FACTFILE:

GCE MUSIC
SECULAR VOCAL MUSIC
– 1600 TO THE PRESENT DAY

Weelkes: Thule, The period of cosmography/The Andalusian Merchant

The rapid rise in the popularity of the English Thule, The period of cosmography
madrigal between 1580 and 1620 (around
50 volumes of madrigals by major and minor Thule, The period of cosmography and The
composers were published during this period) Andalusian Merchant, to which it is linked,
was followed by an equally sudden decline. The draw on two intrinsically Elizabethan themes:
serious madrigal or madrigal proper represented (i) a fascination with all things foreign and (ii)
the pinnacle of English secular vocal music in unrequited love. Thule was the name given by the
this period and one of its greatest exponents ancient Greek geographers to a remote northerly
was Thomas Weelkes (1576-1623). He may have land (possibly Iceland or Norway) and this word
studied with William Byrd (c.1540-1623) and came to denote a distant or mysterious place. The
was influenced by Thomas Morley (1557/8-1602) word Thule is set to repeated semibreves while
and, especially in his more serious madrigals, by the scalic motif in dotted rhythm of the period of
Marenzio (1553/4-1599). The characteristics of this cosmography is treated in a polyphonic style:
particular genre are as follows:
• Usually written for between three and six solo Bar Voice Opening pitches
voices though the more sophisticated examples 24 Tenor 2 Eb - Eb
tend to employ five or six singers.
• The texture is predominantly imitative, although 32 Alto Eb - Bb
there may some homophonic passages. 5 2
Soprano 2 Bb - Eb
• They tend to be through-composed (each section
5 4
Soprano 1 Eb - Bb
of the text is set to new music) rather than strophic
(where the same music is used for each verse). 62 Tenor 1 Eb - Bb
• Each line of text is treated separately using
appropriate rhythmic and melodic motifs.
Following a modulation to the dominant (Bb) at
• Word painting (the illustration of particular words
b. 8 these imitative entries are transposed to the
or images using music) is common, but tends to be
new key. The voices in parallel thirds and sixths
more subtle in keeping with the more serious texts.
continue to combine contrapuntally in Eb major at
• The final section of the madrigal is often
b. 11 and Bb major at b. 15. As in the case of This
repeated with the two upper parts (soprano 1 &2)
is the record of John by Orlando Gibbons (an AS
exchanged.
set work), the significance of the tonic/dominant
relationship marks a move away from Renaissance
modality.

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

In keeping with the conventions of the madrigal Ascend not higher provides an obvious example
form, the next segment of the text, Doth vaunt of word painting as it not only consists of a rising
of Hecla, is introduced by a new musical idea scalic motif, but the imitative entries produce an
consisting of two rising perfect fourths (soprano ascending sequence (sopranos 1 & 2 in bb. 44-47).
2, b. 19). This is imitated by all the voices in turn The tonic/dominant relationship is again evident
passing through Bb major at b. 22 and returning to as the music modulates from Eb major (b. 43) to Bb
Eb major at b. 24. Hecla is the name of a volcano major (b. 48) before cadencing in Eb major at b. 49.
in Iceland whose eruption is depicted by an The music from b. 50 to the end of the first of
unexpected change in the music: (i) the texture is these two paired madrigals serves as the refrain
suddenly homophonic, (ii) the tonality shifts to C which returns at the end of the second madrigal,
minor and Hecla’s sulphurious fire is represented The Andalusian Merchant. The premise of the text
by busy scalic movement in quavers which is in is that the author, Whose heart with fear doth
both parallel thirds (soprano 1& 2) and contrary freeze, is smitten with love (possibly unrequited)
motion (alto & tenor 1). A G major chord in b. for an unnamed beloved. The key word wondrous
29 immediately becomes minor (note the false is highlighted by the Eb - Db - Ab progression in
relation between the B♮in soprano 2 and the Bb in bb. 50-52 and the C minor - G - F progression in bb.
soprano and tenor 2 within the same bar). Attention 53-57 with slower harmonic rhythm as the chords
is drawn to Doth melt the frozen clime (bb. 34-36) now change only once per bar. A suspension with
by a progression of block chords in much longer a decorated resolution in soprano 1 at b. 58 is
note values: followed by a perfect cadence into Bb major.

