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Bar 1 2 3 4 5 6 7 8
Chord C d D7 G G7 C
Harmonically, this is one unit, circling C major. From bar 5,
the words repeat, the
melody is slightly different, and the harmony fulfils a very
different function.
Bar What happens Comment
9-12 Extension of bars 7-8
G7 chord, in three different
voicings, bars 9-11.
The music is given time to
respond to the emphatic climax
of bars 7-8.
12 Cadence to G, dominant (V) of C Notice the emphasis
Bruckner
gives to the B naturals in bars
9-11. B is the mediant (3rd
degree) of G major, and theleading note (7th degree) of C
major. This prepares the ear for
bar 12; a resolution to C major
would have sounded weak.
12-16 Inaestimabile sacramentum
g -A (as dominant of d minor)
Graceful ascending gesture
16-20 Inaestimabile sacramentum
a - B (as dominant of e minor)
Exactly the same notes, a tone
higher, but greater impact
because of the transposition, anenhanced dynamic and the
cumulative effect of repetition.
21-29 irreprehensibilis est
subito piano
move back to C via B, A and G
The music is given time to
respond to the emphatic climax
of bars 19-20.
Tenor-stepwise chromatic
descent.
Soprano and Alto work out the
harmonic implications of thisdescent. move back to C via G
6/4 - 5/3 in bar 29
27-29 irreprehensibilis est Soprano and Alto double their
note values, changing the
rhythm onpre-hen
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30-39 Locus iste a deo factus est Verbatim repeat of bars
1-10
40-42 Extended 'Deo' moving by
chromatic steps to e minor.
This may be the next-most
important climax in the piece to
bars 19-20. The harmonic
movement and volume are of
comparable intensity.
43 [Rest] Restraint is very important in
art!
44-48 Coda:
C, F, D, (1st inversion F sharp in
bass), G, C.
