Handel's Oratorio: Messiah

Handel’s Messiah
No. 9 (measure 107-138)
Handel’s Messiah is a Baroque-era, awe-inspiring composition; rich with history, profound in meaning, and intensely intimidating when asked to dig deep into its inner workings. When first receiving this assignment, I was overwhelmed by what I was being asked to do. But after analyzing and critiquing the melody, adding figured bass symbols, macro-analyzing the chords, adding roman numerals, and commenting on the voice leading in chords moving in root position, I feel as if I have only scratched the surface of all Handel put into the Messiah. In this paper I will be discussing and critiquing the melody, addressing the effect of consonant and dissonant sounds, commenting on the uncommon motion between root position chords, and observing the aesthetic effect of what Handel did with this part of the Messiah.
Beginning with the melody, which I have assumed to be the vocal parts, the first thing I noticed was that in the soprano part there is a leap from an A3 to a D4, followed by an E4. This is interesting, because according to the principles of voice leading a melodic interval larger than a perfect fourth, which is what we have from the A to D, should be approached and left in the direction opposite to the leap or should outline a triad. What we have instead is a continuation upwards, without outlining a triad. This happens in the tenor part in measure 114, again in the bass part at the end of measure 119 to measure 120, and one last time, again in the bass part, with an octave leap. Handel breaks this rule as well as the rule of repeated figures of three or more tones. This can be found in measures 117 to 118 in tenor and alto,...

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In this paper I have outlined my critique of the melody, the exciting effect consonance and dissonance have, odd motion between root position chords, and how I perceive the difference of ensemble at this part in Handel’s work. Overall, this assignment helped me realize how important it is to know theory in order to fully understand the musicality of a composition. Music isn’t just about the sound, although that does play a colossal part. Fully comprehending a composition takes patience, a positive perspective, and a desire to take time to grasp all of the hidden meanings behind chord structures, note sequencings, and the chosen lyrics. This assignment taught me how to take what I have learned in class and apply it in reality. Everything I have been taught this semester was put to the test, and has hopefully stood up to the challenge.