Over the next few bars the crotchet movement of

Bar 332 Bar 333 Bar 343 Bar 351 Bar 361 Whose heart with fear doth freeze (bb. 60-63) is
Eb major C major F minor Db major Ab major contrasted with the minims of with love doth fry
(bb. 63-67).

The Ab chord in b. 36 overlaps with the next line Weelkes achieves further variety by having the
of text, and thaw the sky, which is presented as a bass silent for nine bars while juxtaposing three-
rising scale with the rhythm: crotchet - two quavers part and five-part groupings. Another interesting
- minm. Weelkes exploits the contrasting timbres feature of this section is the modulation through a
within the ensemble by using this idea in different circle of fifths which lends an underlying sense of
imitative pairings: momentum:

Bar 633 Bar 64 Bar 65 Bar 67 Bar 69 Bar 71

B. 363 Soprano 1 & 2
G (minor) C F Bb Eb Ab
B. 371 Tenor 1 & 2
B. 373 Soprano 1 & 2
The final with love doth fry moves towards Bb minor
B. 381 Alto & Tenor 1 at b. 74 before coming to a perfect cadence in Bb
B. 381 Soprano 2 & Alto major prefaced by the customary 4/3 suspension.
B. 39 1
Soprano 1 & 2

Many layers of visual and musical imagery are

combined in the succeeding passage: Trinacrian
Aetna’s flames ascend not higher. Mount Aetna
is another volcano (continuing the preoccupation
with the extraordinary) located on the island
of Sicily which is often identified with a three-
legged or Trinacrian symbol. This is emphasised
in musical terms by a brief use of dotted rhythm
in triple metre on a single Bb chord (bb. 41-42).

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

The Andalusian Merchant Bar Beat Chord

The second part of this extended madrigal 25 1 F minor (no 3rd)
continues to conjure up images of the unfamiliar 25 2-3 B diminished first inversion
and exotic (Andalusia itself being a province of
Spain). Weelkes employs a similar technique to b. 25 4 Bb minor first inversion
43 in Thule, The period of cosmography, namely, 26 1 C7 root position
the pairing of various voices within the ensemble 26 2-3 A diminished first inversion
resulting in a constantly changing canvas of vocal
26 4 Ab major first inversion
colour. The dotted rhythm and scalic contours are
also reminiscent of this earlier passage. A new 27 1 C minor root position
rhythmic feature is the syncopation associated 27 2-3 C major root position
with that returns (b. 5) and laden with (b. 7).
27 4 C minor root position
The desirable items brought by the Andalusian
Merchant include cochineal (a dye made from a 28 1 F7 root position
certain cactus bug) and china dishes continuing 28 2 D diminished first inversion
the series of associations with distant lands (the 28 3 Bb major root position
Elizabethan era was, after all, a great period of
exploration). The texture at this point (b. 7) becomes 28 4 Bb minor root position
polyphonic as the principal motif consisting 29 1 F major first inversion
of three repeated pitches, a rising fourth and a 29 2 F major root position
descending scale passes through the voices in circle
29 3 F major second inversion (no 3rd)
of fifths order:
29 4 Ab major first inversion
Bar Voice Opening pitches 30 1 Eb minor second inversion
7-8 Soprano 1 C-F 30 2 Augmented triad on Bb
30 3 Bb major root position
8-9 Tenor 1 F - Bb
30 4 Bb minor root position
8-9 Bass Bb - Eb
31 1 F major root position
31 2 F minor root position
This becomes a stretto in bb. 9-10 as the entries of
this material occur at the same pitch and only one 31 3 C major root position
beat apart. This is transposed up a fourth in the 31 4 C minor root position
succeeding bar and then the music reaches a perfect 32 1 G major root position
cadence in Bb at b. 15 and again in bb. 17-18.
32 2 G minor root position
Reports in Spain is set to a simple auxiliary note 32 3 A minor first inversion
figure in parallel thirds which begins in Eb major, 32 4 F minor second inversion
modulates to Bb major and then suddenly turns
to Bb minor on how strangely Fogo burns. The The tonal uncertainty is finally resolved in a perfect
strangeness of yet another volcano (this one is cadence in F major at b. 33.
situated on the Cape Verde Islands in the Atlantic
Ocean) is illustrated in a passage of remarkable Another very literal example of word painting
chromatic part writing resulting in frequent major/ appears at Amidst an ocean full of flying fishes
minor alterations, dominant sevenths, unrelated where the descending scales in quavers (inverted in
chord progressions, false relations and frequent bb. 38-40) clearly represent this phenomenon.
diminished triads and even an anachronistic At b. 42 the refrain from b. 50 of Thule, The period
augmented triad. The harmony of this of cosmography returns with the two soprano
extraordinary passage can be analysed as follows: parts changed around (a typical madrigalian trait)
in an conscious attempt to structure what is one
of the longest examples of this genre. The only
other significant change occurs near the end (b.
63) where the final with love doth fry leads to a
perfect cadence in the tonic (Eb) as opposed to the
dominant (Bb).

