Is this the wrong way of analysis?

Question

This is a piece from the 16th century by Thomas Tallis called "If ye love me".

I started by coloring the sentences in the different voices to make it more visible to me. I think this was a good way, but then I started analysing the chords. This worked out for the first line (in red, at the top | first picture), but when the voices unsynchronize, it becomes a total mess (2nd picture). Any other ideas on how to analyze this?

I've never done an analysis like this but if you say that's the way to go, thanks :) — user45165, Apr 04 '18 at 14:36
Handwriting and coloring skills aside, I assume your concern is the “messiness” of your harmonic analysis—the harmony no longer “lines up” as neatly as it did in the first 4 bars. It might be worth reading other questions that have been asked regarding harmony and counterpoint: — Neal, Apr 04 '18 at 14:44
For instance: [3535](https://music.stackexchange.com/questions/3535/how-is-counterpoint-different-from-harmony); [25267](https://music.stackexchange.com/questions/25267/are-counterpoint-and-harmony-mutually-exclusive); [38637](https://music.stackexchange.com/questions/38637/can-you-remove-harmony-from-counterpoint); [6423](https://music.stackexchange.com/questions/6423/can-modal-counterpoint-be-studied-without-studying-harmony-where-to-start) — Neal, Apr 04 '18 at 14:44
Thanks, that's what I was looking for, I guess I was searching for the wrong keywords^^. From what I understood, it makes more sense to analyze this in a matter of Counterpoint and less in a matter of chords, correct? — user45165, Apr 04 '18 at 14:49
@user45165 That seems reasonable. In some ways, analyzing it the way you did/are can get you a _rough sketch_ of the harmony in places, although it will not always be as clear-cut as the first 4 bars. Changing the perspective with which you are viewing and listening to the piece can return a more accurate picture sometimes. I assume that to be the case here with Tallis, but I have not looked further into the piece (and my skills at counterpoint analysis are nevertheless lacking—for the moment! One of these days, I’ll sit down and get a good grasp on it!). — Neal, Apr 04 '18 at 15:00
What is the purpose of your analysis? That may help us answer the question. — Heather S., Apr 05 '18 at 19:34
I'm trying to figure out what is typical for Renaissance writing because I need that to apply for music school — user45165, Apr 05 '18 at 19:43

score 1 · Answer 1 · answered Apr 04 '18 at 15:59

1

The first 4 bars are homophonic. Chordal analysis is appropriate. Then it goes polyphonic. The intervals between the voices are of interest, the chords they form less so.

answered Apr 04 '18 at 15:59

Laurence

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Thanks, one last question: I've never analyzed Counterpoint with more than 2 voices. What is more important: the interval to the Bass note or the note below the one I'm analyzing? Or both? – user45165 Apr 04 '18 at 18:26
The whole thing. But the driving force with be the intertwining voices, imitating and contrasting with each other melodically and rhythmically. Though each moment will still probably form an analysable chord, it doesn't matter so much WHAT chord it is! – Laurence May 04 '18 at 22:40

Is this the wrong way of analysis?

1 Answers1