1Composer: Claudio Monteverdi
2Madrigal: 5.4
3Title: Ecco, Silvio, colei che in odio hai tanto
4Analyst: Noam D. Elkies
5Time Signature: 4/4
6Key Signature: Bb
7
8Note: only one voice in bar 1; Basso continuo is silent. Cf. note to 6-10
9m1 g: i[no3][no5]
10m2 i
11m4 b4 I
12m5 VII b2 III6 b3 IV
13Note: 6-10 ~ 1-5 up a fifth, same text.  new voice in 6 has D ~ initial G, but here the 3rd of a chord.  No || between 5-6 and 10-11 because of phrasing.
14m6 III
15m7 v
16m10 IV b2 VII6 b3 i
17Note: the assignment of a "key" to 10-18 is a bit arbitrary.  I chose d because of the extended A major chord (12-15, elaborated in 15, q.v.)
18m11 d: III
19m12 V
20Note: ii6 sounds like a passing chord but tenor jumps to and from it, E G C#
21m15 b2 ii6 b3 V
22m16 b3 i
23m17 iv b3 VII
24Note: m18 b3 = rest
25m18 III || b4 Bb: I
26m19 b4 IV
27m20 b2 I6 b3 V
28Note: m21 b3 = rest.  21-24 could also be heard in d or g; I went with D because it's I-iv-V-I starting and ending in major
29m21 I || b4 D: I
30m22 b4 iv
31m23 b3 V
32Note: m24 b3 = rest
33m24 I || b4 g: VII
34m25 b4 III
35Note: m26 b3 = rest.  I don't think || is needed but I'll include it as a variant
36m26 b4 iv
37m26var1 || b4 iv
38Note: hard to hear m27 b2 as a passing chord: wide skips down in voices 1-3, with a cross relation Eb to E
39m27 b2 ii6 b3 V
40Note: m28 b3 = rest, except voice 4 connects
41m28 I || b4 C: V
42m29 I b4 IV6
43m30 V b3 I ||
44Note: 31-33 ~ 28-30 up a fourth, different text.  m31 starts with an 8th note rest, but it's the same chord so "b1.5 F: V" would probably be too fussy
45m31 F: V
46m32 b3 I
47m33 b2 IV6 b3 V
48m34 I ||
49Note: I'm writing 34 || 35 though voice 1 links them (bass imitates down a 5th half a bar later, supported by voices 2,3)
50m35 c: VII
51m36 III
52m37 i6
53Note: the 7-6 suspension of m38 b1 resolves on the next chord.  Or, voice 3 could be heard as an ornamentation too: var2
54m38 ii b3 viio6
55m38var1 ii7 b3 viio6
56m38var2 viio6
57m39 I || G: IV
58m41 IV6
59m42 I
60m43 V
61m45 I || b3 g: i
62m47 b4 I
63m48 IV6 b3 V
64Note: 48-50 only 3.5 chords but a clear cadential formula
65m49 F: I b4 I6
66m50 V
67Note: "G" or "g"?  The chords symbols are the same.  See m54 note; cf. 61ff.
68m51 I || b3 g: IV
69m52 b4 iio6
70m53 i
71Note: m54 b3 may be either i or I depending on continuo; cf. analogous 64 which is a clear major chord
72m54 V b3 i[no3][no5]
73Note: 55-64 ~ 45-54 up a fourth, same text
74m55 || b3 C: III
75m56 b3 i
76m58 IV6 b3 V
77m59 Bb: I b4 I6
78m60 V
79m61 I || b3 c: IV
80m62 b4 iio6
81m63 i
82m64 V b3 I ||
83Note: m65 b1 = rest
84m65 b2 d: iv[no5]
85m66 viio6 b3 I
86m66var1 ii b2 viio6 b3 I
87m68 b3 V
88m69 I[no3] ||
89m70 b2 a: iv6
90m71 V
91m71var1 V b4 V7
92m72 i b3 V
93Note: m73 b3 = rest.  m73 b4 to end ~ m65 b2 to m73 b1, same text
94m73 I || b4 G: IV
95m74 b3 viio6
96m74var1 b3 ii b4 viio6
97m75 I
98m77 V b3 I ||
99m78 b4 D: IV6
100m79 b3 V
101m80 b3 i
102m81 V
103m82 I
104Note: This "madrigal" is a "prime parte"; "seconda parte" = 5.5 ends in g.