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

Handel: I Rage and O Ruddier than the Cherry from Acis and Galatea

George Frideric Handel (1685-1759) probably flats in the key signature, the music begins in Eb
composed Acis and Galatea in 1718 during his time major. Polyphemus makes his feelings clear and
as Chapel Master to the Duke of Chandos. He had delivers the word “rage “ as an impressive melisma
previously used this story (a Sicilian myth from which, in an obvious example of word painting,
Ovid’s Metamorphoses) as the basis of an earlier takes up the semiquavers of the introduction. His
work, the Serenata - Aci, Galatea e Polifemo, which outburst continues with an ascending Eb triad
he composed in 1708 during his time in Italy. This interspersed with terse string chords but suddenly
later version is in effect a short opera in which changes mood on “I melt” where the tempo shifts
Handel (a thoroughly cosmopolitan composer) momentarily to Adagio and the harmony consists
fuses elements of the following styles: of an Eb7 chord in third inversion. The furioso
(i) The English masque - a stage work (usually with tempo and busy semiquavers return on “I burn”
a comical plot) incorporating pastoral themes and the giant’s increasing agitation is conveyed
and frequent examples of word painting. by means such as the falling tritone (Bb - E♮),
(ii) Elements of Italian opera such as vocal unpredictable rests and tonal instability caused
virtuosity, recitative, ritornello and aria da by chords such as the diminished seventh on the
capo forms. first beat of b. 8. By “Thou trusty pine” the music
(iii) Germanic counterpoint and the principle of has modulated to F major by virtue of a perfect
thematic unity. cadence (bb. 9-10) but the F7 chord at the end of
the bar implies a move to Bb major which is in turn
contradicted by another diminished seventh chord
I Rage on the third beat of b. 12 before a perfect cadence in
G minor occurs at the beginning of b. 13. Gradually,
In the second act the happiness of Acis (a shepherd)
Polyphemus calms down (bb. 13-14), the chords
and his beloved Galatea (a nymph) is threatened
change less rapidly and tonal stability is regained
by the appearance of the Cyclops, Polyphemus,
by way of the perfect cadence (complete with
who is also in love with Galatea. The monster
suspension) in F major in b. 16. More word painting
first appears in the second number of Act 2, a
occurs at this point as the bass descends to low
recitativo stromentato in which the bass soloist
F representing the giants “capacious mouth”. As
(an immediate contrast in tessitura to the tenor and
Polyphemus thinks of Galatea’s beauty the tempo
soprano voices of Acis and Galatea) assumes the
changes to Adagio, the dynamic is piano and the
role of the angry giant.
harmonic rhythm slows - modulating to D minor
(b. 18) and G minor (b. 19) - before the section ends
NB recitativo stromentato differs from recitativo
in typical recitative fashion with a perfect cadence
secco in the following ways:
in D minor:
(i) as the name suggests, it is accompanied by
orchestral forces (in this case strings and
harpsichord continuo) rather than simply Bar 171 A major first inversion
keyboard,
(ii) it is notated within a strict time signature Bar 181 Diminished seventh
as opposed to the generally non-metrical Bar 183 D minor root position
recitativo secco and Bar 191 D7 third inversion
(iii) the vocal line tends to be slightly more Bar 193 G minor root position
melodic than recitativo secco which is Bar 201 A major root position
dominated by the text. Bar 202 D minor root position

