This final movement begins with two single lines from the soprano, representing the character of Miriam, and answered each time by the full eight-part chorus, leading into a final triumphant choral section full of joyous, running sequential passages and excited interjections. The words “I will sing unto the Lord” are treated to augmented note values which, against the rest of the texture, sound almost like a superimposed chorale melody, although they are not.
Chorus Soprano SATB SATBExodus 15, v 21 |
Sing ye to the Lord for He hath triumphed gloriously; the Lord shall reign for ever and ever. The horse and the rider hath He thrown into the sea. |
*Simple Glossary of Musical Terms
| Secco | Literally dry – recitation for solo voice with minimal accompaniment from the harpsichord and cello Compound Duple Music which has two beats in the bar, each of which is subdivided into three smaller sub-beats |
| Imitation / Imitative | Where individual parts deliberately imitate each other at a short distance |
| Counterpoint | Where individual parts move independently of each other, starting and stopping at different times |
| Homophonic | Where individual parts move together, with the same rhythm simultaneously |
| SATB | Soprano / Alto / Tenor / Bass |
| Fugue / Fugal | A strict form of music where one part begins with a clear motif, or subject, which is then repeated by other parts in turn joining the texture; similar to a round |
| Chromaticism | Where the music moves up or down by very small intervals, usually just a semitone at a time |
| Parodied / to Parody | To copy, arrange, borrow, plagiarise music already written – either by oneself or another person. |
| Antiphony / Antiphonal | Where two or more parts appear to be having a musical conversation or dialogue, taking it in turns to speak |
| Tremolando | Where one or more notes are repeated as quickly as possible for a fixed period of time |
| Sostenuto | Sustained – where notes are held on for a long time |
| Inégal | From the French for “unequal”. A Baroque performance practice where pairs of straight quavers are played in a dotted or uneven way; a kind of Baroque equivalent to a modern swing rhythm in jazz |
| Countersubject | A second melody played concurrently to the main theme or subject – especially in a fugue |
| Cadence | The final few chords of a musical phrase or sentence |
| Hemiola | Where the natural emphasis of the time signature is temporarily displaced for effect; e.g. where two bars of three time suddenly sound like three bars of two time, or vice versa |
| Sequence / Sequential | Where a fragment of melody and harmony is repeated several times, each time becoming successively higher or lower in pitch |
| Obbligato | A solo instrument, or instruments, in a vocal aria usually accompanied by strings and/or continuo |
| A Cappella | Voices only – unaccompanied by instruments. (Literally – as “in chapel”) |
| Exposition | The opening section of a piece (in this case a fugue) where the new themes are heard (exposed) for the first time |
| Polyphony / Polyphonic | The same as counterpoint |
| Ricercare | An elaborate contrapuntal instrumental composition in fugal or canonic style, popular in Italy |
| Ternary | A piece in ABA form. In the case of a Baroque aria, known as da capo |
| Pedal / Pedal Point | A sustained note in the bass whilst melody and harmony move freely above |
| Harmonic Pulse | The frequency with which the chords (harmony) change |
| Ritornello | In this context, a mono-thematic passage of music for the orchestra only |
| Melisma / Melismatic | A passage of music where one word or syllable is set to several or many notes |
| Syllabic | A passage of music where each word or syllable is set to a different note |
| Ostinato | A pattern of notes or rhythm which is successively repeated several times |
| Diminished Chord | A chord made up of minor-third intervals between the parts, historically often used by composers across many nationalities to generate tension or fear, or to intimidate |
| Appoggiatura | A melodic device, or ornament which usually creates tension by producing a teasing dissonance in the melody line which is immediately resolved |
| Suspension | A harmonic device which creates tension by producing a pleasant dissonance between two parts, which is immediately resolved |
