Summary
Summary table of Handel Set works on CCEA Spec
- Institution
- CCEA
A table that summarises the key features of the Handel pieces in A2 music in relation to text and common exam questions
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I Rage- Recitative StromentatoLine Text Melody Accompaniment
1 INTRO -Strong sense of EbM (V)
-Quick, furious chords
-Ascending/descending SQ scales
2 ‘I rage’ -Bass voice -Unaccompanied
-Virtuosic scalic melisma
-Repeated rising 3rd
-Crescendo from semiquavers taken from intro
4 ‘I rage, I rage’ -Ascending Eb Triad -Punctuating chords
5 ‘I melt’ -Move to slower tempo (Adagio) -Unaccompanied
-Eb7 3rd inv.
-Quieter dynamic (p), legato
6 ‘I burn’ -Return to fast furioso tempo -Abrupt key change. Chord in Orchestra leads to dim7th (tonal instability) on
-Falling tritone in melody (Tonal instability) ‘The’
-Unpredictable rests -Unpredictable rests
7 ‘Stabbed me to -Repeated notes in vocal line
the heart’
8 ‘Thou trusty -Modulation to FM just before.
pine…’ -Suspected further move to Bb through F7 but revoked by dim7th on ‘Prop’
9 ‘I lay thee by…’ -dim7th mods to Gm
10 ‘Capacious -Angular Vocal Melody -4-3 suspension in orchestra
mouth’ -Ends on a low F (sound of reed pipe)
11 ‘In soft…Sweet -More melodic vocal line -Slower tempo and softer dynamic
Galatea’s beauty, -Change of vocal tone -Move to AM
and my love.’ -Sustained acc.
-Slower harmonic pulse (chord a bar)
-Final perfect cadence in Dm
O Ruddier Than The Cherry- Aria
0 Intro - Sopranino recorder descending scale reflects reed pipe of previous recit.
1 ‘O ruddier than’ -Bass Voice -Arpeggio figure adopted in bass line
-Main melodic backbone of Gm in arpeggio like -Recorder scale developed in orchestra in descending sequence, passing
melody through Cm and then in an ascending sequence towards Dm before being
used in 3rds and another ascending sequence
2 Interlude -Descending sequence of scalic motif and bass line modulate to BbM
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