The brief introduction captures the listener’s

attention but also portrays the monster’s
displeasure with repeated semiquavers, rising
and falling scales (also in semiquavers) and its
furioso tempo marking. Although there are two

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

O Ruddier than the Cherry six-bar orchestral ritornello in which the semiquaver
scales are used in a descending sequence over a
The sound of the reed pipe, which Polyphemus bass line made up of running quavers. These scales
made for his “capacious mouth” in the preceding then appear in parallel sixths (b. 28) before the
recitative is replicated by the bright tone of the melody of the last two bars which Polyphemus sang
sopranino recorder which doubles the first violin - “O nymph more bright than moonshine night, Like
part in this aria. There is immediately a greater kidlings bright and merry” - is repeated in octaves.
emphasis on the melodic content of the vocal and
instrumental parts and there is frequent repetition The new text of the aria’s central section - “Ripe as
of the text as a much happier Polyphemus proceeds the melting cluster” - is set to a triadic theme which
to extol Galatea’s beauty. Evidence of Handel’s is doubled by the orchestra in unison. The key is
Germanic training is found in his consistent initially Bb major but an ascending sequence in
use of two main motifs which are combined bb. 32-33 leads to C minor. The descending fourths
contrapuntally: in the voice at bb. 33-34 are perhaps an inversion
(i) the descending semiquaver scale in the violins of the rising fourths of b. 9 while the semiquavers
and recorder and in the vocal score at this point seem to be merely
(ii) the triadic quaver figure in the vocal line an editorial addition to the original unison
doubled throughout by the lower strings. accompaniment. These bars are then treated as
an ascending sequence bringing the music to a
Ex. 1: Piano reduction (bb. 1-2) perfect cadence in D minor at b. 37. The soloist
then embarks on an extended melisma on “bluster”
The development of the semiquaver scale in various (word painting again) in which octave leaps, scalic
keys may be traced throughout the opening bars as and triadic movement play an integral part:
follows:
Ex. 2: Polyphemus (b. 38)
Descending sequence G minor →
bb. 1-3 Handel extends this idea to form a descending
(falling by a third) C minor
sequence based on the circle of fifths progression
C minor →
bb. 3-4 Ascending sequence into which suspensions have been introduced:
D major
b. 5 Scale doubled in thirds D major
b. 371 D minor
bb. 5-6 Ascending sequence G minor
b. 373 G minor + F
b. 381 C7
The quavers which comprise the vocal part and b. 383 F major + E
basso continuo naturally conform to the same
b. 391 Bb major + A
structure. A brief orchestral interlude (bb. 7-8)
b. 393 E diminished + D
consisting of a descending sequence modulates
to Bb (the relative major). Another descending
sequence passes through C minor in b. 11 but The imperfect cadence in D minor at the beginning
finishes in Bb at b. 12 after which the three opening of b. 40 is followed by a variation of bb. 35-36 in
bars, transposed up a third and beginning a half which the original fourths are decorated with lower
bar earlier, are restated. This joins up with a repeat auxilliary notes in semiquavers.
of earlier material at its original pitch so that
the music of bb. 161 to 203 is identical to bb. 33 Ex. 3: Polyphemus (bb. 35-36 & bb. 40-41)
to 71 apart from the fact that it is displaced by
two beats. At b. 20 Polyphemus launches into a This in turn is used in imitation between upper and
virtuosic sequential melisma on the word “merry” lower strings in the brief orchestral passage (bb.
which is a clear example of word painting but also 42-44) which leads back to G minor for the reprise
demonstrates the influence of Italian operatic of “O ruddier than the cherry”. The overall structure
coloratura. This passage, by virtue of its descending of the aria is therefore ternary or aria da capo form
semiquaver scales, is linked to bb. 7-8 which is in (common in Handel’s Italian operas) in which it was
turn a development of the material presented at customary to ornament the melody when the A
the start of the aria. Having reached an imperfect section was repeated.
cadence in G minor at b. 24, Handel then repeats
bb. 5-7. The first section of the aria finishes with a

