Assessment Schedule:

Hallelujah Chorus Analysis

Analysis Evidence

Section 2:
Melody:
Upward scale; octave leap on omnipotent; Downward scale
Texture:
Opening monophonic (with explanation) then homophonic; 2nd part polyphonic (with explanation and/or
musical quotation)
Dynamics: Forte (loud) throughout
Mood:
Joyful (eg through loud dynamics repetition of hallelujah)
Word Painting: Omnipotent the most important word. Handel makes it stand out by an octave leap the first time it is
heard and the syncopated rhythm. He also repeats it in counterpoint with the word hallelujah in the second section

Section 3:
Melody:
First section low (range Perfect 5th) downward contour; Second section high
and begins
th
after a leap of a 10
Tone Colour:
Voices and strings for the first part (the kingdom of this world); trumpets and timpani enter in second
part (the kingdom of our Lord)
Dynamics: Terraced dynamics (this world p; our Lord f); sudden changes rather than gradual
Mood:
Contrast between our world and the importance of the kingdom of our Lord (shown by contrasting
dynamics, melody, addition of trumpet and timpani)
Word Painting: Separation of the two worlds by high tessitura for latter, contrasting timbres and contrasting dynamics

Section 4:
Melody:
Angular melody, moving downwards.
Subject (tonic, D major) and answer (dominant, A
major) of a fugato section. Octave range. The melody is altered slightly at the end when tenors and sopranos repeat it (as
the answer).
Tone Colour: Voices and strings. The tone colour changes as each voice enters in turn with the fugal subject. Basses enter
with subject, then tenors with answer, altos with subject and sopranos with answer.
Rhythm:
Rhythmic independence of countermelody motif (hallelujah),
in contrast to crotchet/quaver
movement of fugue theme. Mostly syllabic word setting with occasional melismas (ever tenors and sopranos)
Texture:
Monophonic texture when bass enters alone with fugue subject. Texture becomes polyphonic when altos enter
with the rhythmically and melodically independent countermelody.
Word Painting: Handel matches the words forever and ever by the use of fugal writing the words and music keeps
on repeating (goes on forever and ever).

Section 5:
Melody:
Opening phrase a static melody (repeated As inverted dominant pedal). Answering phrase is the motif from
section 1. Melody then moves up sequentially to the climax.
Texture:
King of Kings monophonic; hallelujah/ forever homophonic
Tone Colour: High tessitura from beginning of sequence (sopranos). Trumpets and timpani enter at and reinforce the
climax.
Mood:
Very powerful, reinforced by loud dynamics (fff), monophonic and polyphonic texture and high tessitura.
Word Painting: This section is all about God (on high) King of Kings and Lord of Lords leads to the climax
(reinforces the importance of the words). Monophonic and homophonic texture ensures the words can be clearly heard.
Primary chords (I, IV and V) add to strength of words.

(Teacher copy)
Achievement
Demonstrate
knowledge of
elements and
features of music
works:
As evidenced by:

Achievement with
Merit
Demonstrate
knowledge of a range
of elements and
features of music
works:
As evidenced by:

AT LEAST three
(of four sections
attempted

ALL FOUR sections

attempted

AND

AND

THREE (of four)

words accurately
identified and
described within
each section

THREE (of four)

words accurately
identified and
described in detail
within each section
with AT LEAST ONE
score reference (words
or bar numbers) or
musical quotation used
in the description

AND

AND

Some conclusions
drawn about how
they combine to
create musical
effects in the word
painting aspect of
each section

Valid conclusions
drawn about how they
combine to create
musical effects in the
word painting aspect
of each section

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Copying other than by the licensee is an infringement of copyright

Achievement with
Excellence
Demonstrate
knowledge of a wide
range of elements and
features of music works
As evidenced by:
ALL FOUR sections
attempted
AND
ALL FOUR words
accurately identified
and described in depth
within each section
with AT LEAST TWO
score references (words
or bar numbers) or
musical quotation used
in the description
AND
Valid and perceptive
conclusions drawn
about how they
combine to create
musical effects in the
word painting aspect
of each section

