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Artistically, the madrigal was the most important form of secular music in Renaissance Italy, and reached its formal and historical zenith in the later-16th century, when the form also was taken up by German and English composers, such as John Wilbye (1574–1638), Thomas Weelkes (1576–1623), and Thomas Morley (1557–1602) of the English ...
In Baroque music, especially in France where the motet was very important, there were two distinct, and very different types of motet: petits motets, sacred choral or chamber compositions whose only accompaniment was a basso continuo; and grands motets, which included massed choirs and instruments up to and including a full orchestra.
The motet-chanson was a specialized musical form of the Renaissance, developed in Milan during the 1470s and 1480s, which combined aspects of the contemporary motet and chanson. Many consisted of three voice parts, with the lowest voice, a tenor or a contra , singing a sacred text in Latin, drawn from chant , while the two upper voices sang a ...
This includes the songs of chansonnier, chanson de geste and Grand chant; court songs of the late Renaissance and early Baroque music periods, air de cour; popular songs from the 17th to 19th century, bergerette, brunette, chanson pour boire, pastourelle, and vaudeville; art song of the romantic era, mélodie; and folk music, chanson populaire ...
The song begins with a falling tear motif, starting on an A and descending to an E by step on the text "Flow, my tears". This may have been borrowed from an Orlando di Lasso motet or Luca Marenzio madrigal (this type of motif was common in Elizabethan music to signify grief), in addition to other borrowings in the piece. [ 3 ]
Fair Phyllis (also Fair Phyllis I saw, Fair Phyllis I saw sitting all alone) is an English madrigal by John Farmer. The music is polyphonic and was published in 1599. The madrigal contains four voices and uses occasional imitation. It also alternates between triple and duple beat subdivisions of the beat in different parts of the work.
Duets alternate between voices and often break off into trios. The lines are punctuated by structural cadences, presenting the text in a temporary repose. Josquin locates each of these structural cadences in progressions of increasing power, placing the strongest, most perfect cadence for the very end of each line.
The motet is written for four voices, soprano, alto, tenor, and bass. It is set in imitative polyphony throughout, with attention to the meaning of the text in subtle word-painting. For the word "desiderat", expressing longing, the pace is faster, and the melody rises, reaching its peak on the word "fontes" (streams, water, fountains).