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

Schumann: Widmung and Ich grolle nicht

These two songs are examples of a specific The falling scale in b. 9 is a melodic link back to
genre, the Lied, which is an exclusively German b. 4 and the seriousness of the word Grab (grave)
language art song originating in the late Classical on the first beat of b. 10 is accentuated by the use
period (Beethoven and Schubert) and continuing of a diminished seventh chord. This unity of this
throughout the nineteenth century (Schumann, first section, which finishes with a perfect cadence
Brahms, Wolf and Mahler. The solo singer is nearly in Ab major, is ensured by the presence of the
always accompanied by the piano but there are dotted quaver/semiquaver motif in all but two of its
examples with orchestral accompaniment too. thirteen bars.

Robert Schumann (1810-1856) made many A change of mood appropriate to the words Du bist
important contributions to this form largely inspired die Ruh (You are repose) is effected at b. 14 by the
by his love for Clara Wieck who, despite her father’s following means: (i) the use of longer note values
objections, was eventually to become his wife. such as semibreves in the vocal line, (ii) the lower
tessitura of this melody, (iii) the change of key to
E major with Ab/G# acting as an enharmonic pivot
Widmung note and (iv) the introduction of repeated chords in
triplet crotchets in the accompaniment.
This Lied, which forms part of the Myrthen song
cycle (Op. 25), demonstrates a basic principle of
The harmonies change on the first and third beats
Schumann’s compositional method in this genre
of the bar over a four-bar tonic pedal point:
namely the concentration on a particular emotion
within a limited time span. This is achieved in b. 141 b. 143 b. 151 b. 153
no small measure through the piano’s consistent
use of a distinctive rhythmic or melodic motif. In E major E7 A major E major
this case the accompaniment is unified by the
following: (i) the rising and falling arpeggios,
(ii) dotted rhythm and (iii) the tonic/dominant/tonic b. 161 b. 163 b. 171
chords at the end of each bar. F# minor(+ 7th) B7 (+G#) E major

Ex. 1: Piano (b. 1)

The expressiveness of the music, which modulates
to F# minor at b. 19 and on to B major by b. 21,
The two opening bars of the vocal melody are also
is heightened by the 9/8 suspension at the start
constructed around the notes of the tonic triad
of this bar, the inner countermelody featuring
and then the rising major sixth from b. 3 into b. 4
chromatic movement in the piano’s left hand and
emphasises the key word Wonn’ (bliss). Another
the use of the turn to decorate the vocal melody in
example of Schumann’s sensitivity to Rückert’s
b. 20. Although the text Dass du mich liebst (That
lyrics is the use of the minor subdominant chord
you love me) is different, the music of bb. 21-25 is
(Db minor) on the word Schmerz (pain) at the
an exact transposition of the melodic and harmonic
beginning of b. 5. The melody and harmony of bb.
material heard earlier at bb. 5-9:
5-7 (note the use of the feminine cadence in b. 7)
is immediately transposed up a perfect fourth in
b. 213 B7 3rd inversion b. 233 E7 3rd inversion
bb. 7-9:
b. 221 E 1st inversion b. 241 A 1st inversion
b. 53 Eb7 3rd inversion b. 73 Ab7 3rd inversion b. 223 B7 2nd inversion b. 243 E7 2nd inversion

