This exercise is about listening to Kyrie from Palestrina’s Missa Brevis and noting different occurrences listed by the brief within the score of the piece.
Below are the photos of the score I marked.
The main thing I found problematic with this exercise is that all the brief points appear often in Kyrie, being characteristic of Palestrina’s style in general. The first point already reflects this. It is about annotating a place where the entry of each vocal part is in imitation. As can be seen from the marked score, each section of Kyrie starts with imitation – purple lines in the photos. While the first (bb. 1-19) and second (bb. 20-37) sections consist of imitation of the theme that begins with longer note values (breve and semibreve), thus making the imitative polyphony longer; in the third (bb. 38-58), the note values are slightly shorter (semibreve and minims) so that the entrance of the voices in imitation is more successive and closer. Another thing that can be noticed is that in the Continue reading “Exercise 1.1”