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The prayer begins on the A note (representing the Alpha, or beginning) and ends on the G major chord (representing the Omega, or end), as it is in the musical scale or mode. There are quartal harmonies which represent the "greatest wonder," followed by thirds representing the beauty that was missing before their creation.
An ascending unison scale in the women's parts to indicate a search for the stars, is followed by a senza vibrato descending section characterizing the coldness in "nor did the sun shine." There are uses of the minor and major seconds to represent the mysteriousness of it all as well as the power inherent in all of this.
There are then moments of "vastness" represented by the Pentatonic sections in "no ending and no limits," which is contrasted then by the unison power on the C note expressing the "One Almighty God!" Another move into the Pentatonic passage characterizing "the greatest in grace and many with him," then leads us into the spiritual realm of God's goodness and being surrounded by his good spirits.
This leads us into accelerated ascending 3rds in pyramidal harmony (or quintal, if the more facile alternate ending is chosen). The use of the mixo-lidian, penultimate minor V chord is used to represent the pure mixture of the Triune Godhead which ends in a G major triumphant chord.
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An ascending unison scale in the women's parts to indicate a search for the stars, is followed by a senza vibrato descending section characterizing the coldness in "nor did the sun shine." There are uses of the minor and major seconds to represent the mysteriousness of it all as well as the power inherent in all of this.
There are then moments of "vastness" represented by the Pentatonic sections in "no ending and no limits," which is contrasted then by the unison power on the C note expressing the "One Almighty God!" Another move into the Pentatonic passage characterizing "the greatest in grace and many with him," then leads us into the spiritual realm of God's goodness and being surrounded by his good spirits.
This leads us into accelerated ascending 3rds in pyramidal harmony (or quintal, if the more facile alternate ending is chosen). The use of the mixo-lidian, penultimate minor V chord is used to represent the pure mixture of the Triune Godhead which ends in a G major triumphant chord.
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| Performance: | NOT subject to notification (ASCAP, BMI, GEMA etc.) |
| orchestration: |
Mixed choir a cappella
Choir>SATB
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| Language in song: | English |
| Quantity of pages: | 14 |
| Visit: | 5617 |
Preparation for next contest