How Handel Schieves a Sense of Majesty in his Setting of The King Shall Rejoice

How Handel Schieves a Sense of Majesty in his Setting of The King Shall Rejoice

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How Handel Schieves a Sense of Majesty in his Setting of The King Shall Rejoice


There are many factors that come together in Handel's The King Shall
Rejoice to create majesty. This essay will include such musical
aspects as; style and influences, texture, rhythm, the texts used,
melody and instrumentation. There are five movements within Handel's
The King Shall Rejoice; this essay will include examples from each
movement.

Handel achieves a powerful and bright opening at the start of the
first movement through a strong and steady tempo. The music is in four
four time; this common time signature helps to emphasize the vocal
line and the majesty of the words. The key signature of D major is
used as the tonic from the start of the first movement; this key
conotates strength, happiness, positivity and majesty.

Handel has many influences, mostly European. The influences that we
can see coming through in Handel's The King Shall Rejoice to create
majesty are, Italian, French and English. The sense of the dramatic in
Handel's The King Shall Rejoice is an Italian influence on the piece.
Italian opera was renown for being dramatic and Handel incorporates
this device successfully into his music.

The dotted quaver and semi quaver rhythmic motif that keeps appearing
all the way through the five moments is an example of a French
influence on Handel. An example of this is on the last beat of bar 22
in the first movement. This rhythm is commonly referred to as 'the
French overture rhythm'. Hemiolas are another example of French, dance
influences in The King Shall Rejoice. An example of a hemiola (where
the music feels like it is in two f...


... middle of paper ...


...ment finishes on a
Phrygian cadence which sets the stage for the tonic minor (B minor)
used in the fourth movement.

The fourth movement (Thou Hast Prevented Him With The Blessings Of
Goodness) is in the tonic minor, B minor, the only minor mode movement
in the anthem. This movement has a fugal and often contrapuntal
texture, an example of this is in bars twenty-three and twenty-four of
the fourth movement. In the fifth movement (Alleluia) the texture is
thick and contrapuntal, this heralds the end of the anthem and
accentuates the name of the movement 'Alleluia', this word, meaning
'praise the lord' has a double meaning; the audience is encouraged to
both praise god and praise the king. The word is repeated through out
the movement for effect and emphasis of the majesty of the occasion
and importance of the word.

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