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Handel found various ways to use the format freely to convey the meaning of the text. Occasionally verses from different biblical sources are combined into one movement, however more often a coherent text section is set in consecutive movements, for example the first " scene " of the work, the annunciation of Salvation , is set as a sequence of ...
It is the key in which the work reaches its triumphant ending. [115] In the absence of a predominant key, other integrating elements have been proposed. For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the "ascending fourth " as a unifying motif ; this device most noticeably occurs in the first two ...
Behold, a virgin shall conceive "Behold, a virgin shall conceive" ( Isaiah 7:14 ) is rendered in a short alto recitative, to be "called Emmanuel", translated to "God – with us", sung with a rest after "God".
For subdominant chords, in the key of C major, in the chord progression C major/F major/G7/C major (a simple I /IV/V7/I progression), the notes of the subdominant chord, F major, are "F, A, and C". As such, a performer or arranger who wished to add variety to the song could try using a chord substitution for a repetition of this progression.
One way is to simply use the word 'add', for example, C add 9. The second way is to use 2 instead of 9, implying that it is not a seventh chord, for instance, C 2. Note that this provides other ways of showing a ninth chord, for instance, C 7add 9, C 7add 2, or C 7/9. Generally however, this is shown as simply C 9, which implies a seventh in ...
While in his teens, Johnson was tapped to join Rev. C. W. Jackson's group, the 'Five Ways of Joy Gospel Singers'. In 1964 he formed his own group, "Willie Neal Johnson & the Gospel Keynotes", with long-time friends, Ralph McGee, Rev. J. D. Talley, Charles Bailey, John Jackson, Lonzo Jackson, and Archie B. McGee. [ 3 ]
Forgive our foolish ways! Reclothe us in our rightful mind, In purer lives Thy service find, In deeper reverence, praise. In simple trust like theirs who heard Beside the Syrian sea The gracious calling of the Lord, Let us, like them, without a word Rise up and follow Thee. O Sabbath rest by Galilee! O calm of hills above, Where Jesus knelt to ...
Originally possibly written in the key of D major, a more common key for a concerto or ouverture, Bach might have transposed it and the fugue into E ♭ major because Mattheson had described the key in 1731 as a "beautiful and majestic key" avoided by organists. The piece also has three separate themes (A, B, C), sometimes overlapping, which ...