b. 61 Ab 1st inversion b. 81 Db 1st inversion b. 231 B7/E b. 251 E7/A

Eb7 2nd b. 232 E root position b. 252 A root position

b. 63
b. 8 3
Ab7 2 inversion
nd
inversion
b. 71 Eb7/Ab b. 91 Ab7/Db Another enharmonic pivot note - in this case C#/Db
- initiates the transition to the ‘A’ material in which
Ab root the dotted quaver/semiquaver motif is reintroduced
b. 72 b. 92 Db root position
position (bb. 26-29) over a dominant pedal point. Bars 30-35
are musically and textually the same as bb. 2-7
until a change of harmony (F7) on the third beat

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

of b. 35 leads towards Bb minor. The phrase which Throughout this passage the feeling of loss and
comprises bb. 33-35 is treated as an ascending pain is intensified by way of frequent modulations,
sequence in bb. 35-37 before a diminished seventh unresolved dissonances and effective use of
chord on the last crotchet of b. 37 returns the harmony:
music to Ab major at b. 39 via a 4/3 suspension
and perfect cadence. The piano’s coda combines bb. 4-5 A minor
Modulations bb. 9-10 G major
a phrase (bb. 40-41) derived from bb. 14-16 with a
bb. 14-16 B minor
bass line which descends mainly in semitones. A
slightly rewritten version of this in b. 42 leads to the b. 53 C+7
final Ab major chord. Dissonances b. 61 F+7
b. 63 C+6
Harmony b. 11 Diminished 7th
Ich grolle nicht
The resolution of the dominant seventh chord at the
Ich grolle nicht is the seventh song in the
end of b. 16 is delayed (mainly by the introduction
Dichterliebe cycle dating from 1840 (Op. 48) in
of the diminished seventh chord in b. 18) until after
which Schumann sets words by the poet Heine. The
the singer’s das weiss ich längst (I’ve known it long)
unifying factor in this Lied is the repeated quaver
representing an example of word painting.
chords in the piano’s right hand together with the
stately octaves in the left hand whose minims
Once C major has been regained at b. 19, most
delineate the steady harmonic rhythm.
of the second stanza is set to the same music
Bar 1 C major root position as the first (stophic form) so that bb. 19-27 are
the equivalent of bb. 1-9. The sudden change of
Bar 2 1
F major first inversion dynamic to piano at b. 23 draws attention to the
Bar 23 F major root position text Ich sah dich ja im Traume (I have seen you in
Bar 31 D diminished + 7th dreams) before the climax of the song in bb. 27-28.
Bar 33 G7 Here the baritone soars to a high A on Herzen frisst
Bar 4 C major (eats into the heart) before descending towards
the cadence in at b. 30. The poignancy of the text
is reflected in the harmonic tension created by
The vocal melody meanwhile is characterised by
diminished triads (bb. 273, 281 and 291) and the
a three-quaver anacrusis, dotted rhythms and the
augmented triad which occurs half-way through
interval of a rising perfect fifth. These features
b. 28. The uncertainty created by the interrupted
create a dignified and restrained response to the
cadence in A minor (bb. 30-31) is dispelled by the
text Ich grolle nicht (I bear no grudge) with the Ab
perfect cadence in the tonic into b. 32. The short
in the melody coinciding with a diminished triad on
coda consists of three plagal cadences in the tonic
Herz (heart) to highlight this significant word. The
key followed by one last perfect cadence.
economical use of the motivic material allied to the
repetition of the text results in a tightly organised
Like Widmung, Ich grolle nicht compresses the
musical fabric:
maximum amount of emotion into a short time
Bars Text Motif span in much the same way that Schumann’s
character pieces for piano are a concentration of his
5-6 ewig verlornes Lieb, Rising 5th musical thoughts.
bb. 5-6 transposed
7-8 ewig verlornes Lieb!
up a 4th
9-10 ich grolle nicht, Descending scale
bb. 9-10 transposed
11-12 ich grolle nicht.
down a 5th
3 quavers and
12-13 Wie du auch strahlst
rising 4th
13-14 In Diamantenpracht bb. 12-13 dotted
bb. 12-14
Es fällt kein Strahl in transposed up a
14-16
deines Herzens Nacht tone (i.e. ascending
sequence)

