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As Vesta was from Latmos descending

- As Vesta begins homophonically in major tonality, perhaps to establish a


base tonality (Vesta was the goddess of the hearth like the home). Latmos
was a mountain, and one can clearly hear the voices ascending when singing
from Latmos before quickly descending on descending. Note that the
singing of descending is not bent but sung as repeated vowels in a scale,
often in polyphony. This mirrors more of a step-like motion instead of a
smooth gliding down Latmos; this mirrors the text as humans dont glide
down a mountain but walk down step-by-step.
She spied a maiden Queen ascending
- She spied a maiden Queen is sung primarily in a minor tonality, using minor
3rds and 7ths to produce a softer tone colour to match the action of spying;
spying is subtle and requires soft and prudent actions instead of the bright
and hard tones of a major tonality. Again, the ascending voice rises by step,
but notice the transition from minor scales to major scales. On one hand, we
can interpret this as an overarching rise to match the ascending character,
or as a shift in POV to the maiden Queen. I think the 2 nd one makes more
sense as due to the next phrase.
The same Attended on by all the shepherds swain;
- Note that the first time is sung in a major tonality and the second in a minor
tonality with a louder bass voice. As with the previous stanza, the major
tonality continues the POV of the maiden Queen, while the minor tonality
returns to Vesta, who is still spying on the Queen.
To whom Dianas darlings came running down amain
- The positive tonality returns to the Queen as she sees Dianas darlings (later
referred to as the nymphs), and the word painting for running down amain
is captured by further polyphonic step-like downward singing in imitation.
Note that the r is rolled, which adds an extra image of quick paces down
this extra paints the word amain well.
First two by two, then three by three together
- Two by two and three by three are word painted appropriately by the
number of voices sung before merging to together homophonically.
Leaving their Goddess all alone, hasted thither;
- Continuing on the action together, the voices sing homophonically on
leaving their Goddess to signify group action, before only one voice is left
to further portray the action all alone. hasted is then suddenly ignited by
using a small stepwise increase to invoke the energy of their fast movement
2 lines earlier.
And mingling with the shepherds of her train,
With mirthful tunes her presence did entertain
- These two phrases begin homophonically before scattering into polyphony to
paint the mingling action. The first round of mingling is sung in a minor
tonality to reflect the spying still by Vesta as mirthful is sung descending to
image the nymphs coming down to meet the Queen and then the highest
note of the piece is sung on presence to indicate a turning point, before the
POV switches as does the tonality.
Then sang the shepherds and nymphs of Diana:
- This phrase is sung homophonically in a major tonality like a song of praise,
only turning to minor on Diana still to refer to the other POV.
Long live Fair Oriana!

The polyphonic imitative cheers are sung in major tonality to mirror the
character of the cheers by the shepherds and nymphs, turning minor once
more to remind us of the POV of Vesta still watching her, before returning
back to the major tonality to resume the festive cheering.