Tabular analysis of the 'Rex Tremendae' section of the Verdi Requiem. Information gathered from official WJEC notes as well as in-class analysis. Includes bar references and in-depth analysis of key features that students will need for the appraising exam. Notes cover all musical elements: Harmony,...
REX TREMENDAE- 4 VOCAL SOLOISTS, FULL CHORUS AND ORCHESTRA, C MINOR
322 Dotted rhythms- French overture
Tutti bass chorus- disjunct descending C MINOR
Bass doubled in bassoons, cellos, double bass, ophicleide
Upper strings tremolo
Diminuendo
324 and Bass chorus Ab pp- Ab pedal in lower parts of orchestra
325 Above this, tenor in 3 PART TEXTURE CLOSE HARMONY repeat words but
monotone- same dotted rhythms but two crotchet beat ending instead
326-329 Double bass entry – C
= 322-
325
ttern with 330 Mediant major- Eb in 2nd inversion
oists- Dolce- complete contrast to previous bars- major not minor / not the same dotted
ARS EACH rhytms
Bass solo vocal range covers major 6th – rising 6th, disjunct but a plea for mercy –
BAR = 2ND starts on Eb (mediant)
VERSION 331 SOLOIST ANTIPHONAL TEXTURE
ORD Sop solo a minor 3rd higher – Bb7 – starts on Bb
Chromatic descending in cello line, viola and bassoons
= 332 Gb in 2nd inversion
MINANT 7TH Mezzo sop solo a minor 3rd higher- Gb – starts on Gb
333 Db7
Bb7
Sop solo interjection on the root monotone Db (which will function as C# for next
- Db7 chord)- antiphony- on the root
334 A in 2nd inversion
E7 (Breaks Tenor solo minor third higher – A (Gb)
rmonic E7
nor third Sop interjection on the root
ending 336-345 Organised into 6 (2+2+2) + 5 (3+2) bars
dulation Tutti bass chorus reinstate opening of the movemnt but now in C major (MAJOR
THIRD DOWN FROM PREVIOUS A CHORD) c will function as the dominant for F
minor later
Fortissimo
CHORUS AND SOLOISTS IN ANTIPHONAL TEXTURE
338- tonic minor harmony
338- subdominant minor harmony (VERDI FINGERPRINT) F minor
340- mediant major – Eb major
341- DIMINISHED HARMONY THAT WAS OUTLINED EARLIER C-Eb-Gb-A
344- bass chorus only
345-346 Sop solo- monophonic/ a cappella
347 Key signature change- now in F# major even though no dominant prep
9 bar passage
Sequential repeated quavers in upper strings and viola
Cello and bassoon solo doubles tenor
Full orchestra accompaniment but p dynamics
Upper WW double solo lines
Sustained notes in bassoon and harms
Unison chorus ppp- dies irae monotone chant but now with salva me words
Mezzo soprano antiphony and immitation
350- E7 in 2nd inversion (dominant function for A)
351- A minor tonicised (mediant relationship to next bar)
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