And The Glory Of The Lord Not yet complete - contains basic info! 0.0 / 5 ? MusicHandelGCSEEdexcel Created by: Viv LeongCreated on: 07-04-14 20:25 Messiah and other key points composed in 1741 first performed in 1742 from the oratorio Messiah And The Glory: the chorus of the oratorio oratorio: large-scale musical setting of a biblical text, designed for concert performance fourth movement of the oratorio oboes and bassoons added afterwards 1 of 13 General features of Baroque music (c. 1600-1750) ornamented melodic parts major/minor keys began to be used, replacing the old modes system diatonic chords I, IV, V, II and VI used cello plays bass line with constant chordal support from a keyboard instrument (harpsichord or organ) - basso continuo different textures used, including monophonic, homophonic and polyphonic Baroque orchestras: newly invented stringed instruments used to provide harmonies trumpets, horns and timpani used woodwind instruments not commonly used - varied from piece to piece prevalence of one affectation (mood) contrasting of dynamics with no gradual changes: either loud or soft (terrassed dynamics) 2 of 13 Idea 1: And the glory of the Lord first three notes outline the triad of A major stepwise scale ending mainly syllabic begins in alto part 3 of 13 Idea 2: Shall be revealed two one-bar descending sequences melisma on 'revealed' begins in tenor part 4 of 13 Idea 3: And all flesh shall see it together repetitive three repetitions of a descending fourth idea some syllabic, some melismatic begins in alto part 5 of 13 Idea 4: For the mouth of the Lord hath spoken it long repeated notes doubling of parts majority on major pedal of E begins in soprano part 6 of 13 Melody heard in vocal parts some stepwise movement lyrics set both syllabically and melismatically four melodic ideas 7 of 13 Harmony/tonality begins in A major, modulates to E major (the dominant) and then to B major (the dominant of the dominant) returns to A major at the end largely diatonic several cadences through the piece plagal cadence at the end entirely major - follows happy affectation 8 of 13 Rhythm/metre 3/4 (simple triple) throughout hemiolas used (tied notes giving a feeling of 3 bars in duple rhythm, not 2 bars in triple rhythm) regular on-beat crotchet movement keeps piece moving dotted rhythms and syncopation used dramatic 3-beat rest at the end before the cadence adds emphasis 9 of 13 Texture largely homophonic (chordal melodies) and contrapuntal (melodically dependent but rhythmically independent) doubling of parts: strings double vocal parts counterpoint is frequently imitative vocal parts contrast with each other 10 of 13 Tempo allegro (quite fast) 11 of 13 Dynamics terrassed dynamics use of accents wide variation between forte and piano 12 of 13 Structure chorus 13 of 13
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