Coventry Carol Essay

"Coventry Carol" is an English lullaby sung in the 16th century mystery play The Pageant of the Shearman and Tailors. It tells the tale of Mothers mourning the soon deaths of their children during the Massacre of the Innocents, a biblical and historical event where all infants under the age of two in Bethlehem were killed. The Coral itself is a Renaissance piece as it contains the stylistic aspects of the time period such as: cantus firmus, counterpoint, as well as Picardy 3rd.
Cantus firmus, the first defining point that makes “Coventry Coral” a Renaissance piece, can be described as a familiar tune appearing throughout a polyphonic like composition. It is usually through the tenor line, and can be within a plain or folk song (in the orchestral arrangement by David Bobrowitz, the tenors previously mentioned will be represented by the violas). From measures 1 to 17 the violins I present the melody for the first time, and restate it in measures 20 to 25. This melody once again resurfaces with the cellos, bass, and most importantly violas (tenor) at measures 32 and so on to 36.
“Coventry Carol” does have a Picardy 3rd. From measures 71 to 78, a happy major chord takes over from the depressing g minor key. There are people who, with fiery passion, strongly hate the idea of Picardy 3rds; however from a narrative point a view the Picardy 3rd would be the hope and love that the mothers of these poor infants, destined to die, have in their hearts. Whatever the case may be, “Coventry Coral” does posses a Picardy 3rd and with it is the final point to prove that Coventry Coral is in fact from a the Renaissance time period.
From cantus firmus to Picardy 3rd, the 16th century christmas lullaby, “Coventry Carol”, is in fact a Renaissance piece, as it contains the stylistic aspects of the time period such as: cantus firmus, counterpoint, as well as Picardy