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

Copland: Simple Gifts and I Bought me a Cat from Old American Songs (Set 1)

Aaron Copland (1900-1990) was a central figure in

Bar Melody Harmony
the creation of a uniquely American musical identity
not only in his own compositions but also through 2 2
Eb Eb major
his encouragement of younger composers (among 3 1
Ab Ab major
them Leonard Bernstein). This distinctive musical
language, derived from sources such as jazz, Latin 4 (2nd quaver) Eb F minor *
American music and folk songs, came to fruition in 5 (2nd quaver) Bb Db major *
works such as Billy the Kid (1938), Rodeo (1942) and
6 (2 quaver)nd
Bb Eb major
Appalachian Spring (1944).
6 (4th quaver) Eb Ab major
7 (4th quaver) Bb Db major *
Simple Gifts 8 2
Eb C minor
Simple Gifts was probably composed by Joseph 9 (2nd quaver) Bb Bb minor (1st inversion)
Brackett Jnr.- a member of the Shaker sect in Maine
101 Bb Eb major
- around 1848. The original song expounds some of
102 Ab Ab major
the core values of the Shaker communities such as
shared resources and simple values. The melody was
The restraint with which Copland deploys his
used by Copland as the basis of a set of variations
instrumental forces is evident at the perfect cadence
in his ballet Appalachian Spring which describes
in b. 10 where the cellos are doubled by the bassoon
the life of the early settlers in rural Pennsylvania. In
and the strings are supported by harp chords. In bb.
1950 Copland included the song in his first set of Old
11-12 the woodwind (again in octaves) prefigure
American Songs for low voice and piano which was
the first two bars of the chorus which follows. When
then orchestrated in 1954.
this is taken up by the soloist at b. 13 the first two
chords form the same perfect cadence which came
The introduction quotes the first two bars of Simple
at the start of the verse (bb. 2-3). The harmonisation
Gifts - in octaves and without accompaniment -
of the chorus then follows the same pattern as
played by flute, oboe and two clarinets in octaves
the preceding verse i.e. with the chords generally
but using the first clarinet in its high register which is
changing on the off beats of the bar and sometimes
a sonority often exploited by Copland. The key of Ab
clashing with the notes of the melody:
major is firmly established by the perfect cadence
from b. 2 into b. 3 which becomes a recurring motif
Bar Chord Text
in its own right. The baritone soloist presents the
melody without any modification (Copland often 13 1
Eb major
Eb
manipulates the rhythm or pitch outline of the 132 Eb major*
C
material which he borrows) while the strings (without 13 (4th quaver) Ab major
double basses) and wind provide an accompaniment 14 (4th quaver) Ab F minor
consisting of sustained chords. Although these
152 Eb Db major*
chords are all major and minor triads within the key
of Ab (nearly all of them in root position), they do not 16 (2nd quaver) Bb Eb major
always coincide with the melody or the main beats
of the bar thereby producing dissonances which are
marked*:

