In this curious setting, a kind of theme and variations for unison chorus and organ, the organ takes the place of a polyphonic choir, with the plainsong tune hidden within the counterpoint.

The choir begins by chanting the plainsong tune, an unassuming scale-wise melody, that concludes on the third step of the scale, creating a "left hanging" feeling. The the organ enters with simple, steady pulsed imitative counterpoint in simple note values except for a few two-note grace figures. It (half) cadences on the dominant chord.

The choir enters again on the same plainsong chant. The organ enters again, this time with a scale-wise figure in imitative counterpoint surroundng the plainsong tune. This time the counterpoint is more involved rhythmically, and emphasizes the "minor" quality of the mode more than before. At one point Tallis creates a wonderful dissonance by causing a momentary clash between the modal (natural, or unmodulating) and cadential (sharp, or modulating) forms of the scale's seventh step, a tension of the moving and unmoving that he employs throughout his choral works. (This perhaps can be regarded as a pitch version of what he does with his rhythmic illusion of movement in the same place). Again, the organ concludes on a dominant chord half-cadence, this time creating a different sensation from the previous section because it has been approached by a different harmonic pathway. The choir concludes with a final repetition of the plainchant.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.