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.