the rose
...al. However, the second theme is related to the first - mostly by motific development - namely, the use of the same rhythm as the one used to open the piece, though on different scale degrees. Whereas the consequent phrase stays in the key of e minor, the tonic seems to shift often in the antecedent phrase. During the opening two beats of measure six, D seems to be the tonic note, whereas two bars later, on the third beat, the tonic is heard as A. Finally, in the closing measure of the antecedent phrase, Handel moves back to e. Two bars later, in the middle of the cadential phrase, E is heard once more as “home”. The Grave section ends with a half cadence; on a root position B Major chord. The reason why I chose to explore the opening so thoroughly is because Handel tends to write much of the Messiah in the same manner as the opening twelve bars. He uses many hybrid phrases, along with simple sentences, periods, and double periods. The tonic is also named as many different notes, in different times. Following the Grave section is the Allegro moderato. Handel uses the period brilliantly here - rather than keeping the consequent and antecedent phrases in one voic...