Stylistic Features – Vocal Music. Locus Iste (Bruckner 1869).
Piece
Structure
Tonality
Harmony
A – ends with perfect cadence
Ternary form
Bruckner
Locus Iste
A – 1-12
B – 13-29
A’ – 30-48
A – C major / G major
B – D minor bar 16; E minor
bar 20; C major bar 29.
A – C major
Bruckner
1869
B – Ends with imperfect cadence bar
29
A – cadence chromatically extended to
end with a sustained perfect cadence.
Phrygian cadence 15-16 with and
anticipation on the first chord and
suspension on the second chord.
Unprepared dissonance (alto bar 22),
lingering dissonance (soprano & alto
bar 46)
False relations bar 12-13
Melody
Conjunct; some unusual
intervals (major 7th soprano
bars 9 & 10).
Vocal Writing / Word
Setting
Mainly homophonic four part writing,
ensures that words can be heard in a
large reverberant church.
Mainly syllabic apart from bars 40-42
where a melisma is used on the word
deo (God).
Other
Locus iste written in 1869 is a motet –
a short piece of sacred music with latin
words so be sung A cappella by a
Choir. It is traditionally sung to
dedicate a church.
Texture
Four part texture. Mostly
homophonic.
Three part texture bars 2129 (no basses).
Imitation between tenor and
sopranos bars 21-26.
Rhythm
4/4 time
mainly minims and
crotchet note values.