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Orlando Gibbons
Discuss Gibbons variety of vocal writing and textures.
Gibbons uses a variety of vocal writing and textures in his work: ‘This is the Record of John’,
by using a verse anthem structure. The specific genre of verse anthem is widely used in the
Church of England and originated in the metric psalms of the Anglican Church. Gibbons
utilises this structure effectively by having a solo Countertenor/Alto singing the verses and
an SAATB Choir singing in the tutti sections. The contrasts and differences in these sections
emphasise the nature of the text, which is quite straightforward. This is evident in the first
chorus section as we can see very string homophonic texture sung by the full choir which
then spilt into imitative phrases later on in the chorus. Gibbons introduces a new motif In
this imitative section which consists of repeated notes then either a rising 3rd or 4th. At the
end of the first section all parts join together in homophonic texture to sing the final word
of the text, ‘Christ’ while the accompaniment plays a perfect cadence decorated with a ¾
suspension. The second solo section is sung next which has a lot of similarities to the first
solo section. On the line, ‘Art thou Elias?’ there is a rising scale. This line is repeated a
further time with the same melody being used only a third higher, which is a rising
sequence. On the last line of text of the second solo verse, Gibbons features a falling
sequences which leads into a perfect cadence to end the solo verse. The SAATB chorus sing
once again after the soloist and like before in homophonic texture. The word setting in this
section is very syllabic. This is in conjunction with the homophonic texture would allow for
clarity in the text which would have been essential in Anglican Liturgy. This brief moment of
homophonic texture is ended with a perfect cadence in Eb Major (Dominant) which join that
into the next series of fugal entries. Each part of entries either on the tonic or dominant
singing the same motif heard in the first chorus section consisting of repeated notes then a
rising 3rd or 4th only this time the motif is developed and embellished by brief scalic
fragments. The last line of text is repeated first sung by AATB with a perfect cadence in Eb,
then sung by full SAATB in homophonic texture ending in a perfect cadence in Ab Major
(Tonic). Afterwards comes the final solo verse which follows the same pattern as the first
two verses. The chorus enters for the final time and as before sings in homophonic texture
which transitions to imitative texture and eventually ends in homophonic texture in a
perfect cadence in Ab Major decorated with a ¾ suspension in the accompaniment. Gibbons
uses many techniques in addition to his vocal writing, most notably his use of word painting
especially in solo verse 3. For example, on the line, ‘What art thou?’ Gibbons uses an
ascending sequence which mimics human speech, and the inquisitive tone and nature of the
text. In the second solo verse on the line, ‘Art thou Elias?’ Gibbons uses an ascending scale.
This uses of word painting is further developed when the line of text is repeated a 3 rd higher
to make the soloist sound more inquisitive and intrigued each time it recurs.
Gibbons use of motifs in the vocal writing is a clear technique employed by gibbons to join
each verse and chorus together to make the whole piece feel as one.
Utilise
Tension
Suspense
Inspiration
Sympathy
Hard
Normal
unique
invasive
mixture
complemented
climax