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Orlando Gibbons This is the Record of John Study Guide
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This is the Record of John- Orlando GibbonTexture 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
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