egmont. Beethoven wrote 5 piano concertos such as Piano Concerto No.
5 “Emperor”. He wrote 32 piano sonatas such as Moonlight/Sonata quasi fantasia Op. 27, No. 1
and Pathetique sonata Op. 13. He wrote an opera, Fidelio, a Mass, Missa Solemnis, and a
Oratorio, The Mount of Olives. Beethoven also wrote a song cycle, An Die Ferne Geliebte/To
the Distant Beloved.

Morro Lasso, Ce Fut en Mai

Morro Lasso (1611) is a Italian Madrigal by Gesualdo. Ce Fut en Mai (mid 13 th century) is a
Trouvere son/chanson by D’Arras. Morro Lasso is composed in the Renaissance period. Ce Fu
ten Mai was composed in the Medieval period. Morro Lasso means “I am dying from my grief”
and comes from Gesualdo’s Sixth Book or Madrigals/Il Sesto Libro di Madrigali. It is a 6-line
poem, written by Gesualdo. Ce Fu ten Mai means “In early May” which is about the narrator’s
sadness about his lost love when he sees a knight courting a lady in a castle garden who wishes
him well.
Morro Lasso consist of 5 cappella voices. Ce Fu ten Mai consists of a solo singer and is in 6/8
time interpreted at Allegretto tempo. Strophic song with 5 verses, in AABB form. Morro Lasso
homorhythmic opening melody moves down the chromatic scale to describe grief. Ce Fu ten
Mai is monophonic with syllabic text setting. Rhyme scheme is AAB AAB CCB CCB. Morro Lasso
has a chordal passage with every note of the chromatic scale is heard in the first 4 bars. Ce Fu
ten Mai has a happy folk like melody that doesn’t fit the sad poem. Morro Lasso opening
melody repeats with the words “Morro Lasso”. Ce Fut en Mai melody moves by step in a range
of a 9th. Morro Lasso imitative passage on “Vita” has fast notes, sequences and melisma’s. Ce
Fut em Mai has improvised accompaniment of bas instruments (ex. Dulcimer and vielle). Morro
Lasso diatonic Harmonies on “e chi mi puo dar vita” (She gives me life).