Karteikarten
Handel setwork notes
Karten in diesem Stapel (14)
- 1Bars 1-6 Opening Orchestral Ritornello• G major 4/4 Time Signature
• Theme A introduced by 1st Violin Imitated by 2nd Violins (octave
lower)
• Theme C Ascending Sequence , Semiquavers in Parallel 6ths
• Syncopation, Perfect Cadence and Trill Finish Ritornello - 2Bars 7-8• Theme A ‘For unto us’
⁃ Sopranos falling 5th, rising 4th, repeated notes
⁃ Mainly Syllabic - 3Bars 8-12Theme B1 ‘Unto us a Son is given’
⁃ Descending Scale but Ascending Sequence
⁃ Mainly Syllabic - 4Bars 12-24• Theme A in Tenors
• Theme C ‘For unto us a child is born__’ in Sopranos
⁃ Beginning based on imitation of Theme A
⁃ Ascending Sequence & Melismatic Semiquavers
⁃ Contrapuntal texture created with tenors who sing Theme B1
'For Unto Us a Child is Born' from Handel's Oratorio, Messiah
• Theme C in Basses underneath this time
⁃ Contrapuntal texture created with Altos who sing Theme B1
• Ends with an Imperfect Cadence
• Theme A in Altos in D major - 5Bars 24-26• Theme B2 ‘Unto Us a Son is Given’
⁃ Descending triadic melody in imitation between Basses
& Altos
⁃ Ends with an Imperfect Cadence - 6Bars 26-32• Theme D ‘And the Government’
⁃ Tenors on their own at first
⁃ Dotted Rhythms in short Ascending Sequential 3rds
⁃ Descending Scale leads to an inverted dominant pedal
• Imitation by Sopranos first followed by Altos and Bass in
Compound 3rds
• Passage becomes Homophonic and ends with an Imperfect
Cadence - 7Bars 33-37• Theme E ‘Wonderful, Counsellor’
• First time Chorus together
• Word Painting: majesty implied by
⁃ Homophonic Texture, with repeated Semiquaver Violins
in 3rds
⁃ Harmony based on Primary Triads
⁃ Repeated Dotted Rhythms in Voices
⁃ Ends on Perfect Cadence - 8Bars 37-43• Abruptly back in G major
• Theme A in Altos in D major
• Theme A in Altos
• Theme C in Tenors underneath this time
⁃ Contrapuntal texture created with Altos who sing Theme
B1
• Theme B2 in Sopranos imitated by Basses
⁃ diminution of initial material - 9Bars 43-53• Theme D Altos on their own at first
• Imitation by only by Basses this time
• Ends with Homophonic Texture
• Theme E in G major this time
• Voices reordered this time - 10Bars 53-61• Like Bar 12 but different voicings
• Theme A in Tenors imitated by Sopranos
• Theme A in Basses with transpositio n t o C majo r
• Theme C in Altos above this time
⁃ Contrapuntal texture created with Bases who sing Theme
B1
⁃ Tenors & Sopranos imitate Theme B1 in harmony - 11Bars 61-72• Voices enter same order as bar 26 but in C major this time
• Theme D in Tenors, imitated by Sopranos, then Bass & Altos
in Harmony (3rds - not compound as before)
• Ending in Homophonic Texture & Perfect Cadence this time
• Theme E starts in C major but modulates to G major at the end - 12Bars 72-79• Theme A in Bass imitated by Tenors
• Theme C in Sopranos & Altos in parallel 3rds this time
⁃ Contrapuntal texture created with Tenors & Bases who
sing Theme B1
• Theme B1 Ends full choir homophonically - 13Bars 79-91• Theme D in Sopranos imitated in stretto by Altos
• Tenors & Basses join in with 3rds producing homophonic
texture with Altos & Sopranos - longer than before
• Theme E back in G major
• Same as before except for descending scale in Soprano, and
the end of the theme is repeated (along with the scalic idea)
• Perfect Cadence again (with V7) - 14Bars 92-99• Opening Orchestral Prelude returns as a Postlude
• Theme A and Theme C again, but reworked
• Ascending Sequence, Semiquavers in Parallel 6ths
• Syncopation, Perfect Cadence and Trill Finish Ritornello
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- Beschreibung
- GCSE Music Karteikarten am Handel setwork notes, erstellt von Cara Hilley am 19/12/2023.
- Erstellt von
- Cara Hilley
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