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

The remainder of the chorus (bb. 17-22) is pentatonic and its harmonisation, like that of Simple
underpinned by an Ab major chord which is Gifts is typical of Copland in so far as the melody
wonderfully orchestrated in order to provide both and the underlying chords sometimes clash. While
aural colour and clarity. The most significant the F major and D minor chords in b. 2 are perfectly
features are as follows: ordinary, the Bb in the cello at the beginning of b.
3 against the C in the voice and the ninth chord on
Flute High Eb crotchets the second quaver of the same bar add dissonance.
Oboe & clarinets Ab triad This is also true of b. 5 where an imperfect cadence is
formed by an F major chord over a Bb and a C major
Bassoon High Ab in tenor clef chord including D.
Horn, trumpet, Sustained Ab triad with
trombone mutes The sound of each new animal (not to mention
the wife!) is imitated by a combination of vocal
Harp Ab & Eb harmonics
onomatopoeia, musical features and instrumental
Imitate each other in a effects as follows:
Violins 1&2
quaver ostinato
Violas Eb artificial harmonic Vocal Musical
Animal Orchestration
sound feature
Cello & double bass Tonic pedal point
Dissonance Muted brass, sul
Quaa,
Duck (Ab, E, A♮) and ponticello violas
quaa
At the end of this passage (b. 22) unison violas and sforzando and double basses
clarinets anticipate the first two bars of the verse Muted trumpet
Increased
followed by the now familiar perfect cadence Quaw, and trombone,
Goose dissonance (D, Eb,
(bb. 23-24) which overlaps with the singer’s entry. quaw hand-stopped
F, Ab) horn
The verse (with the same text) is now repeated but
without the chorus so that the overall structure is Alternating D Secco upper
ternary. The harmonisation of this reprise is the minor and A strings and
Shimmy
same as before so it is only details of orchestration Hen minor chords, woodwind, off
shack
which are different: (i) the double basses are included oboe has same beat quavers in
and (ii) flute and oboe are added to the wind chords. rhythm as voice piccolo
In the brief coda the repeated pattern in the violins, Glissandi in
the sustained muted brass chord and the use of divided violas,
upper string and harp harmonics, recall the delicate Alternating slurred pizzicato
Grifey,
orchestration of bb. 17-22. There is a reference to the Pig
grifey
fourths (A-E) and in double bass,
‘Tis the gift to be simple melody in cello and bassoon fifths (F-C) glissando from
(bb. 33-34) before the song closes with a final hand stopped to
statement of the perfect cadence. open note in horn
Lower brass,
Db major chord in
Cow Baw, baw bassoon and
first inversion
I Bought me a Cat lower strings
High register
I Bought me a Cat comes last in the first set of Neigh,
Horse Dissonance (E,F) woodwind,
Old American Songs. It is a cumulative children’s neigh
pizzicato violins
song - along the lines of Old MacDonald - in which
Alternating D
a different animal is added in each verse and then Honey,
Wife minor and A Legato strings
the list of animals is reprised in reverse order always honey
minor chords
finishing with “My cat says fiddle eye fee”. Humour
is established from the outset by the trombone
acciaccatura (glissando), the use of unpredictable
rests, changing metre, sudden accents and extreme
contrasts of dynamics. The main melody (bb. 2-7) is

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FACTFILE: GCE MUSIC / SECULAR VOCAL MUSIC – 1600 TO THE PRESENT DAY

Equally imaginative is the way in which Copland

varies the recurring “I bought me a …” material so
that predictability is avoided:

Bars Musical feature Orchestration

Trombone glissando,
1-7 Staccato bass line no double basses,
(Cat) and chords clarinet chords and
bassoon doubles cello
Muted trombone
8-11
doubles bassoon at
(Duck)
cadences
Hand stopped horn
16-19 doubles bassoon,
(Goose) upper string
glissandi
Double stopped
25-28 Acciaccaturas pizzicato chords in
(Hen) added in bassoon violins, oboe joins
clarinet chords
Staccato
35-38 countermelody Muted horn doubles
(Pig) added by oboe cello
and clarinet
Staccato Staccato chords in
46-49
countermelody muted brass, double
(Cow)
now in violins basses join cellos
Semiquaver
Pizzicato double
58-61 version of
basses double arco
(Horse) countermelody in
cellos
oboe and clarinets
Countermelody
71-74 featuring Full orchestra
(Wife) arpeggios in marcato and forte
violins and piccolo

By contrast the refrain “My cat says fiddle eye fee”

remains practically unchanged (apart from a few
minor details) until the riotous final roll call. Here it
combines with an inverted version of the semiquaver
arpeggios from b. 71 in a fff full orchestra ending.

© CCEA 2017 10