Homophony and Repetition: Zadok the Priest: Post 6

Section 1:

• For Handel’s piece, in section 1, once “Zadok the Priest” is chanted, a

short homophonic statement is developed from the opening harmonies

based on the orchestral introduction. An example can be seen in measure 23, where the chorus begins to sing with half notes at the same time, creating a chord, in addition to the quarter, eighth, and sixteenth notes played by instrumentation.

• There is a general homophonic texture for the first section, spanning around measures 1-23, where by the orchestral introduction, there are semiquaver broken chords un upper parts for measures 1-29. There are also repeated quaver chords based on chords, one per measure until measure 16.

• For the choral entry, the use of the homophonic texture and its use of block harmony supports the enunciation of the sacred text, which makes use of simple rhythms, which could be homorhythmic, a condition in homophony. An example is at measures 23-29.

• Repetition is somewhat introduced, though one who would hear the piece might not recognize it at first. The opening chordal sequence in the instrumental introduction (meas. 1-8) is repeated in measures 23-30, along with the voices.

Section 2:

• In section two, the listener gets a true understanding of the homophonic texture, built along with legato chorus lines which use a dotted rhythm in accompaniment. Aside the

choir giving wider dimension of the homophonic texture, the brass and timpani at cadence points thicken the texture.

• Concerning repetition, section two brings up its introduction. An example would be at measures 34-38. However, this is the accompaniment that makes the repetition. More repetition is clearly heard in measures 43-52 from the word “Rejoiced.”

Section 3:

• The final section incorporates ternary form of ABA, interweaving four linked ideas, which proves of the contrapuntal writing, giving a dense homophonic texture.
• Section A, measures 63-74
• Orchestral bridge, measures 73-78
• Section B, measures 79-102
• Section A, measures 103-121

• The homophonic texture is represented in the choir, though acts as homorhythmic and chordal from measures 63-65. From 66-69, detached quavers influence homophonic texture. From measures 84-86, the sopranos run a melismatic phrase in a semiquaver with accompaniment of detached quavers.

• Handel’s use of homophonic block harmony is once again present at measures 63-66.

• Repetition is once again used in the new section for choir. An example is heard from measures 63-65 for all parts.