In the next few bars, Beethoven implies key changes very frequently: In bar seventy-seven he implies G minor because of the F natural and E flat. In bar seventy-nine he suggests C minor due to the E flat. In bar eighty he suggests B-flat major due to B flat and E flat. The codetta starts at bar eighty-eight and is in G major. The codetta is the same as the first subject with a slight development.
The second subject is split into two main melodic ideas which are both in the dominant of F major. The first melodic idea (bars 23-38) leads to a perfect cadence (bars 37-8) which is then followed by the second idea (bars 39) than leads to the codetta (50-63). In the codetta there are two more ideas in the dominant key. The first is at the beginning of bar 50. This is repeated up an octave in bar 54 before leading via a two bar dominant pedal (57-8) to a perfect cadence in F (58-9).
After a repetition, the tonality changes to “C major”, but it is still in A section, which refers to theme one. Accordingly, the A section embraces binary sections. Then, the B section begins with a “short- short- long” motive in an “A major” key. After raising two themes, the C section starts by changing key to “f# minor” key which is the subordinate key of “A major”. Then, begin with measure number 58, the B section returns followed by a repetition of an A section.
The four note motive repeats in the first theme constantly repeated with variation in rhythm, instrumentation, and dynamic level. A short bridge is played the horns and then dies away. The second theme is a great contrast to the first theme. It’s in the relative major key, E flat major, playing the motive gently in the woodwinds. The development and the recapitulation manipulates the motive over and over again before pausing for an oboe solo which briefly halts the momentum of the music.
I like the xylophone part because it felt like it was one part of the song. In the second chorus, which is also a 32-bar form, repeats what was played in first chorus. In the music, it seems like that the piano is the main instrument. The entire band seems to be a main instrument for the background
The fourth and final motif “for the mouth of the Lord has spoken it” is sung by the tenors and basses and the majority of notes have the same pitch- A. The texture alternates between homophonic and contrapuntal textures, but there are a few short monophonic sections. Handel often combines different motifs to create polyphonic textures. Instruments often double vocal line although usually at different octaves. The composition is in ¾ and maintains a fast tempo (allegro) until the end when it pauses to create a stretched ending.
The melodic lines are played in the folk style and the instruments improvise around the melody at the same time. They sometimes play a very similar melody in slightly different ways and sometimes they weave a complex counterpoint (groups of instruments) around the melody and scale. The backing instruments create an
In the sonata form, how can we determine the principle subject? The principle subject consists of a simple melody with a string bass being echoed from the wind 3. How is the melody of the second subject different from the first? The first melody opens quietly with lyrical cello theme on piano which then changes into a series of elaborate transformations. The second movement has a melancholy theme on the piano separated by fast happy interludes.
It also ended with the sopranos singing at a forte. After the sopranos the male tenors then came in. The song was in African like language and was in a chant type style. The fourth song that was sung is O Vos Omnes. It was arranged by Pablo Casals in 1876-1973.