Loading presentation...

Present Remotely

Send the link below via email or IM

Copy

Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.

DeleteCancel

Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

And the Glory of the Lord

No description
by

E Briffett

on 17 February 2014

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of And the Glory of the Lord

And the Glory of the Lord
In1701, the act of settlement was passed, meaning that Britain could no longer have a Catholic monarch on the throne. This then meant that when Queen Anne died, the line of monarchy was traced back to the next protestant royal, who was German George of Hanover. George had to move to England to assume the throne, but when he did he took his local cathedral’s organist
George Handel
. George III asked Handel to compose an
oratorio
, which is related to an opera, to almost show off England, but it was also said that “opera writing was no longer profitable”. This oratorio would be in a concert hall, with no fancy costumes or acting, and would be based on a Biblical story, making it sacred, and
written in English
unlike (mostly) Italian operas. This oratorio is known as Handel’s
‘Messiah’
,in which ‘For the Glory of the Lord’ is featured as the
fourth movement
but
first chorus
(both instrument and singers).
Context
-
Pedal
- "a tone sustained by one part, usually the bass, while other parts progress without reference to it" - e.g. bars 119-124 Continuo Bass
-
Cadences
- can be known as a chord progression or an ending sequence
Harmonic Devices
-
Sequence
- "A melodic or harmonic pattern successively repeated at different pitches with or without a key change"
-
Imitation
- Repetition of a theme/phrase/melody with variations in key/rhythm/voice - The orchestra often doubles the choral parts - e.g. bar 4-6 Violin I and bar 7-8 Violin II
-
Canon
- "A composition or passage in which a melody is imitated by one or more voices at fixed intervals of pitch and time"
Melodic Devices
-
Hemiola
- only appears in 3/4 rhythm (like for the glory of the Lord) but gives a feel of 2/4 by putting ties over the bar lines - these almost always appear before cadences - e.g. bar 40-41 Violin I
-
Syncopation
Rhythmic Devices
- SATB Choir - Sopranos, Altos, Tenors, Basses
- Violin I
- Violin II
- Viola
- Continuo Bass - Cello, Organ or Harpsicord
Instrumentation
"And the glory of the Lord"

- Sung initially by the Altos
- First three notes outline the A major triad
- Last three note are an ascending scale

Motif 1
"And all flesh shall see it together"

- Sung by Altos first (followed by Tenor imitation)
- Based on a descending fourth which repeats three times
Motif 3
Is mainly Homophonic and contrapuntal
Texture
"Shall be revealed"

- Sung at first by the Tenors
- Involves two lots of one bar descending sequences
Motif 2
"For the mouth of the Lord hath spoken it"

- Initially Tenors and Basses double together
- Uses long dotted minims that repeat (emphasize conviction)
Motif 4




Motifs
Good tidbits to know
-
Baroque
period - famous for thick textured, decorated music with simple harmonies/chords and terraced dynamics
-
‘Allegro’
- in English means ‘lively’
- Time signature is
3/4
- waltz-like
- Mostly in
A major
- at various points shows evidence of changing key to the dominant of A major (E major) - Altos sing an A# signaling a change to B major (the dominant of the dominant of A major)
- Was composed in
1941
by
George Handel
- Was first performed in 1942 in
Dublin



More on Cadences
There are many perfect cadences in 'For the Glory of the Lord', these usually come after the end of a section, or signal the change in the piece (e.g. from one motif to another).
There are only two plagal cadences, one being directly at the end and one other time in the piece.
There is also an imperfect cadence at bar 123 closer to the end too.
More on the end of the piece
- Is basically 4 bars long
- 'Adagio' - slow
- Has a plagal cadence - sounds like 'Amen'
- The continuo bass line is contrapuntal to the bass singers
- Is Homophonic - block chords
- There is a "general pause" where everybody stops singing or playing

Playing the same sound
Two or more independent but harmonically related melodic parts sounding together
Full transcript