Part IIIc/d - Harmony
The Design of Japheth's Purest Music
Session Two - "leavenability" of music
Your emotions respond to the types of harmony within the music.
(Melody is a spirit thing - Rhythm is a flesh thing)
If you don't understand music, then please strongly consider Ephesians 4:17-20 as well as I Corinthians 14:10,11. You can't hide yourself or your kids from the power of music forever.
There is a music that fits Philippians 4:8 - and it is because of the clean and pure harmony written to support the entire quality melody line - of the late Baroque and early Classical era. That is when Japheth's music blessed and praised God at its best, just as God said in Genesis 9:27.
Scale chord titles - Tonic, Supertonic, Mediant, Sub Dominant, Dominant,
Submediant, Leading Tone, Tonic.
Chord Construction - Major, Minor, 7ths, Dominant, 6th's, Diminished, Augmented, etc.
Chord Progressions - I IV V; I V I; I IV II V I; I VI ii V I, etc.
We then looked, heard and sang a few of our hymns, taking special notice of the pure chords and simple progressions that our hymns are made of.
Tonight, we considered how the 'new' chording was added to Japheth's music in the 1930's era and how that sound was brought into the church hymns in the 70's & 80's. The harmony had to be changed before the rock beat could come in to the churches in the 90's and now today, we have the bluegrass sound in the Bible Believing Churches - which will be discussed next week.
We see the leavening affect that music supports - over the years, little by little, music has been going through a process of leavening that has snuck us into the music that we have in our churches today.
We also consider how God has accounted for the leavening process in America - see Ephesians 5:19 and Colossians 3:16 as we consider the history of Christian music in America has gone in the order of Psalms to Hymns to Spiritual Songs.
In the audio, you will hear a few samples of 1930's harmony and how
they have been included in the contemporary style of hymn playing.
Opposite of form is freestyle, repetition and abstract in the harmonies and design of the entire compositions.
The organization, design and perfection is most amazing!
A grand composition of several movements for a full orchestra.
I - fairly fast
II - slow and solemn
III - Scherzo / Minuet
IV - Various excitement to the end - Coda!
3 or 4 distinct movements, each with a design of their own but yet all related to the complete composition.
I - Andante / adagio / Largo / Allegro
II - Minuet / Trio / Scherzo
III - Fast Finale
Exposition - in the tonic key
Development - in the Dominant key from the
principle subject expanded
new key and other keys touched upon as well
Recapitulation - brings it all back together
principle subject returns
2nd subject returns
closing - in original key
Coda - finished!
A solo instrumentalist exhibiting virtuoso skill accompanied by an orchestra.
It is in the form of a Sonata
Sonata - Rondo
Theme and Variations