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Vedró 'l mio sol (8)
- Caccini (1550-1618).
- Solo madrigal ca. 1590.
- Italian
- Figured bass.
- Published in Le nuove musiche.
- Caccini considers it a madrigal because it is monophonic, used accompaniment and is through composed.
- Embellishments that Caccini wrote himself.
- Each line ends in a clear cadence.
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L'Orfeo (8)
- Monteverdi (1567-1643).
- Opera 1607.
- Italian.
- Text was written by Striggio
- 2 halves - Happy (strophic separated by ritonelli and 7-8 syllables with Abba rhyme) and Unhappy (SSLSLSLL from Marco caro's Frottola, musical climax, 11 syllable lines with no ritornelli or rhyme scheme).
- Text painting
- Chromatic medients
- Monody recitative
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Cruda Amarilli (7)
- Monteverdi (1567-1643).
- Madrigal Late 1590s.
- Italian
- Acapella
- 2-5 voices
- Homophony and Imitation
- Dissonance
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O Quam Tu Pulchra Es (6)
- Grandi (1586-1630)
- Solo motet (sacred concerto) ca. 1625
- Italian
- Duple meter
- Ariosa then an aria
- Ends in Ariosa
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Saul, was verfolgst du mich (10)
- Schütz (1585-1672).
- Sacred concerto ca. 1650.
- German.
- Solo/tutti, solo, tutti, etc.
- Change in the text, dynamics, and orchestration.
- Juxtaposed themes.
- Dissonance.
- Secund Practica.
- ABA'B'A" form.
- Not a recitative.
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Historia de Jephte (7)
- Carissimi (1605-1674).
- Oratorio ca. 1648.
- Italian.
- Latin Text.
- Minor key.
- Lament bass.
- Sequencing.
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Lagrime Mie (5)
- Strozzi (1619-1677).
- Cantata 1650s.
- Italian.
- Blend of Aria, Arioso, and Recitative.
- Word painting.
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L'incoronazione di Poppea (3)
- Monteverdi (1567-1643).
- Opera 1642.
- Italian.
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Orontea (6)
- Cesti (1623-1669).
- Opera 1656.
- Italian.
- Strophic.
- Bel canto.
- Triple meter
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Ricercare after the Credo (7)
- Frescobaldi (1583-1643).
- Ricercare ca. 1635.
- Italian.
- Fiori Musicali.
- Chromatic theme.
- Subject augmented.
- Countersubject inverted.
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Suite No. 3 in A minor (6)
- Elisabeth-Claude Jacquet de la Guerre (1665-1729).
- Keyboard Suite ca. 1687.
- French.
- Unmeasured prelude.
- Allemande (duple meter, agréments, pick up note)
- Chaconne (coupletrs, many ornament, repeated refrain [en rondeau]).
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Vingt-Cinquième Ordre (6)
- Couperin (1668-1733).
- Keyboard Suite ca. 1730.
- French.
- Binary w/repeats
- AABB
- Light texture.
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Trio Sonata Op 3, No 2 (8)
- Corelli (1653-1713).
- Trio Sonata 1680s
- Italian
- Da Chiesa
- Grave (Slow, aria like chain of suspensions, walking bass)
- Allegro (imitative in all the parts)
- Adagio (Saraband with beat 2 emphasis)
- Allegro (Gigue)
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Concert for Violin and Orchestra in A minor, Op. 3, No. 6, Allegro (4)
- Vivaldi (1678-1741).
- Violin Concerto ca. 1710;
- Italian.
- Riornello form.
-
Arimide
- Lully (1632-1687)
- Opera 1686
- French
- French recitative
- French Overture!
- 5 parts
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Hippolyte et Aricie (8)
- Rameau (1683-1764).
- Opera 1733
- French
- More instruments (Flutes, oboes, bassoons, 2 violins, 1 viola, bass)
- Fast rhythms
- Divertissement --> Sea monster with the chorus
- A lot of recitative
- Ends on an appagatura
-
Giulio Cesare (3)
- Handel (1685-1759)
- Opera 1724
- German
-
Saul, Act II, Scene 10 (6)
- Handel (1685-1759)
- English Oratorio 1738.
- German
- English text
- Accompaniment recitative (strings only, dotted rhythms)
- Secco recitative (chromaticism)
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Nun Komm, der Heiden Heiland, BWV 62 (6)
- Bach (1685-1750)
- Cantata 1724.
- German
- Paraphrase choral
- ABCA form
- Fortspinnung
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Prelude et Fuga in A minor, BWV 543
- Bach (1685-1750)
- Organ Prelude and Fugue ca. 1715
- Improvisatory
- For organ because of the long sustained notes
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Ave regina celorum (6)
- Gombert.
- 1541.
- Marian motet.
- Point of imitation.
- Hidden cadences.
- Unprepared dissonances.
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Il blanco e dolce cigno (6)
- Arcadelt.
- Madrigal.
- 1538.
- Enjambment.
- Homophonic.
- Text painting
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Tant que vivray (8)
- Sermisy.
- Parisian Chanson.
- 1527.
- Syllabic.
- Short phrases and clear cadences.
- Strophic.
- Homophonic.
- Plays with dynamics.
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In arboris/Tuba Sacre fidei/Virgo Sum (9)
- Vitry
- Isorhythm
- Latin instead of French
- Stratified
- Motet
- Ca 1320
- Lots of repetition
- Led to Ars Nova
- Upper voices syllabic
-
Victimae Paschali Laudes (7)
- Wipo of Burgundy
- Sequence
- First half of the 11th C.
- Syllabic
- Follows the Alleluia
- ABBCC
- Monophonic.
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Non Al Suo Amante (8)
- Jacopo Da Bologna
- Circa 1350
- Melismatic
- Madrigal
- Italian
- aab
- Rhythm
- Each line opens and ends with a melisma
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