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Sing we at pleasure - Thomas Weelkes

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by

Jay Jay

on 27 January 2014

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Transcript of Sing we at pleasure - Thomas Weelkes


Harmony
He uses Diminished chords in the last beat of bar 10,13 and 16
Weelkes uses root position triads at “ sing we at pleasure “ section.
He also uses unaccented passing notes in the descending scalic passages in the “Whilst we his praises sound” section.
He uses Suspensions (bar7, bar52 and bar83) ,4-3 suspension in the final cadence
Most of the cadences are perfect except one in “All shepherds in a Ring” in G major which is imperfect.
Tonality
This piece has a few hints that it is in G major in the first few bars. The final cadence is in G major.
This piece is based on the G Mixolydian mode, a natural diatonic scale from G-G containing a minor 7th
There are a few emphasizes on the tonic and dominant chords of G major. The bass part outlines the chords I and V in bars 2 and 3.
Chords I and V are prominent at the cadences at the end.
Structure
The structure is in binary form
Part A is from bars 1-22
Part B is from bars 22 beat 2 – 85 (22 beat 2 - 53 + 53 beat 3 - 85)
Falalala refrain is used like a chorus that is repeated in this piece
Comparing soprano parts from bars 23-53 and 53-85 shows that the music has been repeated but it has also been changed from one to another. You can also notice that the repeated music is three bars longer than the first to allow for the extended cadence.

Melody
Melody spans a 9th in upper parts
Frequent conjunct movement though some use of wider leaps eg use of octaves in bar 2
5ths in bar 6
6ths in bar 6
The homophonic texture ensures that most melodic notes are harmonic
notes, which are notes which concur or harmonise with the underlying
harmony.
The rhythmic motif Z is a constant feature of the work and cleverly represents the title of the work in rhythmic form.In fact in the A section the dotted bar of the motif is present in every bar
apart from bars 3 to 22. The first development of the dotted part of the motif is in
the Soprano and Bass at bar 4 beat 3- bar 5, where the motif has an anacrusis (a note on the up-­beat) added and an échappée.
Sing we at pleasure - Thomas Weelkes
Texture
Weelkes has used a varied texture for a dramatic effect.
The most prominent textural feature in this piece is in the soprano parts 1 and 2 which is canonic (bars 1-8 and 9-15) I.e., both parts are identical but spaced apart. This musical element is essential for the music piece as it enhances the work’s emotional impact.
There are brief canonic imitation between the Bass and Tenor (bar 1-8)

The piece is predominantly in homophonic texture with contrapuntal aspects or mixed texture.
It can also be described as a mixed texture, that is simultaneously contrapuntal and homophonic.
Thank you for your appreciation!
Full transcript