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O go your ways into His gates with thanksgiving And into His courts with praise Be thankful unto Him, and speak good of His name. Trio, soprano, tenor and bass: For the Lord is gracious, His mercy is everlasting And His truth endures from generation to generation. Chorus, in block chords: Glory be to the Father, and to the Son, and to the Holy ...
Unlike in his operas, he set the work mostly for choir, divided in a double choir for Day by day we magnify thee and divided in eight parts for the homophon Glory be to the Father. In the Te Deum, Handel inserted short solos to achieve a variety of textures as in a concerto grosso, to express the words. In movement 2, the two alto soloists ...
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[citation needed] Under current U. S. copyright law, works published between 1922 and 1963 will not enter public domain until 95 years after their initial year of copyright if the copyright was renewed. [7] Thus, a Stamps-Baxter song last copyrighted in 1929 will enter public domain in 2024.
Krzysztof Penderecki wrote his Seventh Symphony, subtitled "Seven Gates of Jerusalem", in 1996 to commemorate the third millennium of the city of Jerusalem.Originally conceived as an oratorio, this choral symphony was premièred in Jerusalem in January 1997; it was only after the first Polish performance two months later that Penderecki decided to call it a symphony.
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11 ).
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