AQA AS Music

Behold I Tell You a Mystery

• recitative secco - dry recitative
• comes before an aria - The Trumpet Shall Sound (aria obbligato)
• narration - set mood for what is to come in aria - ressurection of Jesus

Analysis

• b. 1-2 in bass voice outline tonic triad notes
• dominant 7th chord used in b. 4 - would expect a Bb instead of an A#
• rhythmic language speads up at b. 5
• accompaniment goes from playing minims to quavers and semiquavers - changes the momentum - gives a dramatic effect -> word painting - 'chang'd, in a moment'
• b. 5 bass voice semiquavers become more frequent - prepares for trumpet
• b. 5 G# used - chromaticism - leads toward A major
• b. 6-8 antiphony between bass voice and accompaniment
• b. 6 fanfair like chords herrold the trumpets
• b. 8 A major chord - ends on dominant of D major - effect of imperfect cadence - but not

The Trumpet Shall Sound

• aria obbligato - aria with a solo instrument
• in the same key signature (D major) as Behold I Tell You a Mystery (recitative) - they link into each other

Analysis

• major key - dotted rhythm - majestic - Jesus' resurrection - marked Pomposo, ma non allegro (pompously, but not fast)
• b. 1 tutti orchestra + trumpet
• instrumentation - cleverly uses trumpet because of title
• b. 1-3 outlines the chord of D major
• ornaments - trills - stereotypical of Baroque period
• b. 9 & 11 sequencing in trumpet part
• b. 9-19 antiphony between orchestra and trumpet
• b. 28 rhythmic motif enters in bass voice
• b. 28 tonic chord established
• b. 30 word painting - sustained note on 'sound'

• bass voice mostly has crotchets and quavers
• b. 34-35 antiphony between bass voice and trumpet
• b. 35 dotted rhythm kept for trumpet
• b. 38 & 50 word painting - melody rises on 'dead shall be raised' - each time it's sung in the piece the note is higher
• b. 45-46 modulates as melody outlines the chord of A major
• b. 57 chromaticism with the G♮
• bass voice mostly syllabic - sometimes melismatic e.g. b. 60-65
• b. 68-78 antiphony between strings and trumpet
• b. 79 return to D major - outlined by octave leap
• b. 102 word painting - rhythm is always slightly changed  at 'be changed'
• b.121 & 122 consecutive 6ths and 3rds - gives harmonic orchestral support
• b. 137-138 interrupted cadence - Ic - VI
• DeCapo Aria
• 176-177 hemiola is achieved by ties
• b. 185-194 word painting - 'immortal' - reflects something thats never ending

He Shall Feed His Flock Like A Shepherd

• aria
• Binary form A,B,A,B
• compound signature - reflective of name as it is often used in folk music
• comfortable range for instruments

Analysis

• piece is a mixture of syllabic and melismatic word setting
• moves mainly in step
• b. 2 upper piano part moves in contrary motion - common in Baroque Period
• b. 6-7 modulates to F major
• b. 19-20 sequencing in soprano part
• b. 22 word painting - 'gently' moves by step
• b. 27 word painting - 'labour' octave leap - hard work
• b. 42 word painting - 'rest' sustained note

There Were Shepherds Abiding in the Field

• recitative secco - accompaniment is simple - emphasis on words
• C major

Analysis

• soprano comes in with dominant then up to tonic - major theme
• syllabic setting - simple e.g. b. 1 'step-herds'
• b. 2 chord 7 over tonic - prepares us for chord change in b. 3

And, Lo, The Angel of the Lord Came Upon Them

• recitative accompagnato - accompaniment is more complex than melody
• F major - subdominant of C major - There Were Shepherds Abiding in the Field

Analysis

• broken chord figure - main feature of accompaniment
• b. 1 broken chord feature outlines key - chord I
• b. 1 tonic pedal in accompaniment
• b. 2 added 7th in accompaniment - chord I7
• syllabic setting in soprano voice
• b. 3 chord IVb - D in bass
• b. 4 word painting - 'glory' highest note in section
• b. 5 chord V7b - E in bass
• b. 7 perfect cadence - V-I

And the Angel Said Unto Them

• recitative secco- accompaniment is simple -emphasis on words
• A major

Analysis

• b. 1 soprano voice starts on the tonic - makes key clear
• b. 1 starts on chord Ib
• syllabic setting
• b. 5 melodic minor - raised 6th - shows the shift
• b. 9 E# - indicates F minor

And Suddenly There Was With The Angel

•  D major

Analysis

• b. 1 tonic pedal
• b. 1-2 alternating 3rds and 4ths
• b. 3 semiquaver motif - creates excitement
• b. 3-4 soprano's first notes are dominant then tonic
• b. 4 semiquavers in voice heralds the modulation
• b. 5 modulates to E major - chord changes
• b. 5 tonic-dominant melody
• b. 7 chord IV
• b. 7 ambiguous key 
• b. 8 ends in E major- helps lead into Glory To God

Glory To God

• chorus
• D major

Analysis

• And Suddenly There Was With The Angel ends on E - subdominant of D major
• b. 1-4 1st subject in S,A,T
• b. 1-4 semiquaver runs in accompaniment - creates excitement
• b. 1 starts with dotted rhythm - majestic feel
• syllabic setting
• b. 5-7 2nd subject in T,B - longer rhythms - shorter phrase - static notes - don't jump around
• b. 6 word painting - 'peace' less busy and peaceful - sustained chords
• b. 7 gentle quavers and p dynamics
• b. 10 1st subject returns - start with tonic and dominant
• b. 14 2nd subject returns

• b. 18 3rd subject enters
• b. 18 staggered entry - canonic entry
• b. 72 antiphony between SATB
• b. 40-42 extended cadence - stereotypical of Baroque period
• b. 47-49 perfect cadence - V-V-I - unusual ending on B7 chord