Assessment Schedule:

Hallelujah Chorus Context

(Teacher copy)

Context Evidence

Achievement

Overture: Orchestral movement before the opera / oratorio. Messiah overture is a French Overture
Slow (dotted rhythm), quick (fugal section); slow section
Aristocracy:
Handels operas were at first very popular with the aristocracy, but when they lost
their popularity, he began to write oratorios (eg Judas Maccabeus; Messiah) that became just as popular
Bach:
Born in the same year as Handel (1685). Both successful composers, but Handel travelled
widely while Bach remained in Germany. Handels vocal output was mainly operas (eg Rinaldo; Julius
Caesar) while Bach wrote mainly sacred music (eg St Matthew Passion; B minor Mass)
Chorus: Used in operas and oratorios to comment on the action/ or story by a group of singers.
Examples of Choruses from Messiah are And the Glory of the Lord; Amen Chorus and Hallelujah chorus
Fugal:
An imitative style where the subject (tonic) is stated and then repeated in the dominant
(answer). Many of Handels choruses are fugal (eg Amen Chorus, fourth section of Hallelujah Chorus)
Recitative: Words are more important than the melody line used to move the story along. There are two
types Recitative secco accompanied by harpsichord (eg And there were Shepherds); Recitative
stromentato accompanied by string section (eg Comfort Ye)
Oratorio: A large-scale sacred work very similar to an opera, but without action, costumes or scenery.
Performed by soloists, chorus and orchestra.
The Bible: The words for most of Handels oratorios came from the Old Testament. Only the Messiah
has words taken from the New Testament.
Baroque: Used in art and architecture as well as music to describe an ornamented style (literal meaning
is misshapen pearl). The period began around 1600 with the birth of opera and came to a close with
Bachs death in 1750.
Basso Continuo: Refers to the cello/bass line with figures underneath from which the harpsichord player
made up (realised) his part. Also called figured bass. No figures underneath indicated a root position
chord; a 6 indicated a first inversion chord
George I: Handels patron in Germany was the Elector of Hanover who later became George I of
England. George I is said to have been so enthusiastic about the Hallelujah Chorus, that he stood up when
it was performed, thus enforcing the audience to stand. This tradition continues today.
Harpsichord: A keyboard instrument where the strings are plucked rather than hammered (as a
piano). The orchestra had no conductor and was led by the harpsichord player who filled in the harmonies
by realising his part from the figured bass.
Aria:
A solo song. Often contained ornate (coloratura) passages and was designed to show off the
singers technique. In a da capo aria, the first section was sung again at the end, but with further
ornamentation
Other responses possible

Demonstrate
knowledge of the
context in which the
Hallelujah Chorus was
written
As evidenced by:
Accurately describes
TEN (of fourteen)
words in relation to
their significance to
Hallelujah Chorus

Achievement with
Merit
Demonstrate a breadth
of knowledge of the
context in which the
Hallelujah Chorus was
written
As evidenced by:
Accurately describes in
detail ELEVEN (of
fourteen) words in
relation to their
significance to
Hallelujah Chorus

Achievement with
Excellence
Demonstrate a breadth
and depth of knowledge
of a features of music
work and the context in
which the Hallelujah
Chorus was written
As evidenced by:
Accurately describes in
depth TWELVE (of
fourteen) words in
relation to their
significance to
Hallelujah Chorus

AND

AND
Provides a valid
personal response

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Copying other than by the licensee is an infringement of copyright

Re-orders the key

words / phrases so as
the descriptions have a
logical flow
AND
Provides a coherent
personal response

AND
Re-orders the key
words / phrases so as the
descriptions have a
logical flow
AND
Provides a coherent and
informed personal
response