4-Part Chorales that aren’t Bach

***UNDER CONSTRUCTION***

Analysis and comments by David Mendoza
Baroque Works
pdfMIDITelemann, Georg Philipp – TWV 1:3 Ach bleib mit deinem Worte – Part 1
(arr. from the Peter Young edition)

Comments: The last two phrases contain several tonicizations including a tonicized half cadence in the third phrase.		Analysis
pdfMIDITelemann, Georg Philipp – TWV 1:3 Ach bleib mit deinem Worte – Part 2
(arr. from the Peter Young edition)

Comments: The first phrase contains a non-dominant 9th chord. The second phrase ends with a picardy third. The third phrase ends with an interesting deceptive cadence of v to VI as the piece transitions back to f minor.		Analysis
pdfMIDITelemann, Georg Philipp – TWV 1:10 Ach Gott! dein Zion klagt und weint – Part 1
(arr. from the Peter Young edition)

Comments: The iii chord is used here in a major key. Voice overlap is more present in the last two phrases.		Analysis
pdfMIDITelemann, Georg Philipp – TWV 1:10 Ach Gott! dein Zion klagt und weint – Part 2
(arr. from the Peter Young edition)

Comments: The use of minor v in m. 6 is striking and an example of mode mixture. In measure 9, Telemann doubles the leading tone in the second phrase. A short chain of secondary dominants occurs in the third phrase leading to a tonicized half cadence.		Analysis
pdfMIDITelemann, Georg Philipp – TWV 1:11 Ach Gott, du bist gerecht – Part 1
(arr. from the Peter Young edition)

Comments: The third phrase tonicizes both the ii and IV tonal areas in two-measure phrases, both of which end in a PAC. All phrases end with a PAC ending ^2 – ^1 in the soprano in their respective keys.		Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:11 Ach Gott, du bist gerecht – Part 2
(arr. from the Peter Young edition)

Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:11 Ach Gott, du bist gerecht – Part 3
(arr. from the Peter Young edition)

Analysis
pdfMIDITelemann, Georg Philipp – TWV 1:12 Ach Gott! es geht gar übel zu – Part 1
(arr. from the Peter Young edition)

Comments: In measures 14-15, the figured bass indicates a G#, but the score shows a G natural. I’ve decided to change the alto part to a G#.		Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:12 Ach Gott! es geht gar übel zu – Part 2
(arr. from the Peter Young edition)		Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:14 Ach Gott, vom Himmel sieh darein
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:21 Ach Gott, wie manches Herzeleid
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:29 Ach, mein Herze schwimmt in Blute
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:31 Ach Seele, hungre, dürste
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:43 Ach, wo flieh’ ich Armer hin
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:45 Ach, wo kömmt doch das böse Ding her
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:54 Alle, die gottselig leben wollen
(arr. from the Peter Young edition)
Analysis
pdf
pdfmp3Telemann, Georg Philipp – TWV 1:65 Aller Augen warten auf dich
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:71 Alle eure Sorgen werfet auf den Herrn Part 1
(arr. from the Peter Young edition)
Analysis
pdf
pdfmp3Telemann, Georg Philipp – TWV 1:71 Alle eure Sorgen werfet auf den Herrn Part 2
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:71 Alle eure Sorgen werfet auf den Herrn Part 3
(arr. from the Peter Young edition)
Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:74 Also hat Gott die Welt geliebetAnalysis
pdfmp3Telemann, Georg Philipp – TWV 1:76 Also hat Gott die Welt geliebetAnalysis
pdfmp3Telemann, Georg Philipp – TWV 1:82 Also hat Gott die Welt geliebet Part 1Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:82 Also hat Gott die Welt geliebet Part 2Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:87 Also hoch und also sehr Part 1Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:87 Also hoch und also sehr Part 2Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:91 Amen. Lob und Ehre und Weisheit Part 1Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:91 Amen. Lob und Ehre und Weisheit Part 2Analysis
pdfmp3Telemann, Georg Philipp– TWV 1:98 Auf, erwachet, meine Sinnen Part 1Analysis
pdfmp3Telemann, Georg Philipp– TWV 1:98 Auf, erwachet, meine Sinnen Part 2Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:113 Aus Gnaden seid ihr selig worden Part 1Analysis
pdfmp3Telemann, Georg Philipp – TWV 1:113 Aus Gnaden seid ihr selig worden Part 2Analysis
Romantic Works
pdfmp3Andrée, Elfrida, Ur Drömliv I. Långsamt (Slowlly) (Out of Dream Life I.)
(The text by Viktor Rydberg has been removed)		Analysis
pdfMIDITaneyev, Sergei, Choruses, The Pine, [Сосна]

Comments: There are several examples of passing minor v chords. The augmented VI+ leads into the V/iv in the first phrase. The ii half diminished 7 chord substitutes for a iv chord in the first phrase creating a type of plagal cadence. The second phrase ends on a phrygian half cadence which progresses to a change of mode. An evaded cadence ends the third phrase, and a tonicized plagal half cadence ends the fifth phrase.		Analysis
pdfMIDITaneyev, Sergei, Choruses, Serenade, [Серенада}

Comments: The second phrase ends on the V/vi which creates an unusual type of deceptive cadence. Third phrase is an embedded sentence 2+2+(4 [1+1+2]). The tonicized plagal half cadence punctuates the IAC in the following phrase. This pattern continues but is reversed as the PAC punctuates the preceding plagal HC in the final phrase.		Analysis
pdfMIDITaneyev, Sergei, Choruses, Venice at Night, [Венеция ночью], mm.1-14

Comments: The augmented I chord in m. 2 is a good example of how most augmented chords function as passing chords. In mm.7-8, there is another good example of a tonicized plagal half cadence. The cadential 6/4 in mm.10-13, illustrate how cadential 6/4s can be expanded.		Analysis
20th and 21st Century Works
pdfmp3Busto, Javier, Ave Maria, mm7-14Analysis
pdfmp3Ešenvalds, Ēriks, O Salutaris HostiaAnalysis