Stylistics

The Lamb Alto part sings a direct inversion of the soprano part (b. 2) Retrograde (b. 4 is retrograde of b. 3) Rhythmic augmentation (b. 10 is b. 9 rhythmically augmented) Lack of time signature music is guided by words Bitonality (b. 2). Soprano sings in G Major while Alto sings in Eb Major False relations between soprano and alto (b. 2 soprano sings F#, alto sings F) Use of E Aeolian mode (b. 10 has a B minor E minor perfect cadence) Limited tessitura for the soprano, alto and tenor parts

Flow My Tears Use of false relations between the lute and voice (b. 5) Phrygian cadence (b. 2 in the lute) Perfect cadence with a Tierce de Picardie (b. 7-8) Word painting as highest note is sung at happie (b. 20) Word painting as opening melody falls (b. 1) Mainly syllabic, with more important syllables having longer rhtyhms

Ohime, se tanto amate Bass pedal (b. 1) which resolves to the dominant. Unprepared dissonance (b. 2 Ohime in the canto and quinto parts does not fit the chord of G and is not a prepared suspension) Word painting as Ohime is sung with a descending third to show sadness (b. 1 in the tenor and alto lines) Use of mainly root position or first inversion chords Use of false relations between canto, quinto and bass (b. 49-51) Perfect cadence with Tierce de Picardie (b. 18-19)

Der Doppelganger Word painting as the first notes are monotonous to reflect a still night (b. 5 - voice) Internal dominant pedal held on for a long time (b. 1-40 in the bass piano) Neapolitan chord (b. 59) German augmented 6th chord (b. 41) French augmented 6th chord (b. 33) Pictorial representation in Tierce di Picardie in final cadence leaving the listener wondering

Bass pedal (b. 61-63) to give the piece a sense of finality Chromatic movement (b. 45-49 in the piano) Sudden unexplained key change to D# minor (b. 50-53) and back to B minor (b. 54) Use of minor keys throughout to reflect the text

Im Leavin You Blues notes in the lead vocal (b. 4) 12-bar-blues chord progression in G (b. 3-14) Stop chorus (b. 15-17) Use of slides in the voice and guitars Shuffle rhythm used by the rhythm guitar Wordless whoo vocalisations during instrumental Harmonica punctuates texture with characteristic chords Dialogue between the voice and the lead guitar (b. 10-14) Melody based around pentatonic shapes Cross-rhythms due to improvisation Piano is comping

Tupelo Honey Melody based around pentatonic shapes Syncopation- phrases often begin on the second semiquaver of the bar (b. 6) Three-part polyphony during the instrumental between the saxophone, lead guitar, acoustic guitar and bass guitar. Singing in the top part of the male vocal range Limited use of chords limited to just Bb, Dm/A, Eb and F Dialogue between the voice and the lead guitar Cross-rhythms between lead guitar and bass guitar in the instrumental section