This is the Record of John- Orlando Gibbon
Texture Timbre Harmony Melody
-Structure of Verse anthem -Scored for SAATB -Ab Major tonic -Prefiguration of solo line in
allows for contrasts of choir, -Primary triads are main harmonic base elaborated with instrumental parts
monophonic and countertenor/alto passing notes and suspensions -two repeated quavers “When the
homophonic (intermixed soloist, boy - Modulates to Eb major for “Who art thou” via sequence Jews” act as a unifying motif
with polyphony and trebles usually act _Tonic dominant polarity shows move away from modes -Ascending sequence “From Jerusalem”
imitation) as sops towards baroque diatonic system modulates to Eb major for “who art
-Prefiguration of solo line in -Instrumental acc. - “And he confessed” moves to tonic hint of subdominant due thou”
instrumental parts Played by organ or to addition of Gb - “And he confessed” conjunct
-Instrumental parts double viols, doubles -Perfect cadence ends chorus section 1 with customary 4/3 movement that moves to tonic
vocal. vocal parts suspension -Mainly syllabic (except “am”) showing
-First line imitatively -Dominant prevalent in second solo, modulation to dominant importance of text (John ch1)
presented by viols after “Who art thou then” - *New motif of repeated pitches “And
-Homophonic entry of chorus -b. 35 suspension resolved and decorated with auxiliary note said plainly” followed by rising 3rd or
which repeats last soloist bemoaning motif 4th
phrase “And he confessed - “Art thou the prophet” modulation to subdominant -Further pre-emption of soloist pitches
and denied not” -Introduction of Bb Minor on “prophet” (Eb-C—Eb) for “And they asked him”
-* This new motif on “And --Repetition of “And he answered, No” first by reduced forces - “Art thou Elias” rising scale, repeated
said plainly” is used in close (no trebles) ending in Eb then whole chorus ending in tonic ascending sequence a third higher
polyphonic imitation then - “Then said they unto him” modulation to Eb with 7/6 -b. 35 suspension resolved and
merges seamlessly to suspension decorated with auxiliary note
monophony - “Who art though unaccented passing note, Bb Minor chord bemoaning motif
- “Fugal entries on “And he -“unto them that sent us” Bb7, 4/3 suspension, perfect cadence - “Art thou the prophet” sequential
said I am not” in Eb repetition a third lower
--Repetition of “And he - “What thou sayest thyself?” Ebm, perfect cadence in Ab -Repetition of “And he answered, No”
answered, No” first by complete with passing 7th - “Who art though unaccented passing
reduced forces (no trebles) - “And he said” 9/8 suspension, modulation to Fm note
ending in Eb then whole - “I am the voice that crieth in the wilderness” alternating - “that we may give an answer” rising
chorus ending in tonic Fm/CM harmony scale
- Stepwise motif of “Make - “the way of the lord” augmented note lengths, perfect In quavers
straight the way of the cadence, word painting -“Make straight the way of the Lord”
Lord” used in fugal - “And he said” falling fourths, brief imitation between basses Repetition with different harmony
imitation and sops - Stepwise motif of “Make straight the
-Ends in homophony with - Stepwise motif of “Make straight the way of the Lord” final way of the Lord” later treated in
perfect cadence in Ab entry in parallel sixths sequence
Texture Timbre Harmony Melody
-Structure of Verse anthem -Scored for SAATB -Ab Major tonic -Prefiguration of solo line in
allows for contrasts of choir, -Primary triads are main harmonic base elaborated with instrumental parts
monophonic and countertenor/alto passing notes and suspensions -two repeated quavers “When the
homophonic (intermixed soloist, boy - Modulates to Eb major for “Who art thou” via sequence Jews” act as a unifying motif
with polyphony and trebles usually act _Tonic dominant polarity shows move away from modes -Ascending sequence “From Jerusalem”
imitation) as sops towards baroque diatonic system modulates to Eb major for “who art
-Prefiguration of solo line in -Instrumental acc. - “And he confessed” moves to tonic hint of subdominant due thou”
instrumental parts Played by organ or to addition of Gb - “And he confessed” conjunct
-Instrumental parts double viols, doubles -Perfect cadence ends chorus section 1 with customary 4/3 movement that moves to tonic
vocal. vocal parts suspension -Mainly syllabic (except “am”) showing
-First line imitatively -Dominant prevalent in second solo, modulation to dominant importance of text (John ch1)
presented by viols after “Who art thou then” - *New motif of repeated pitches “And
-Homophonic entry of chorus -b. 35 suspension resolved and decorated with auxiliary note said plainly” followed by rising 3rd or
which repeats last soloist bemoaning motif 4th
phrase “And he confessed - “Art thou the prophet” modulation to subdominant -Further pre-emption of soloist pitches
and denied not” -Introduction of Bb Minor on “prophet” (Eb-C—Eb) for “And they asked him”
-* This new motif on “And --Repetition of “And he answered, No” first by reduced forces - “Art thou Elias” rising scale, repeated
said plainly” is used in close (no trebles) ending in Eb then whole chorus ending in tonic ascending sequence a third higher
polyphonic imitation then - “Then said they unto him” modulation to Eb with 7/6 -b. 35 suspension resolved and
merges seamlessly to suspension decorated with auxiliary note
monophony - “Who art though unaccented passing note, Bb Minor chord bemoaning motif
- “Fugal entries on “And he -“unto them that sent us” Bb7, 4/3 suspension, perfect cadence - “Art thou the prophet” sequential
said I am not” in Eb repetition a third lower
--Repetition of “And he - “What thou sayest thyself?” Ebm, perfect cadence in Ab -Repetition of “And he answered, No”
answered, No” first by complete with passing 7th - “Who art though unaccented passing
reduced forces (no trebles) - “And he said” 9/8 suspension, modulation to Fm note
ending in Eb then whole - “I am the voice that crieth in the wilderness” alternating - “that we may give an answer” rising
chorus ending in tonic Fm/CM harmony scale
- Stepwise motif of “Make - “the way of the lord” augmented note lengths, perfect In quavers
straight the way of the cadence, word painting -“Make straight the way of the Lord”
Lord” used in fugal - “And he said” falling fourths, brief imitation between basses Repetition with different harmony
imitation and sops - Stepwise motif of “Make straight the
-Ends in homophony with - Stepwise motif of “Make straight the way of the Lord” final way of the Lord” later treated in
perfect cadence in Ab entry in parallel sixths sequence
