And the glory of the lord

Question 1

What key is the majority of “And the Glory of the Lord” in?

Answer 1

A major

Question 2

Which keys does “And the Glory of the Lord” modulate to and how often?

Answer 2

E major twice, and B major once

Question 3

What is the majority of the texture in “And the Glory of the Lord”?

Answer 3

Homophonic

Question 4

What does homophonic mean?

Answer 4

That all the parts move together

Question 5

What is the texture of SOME parts of “And the Glory of the Lord”?

Answer 5

polyphonic

Question 6

What does polyphonic mean?

Answer 6

That the parts are weaving in and out of each other

Question 7

How many main melodic ideas are there in”And the Glory of the Lord”?

Answer 7

4

Question 8

Who is the first motif sung by in “And the Glory of the Lord”?

Answer 8

The altos

Question 9

Who is the second motif introduced by in “And the Glory of the Lord”?

Answer 9

The tenors

Question 10

What does syllabic mean?

Answer 10

That there is only one note per syllable

Question 11

What does melismatic mean?

Answer 11

That there is more than one note per syllable

Question 12

Who is the third motif introduced by in “And the Glory of the Lord”?

Answer 12

The altos

Question 13

Who is the last motif introduced by in “And the Glory of the Lord”?

Answer 13

The tenors and basses

Question 14

What happens after the motifs have been introduced in “And the Glory of the Lord”, give an example.

Answer 14

The parts imitate each other, such as in bars 79-83, the altos and tenors begin a phrase, then the sopranos and basses start the same phrase (at a different pitch) one bar later

Question 15

Which cadence does “And the Glory of the Lord” finish in?

Answer 15

A plagal cadence.

Question 16

What is the instrumentation in “And the Glory of the Lord”?

Answer 16

SATB choir, SATB soloists, and a full baroque orchestra (oboes, bassoon, trumpets, timpani, strings and basso continuo which was often a harpsichord)

Question 17

What are the three lines that make up “And the Glory of the Lord”?

Answer 17

And the glory, the glory of the lord (motif one) shall be revealed (motif two). And all flesh shall see it together (motif three). For the mouth of the lord has spoken it (motif four)

Question 18

What does the orchestra mostly do in “And the Glory of the Lord”?

Answer 18

Doubles the vocal parts and plays in unison with the singers

Question 19

What does the orchestra mostly do in “And the Glory of the Lord”?

Answer 19

Doubles the vocal parts and plays in unison with the singers

Question 20

What key is “And the Glory of the Lord” in, and what effect does this have?

Answer 20

Mostly, it’s in A major, although it modulates in a few places; it goes to E major twice, and B major once. It sounds happy and joyful.

Question 21

What is the texture in most of “And the Glory of the Lord”, and which texture does it change to in some parts?

Answer 21

Mostly, it is homophonic, but some parts are polyphonic. For example, in bars 91-107, all four vocal parts are singing different tunes at the same time.

Question 22

“And the Glory of the Lord” is in 3/4, but in some places it feels like it’s in 2/4, what is this?

Answer 22

A hemiola

Question 23

“And the Glory of the Lord” is made of a few motifs. How does Handel normally introduce these?

Answer 23

Very simply, just sung by one part, then weaves them into the rest of the music.

Question 24

Which section is the first motif first sung by in “And the Glory of the Lord”?

Answer 24

The altos in bars 11-14

Question 25

Most of the first phrase of “And the Glory of the Lord”is syllabic. What does this mean?

Answer 25

That each syllable has its own note

Question 26

Which section is the second motif of “And the Glory of the Lord” first sung by?

Answer 26

The tenors in bars 17-20

Question 27

How are the words ‘be revealed’ sung in “And the Glory of the Lord”?

Answer 27

They’re spread over a descending sequence, and the syllables of the word ‘revealed’ are spread over many notes- this is melismatic (the opposite of syllabic)

Question 28

Which section is the third motif first sung by in “And the Glory of the Lord”?

Answer 28

The altos in bars 43-46. The same bit of melody is repeated three times.

Question 29

Which sections are the fourth motif first sung by in “And the Glory of the Lord”?

Answer 29

The tenors and basses in bars 51-57. It’s the only motif introduced by two parts. They sing in unison for the first 5 bars, and in harmony for the last 2.

Question 30

What does it mean that most of the final motif is on the same note (A) in “And the Glory of the Lord”?

Answer 30

This is a pedal point (pedal note)

Question 31

Once the motifs have been introduced, what do the parts do in “And the Glory of the Lord”?

Answer 31

They imitate each other. The parts overlap; they’re singing in canon.

Question 32

Which cadence does “And the Glory of the Lord” finish on?

Answer 32

A plagal cadence.

Question 33

What is the effect of finishing “And the Glory of the Lord” with a plagal cadence?

Answer 33

It sounds finished. It’s the ‘Amen’ cadence; lots of religious pieces end with a plagal cadence.