Probably the most popular and often performed choral piece is the "Alleluia Chorus" from Handel's Messiah. A growing number of performances are now colored with modern phrasing, frequently of a "gospel" nature. We thought it might be an interesting harmonic exercise to see how many variations we could find of its "Amen"-style ending.

The Original

Here is the original version of the last 2 bars of Handel's Alleluia,
     with Substitution1(3) on both TONIC and COUNTER chords D \ G, G / D,
          Real Triads in Root Position, with note-values \ . , / .

Orbit Lines -
     Soprano - 0 \ 0 , 0 / 0 , notes D \ D , D / D,
     Alto - 2 \ 1 , 1(3) / 2 , notes F# \ G , G / F#,
     Tenor - 1(3) \ 2 , 2 / 1 , notes A \ B , B / A,
     Bass - theFundamentalBass/, notes D \ G , G / D.

Possible Changes

We will now apply changes to this simple Triad version -
     replace the missing MOTRIXs, first on the 2 s, then on the .,
     dominantize both the TONIC and the COUNTER chords, first on the 2 s, then on the .;
     half-diminish the COUNTER chord, first on the second , then on the .;
     augment the TONIC chord, on the first .

The Soprano and Bass voices will remain unchanged,
     Soprano on the COMMON TONE, notes D \ D, D / D,
     Bass on the Fundamental Bass, notes D \ G, G / D.
The Alto voice will have six different possibilities -
     1. the original line 2 \ 1, 1(3) / 2, notes F# \ G, G / F# ;
     2. with the MOTRIX on the second , notes F# \ G, E / F# ;
     3. with a diminished MOTRIX on the second , notes F# \ G, E# / F# ;
     4. with the MOTRIX on the . and the second , notes F# \ E, E / F# ;
     5. with the MOTRIX on the ., diminished on the second , notes F# \ E, E# / F# ;
     6. with the diminished MOTRIX on both the . and the second , notes F# \ E#, E# / F#.
The Tenor voice will have nine different possibilities -
     1. the original line 1(3) \ 2, 2 / 1, A \ B, B / A ;
     2. with a dominantized COUNTER on the , A \ B, Bb / A ;
     3. with a dominantized COUNTER on the . and on the , A \ Bb, Bb / A ;
     4. with a dominantized MOTRIX on the TONIC , C \ B, B / A ;
     5. with dominantized s on both TONIC and COUNTER, C \ B, Bb / A ;
     6. with dominantized . and s, C \ Bb, Bb / A ;
     7. with major seventh on the TONIC , C# \ B, B / A ;
     8. with augmented fifth on the TONIC , A# \ B, B / A ;
     9. with augmented fifth on the TONIC , and dominantized on the COUNTER, A# \ B, Bb / A.
The six Alto lines are compatible with the nine Tenor lines, producing 54 different combinations.
     You might feel like working them out.

Examples

However, presenting a few particularly pleasant combinations might be a good idea.

. . .

The first example, on the left, consists of Alto Line 2 and Tenor Line 5 -
     F# \ G, E / F# and C \ B, Bb / A, with chords D⁷ \ G, Gm⁶ / D,
          each is complete and dominantized.
     Very current usage, especially in Dixieland.
The second example, on the right, consists of Alto Line 6 and Tenor Line 4 -
     F# \ E#, E# / F# and C \ B, B / A, with chords D⁷ \ G⁺⁶, G⁺⁶ / D,
          the first is complete and dominantized,
               the . and the second are complete and half-diminished.
     No mistaking this one, pure Blues.

. . .

The first example, on the left, consists of Alto Line 3 and Tenor Line 9 -
     F# \ G, E# / F# and A# \ B, Bb / A, with chords D⁺⁵ \ G, Gm⁺⁶ / D,
          the first is augmented,
               the second is dominantized and half-diminished.
     NOTE the simultaneous use of the E# and the Bb in these chromatic embroideries.
The second example, on the right, consists of Alto Line 5 and Tenor Line 5 -
     F# \ E, E# / F# and C \ B, Bb / A, with chords D⁷ \ G⁶, Gm⁺⁶ / D,
          the first is complete and dominantized,
               the . is complete and the second is dominantized and half-diminished.
     NOTE again the E# and Bb in (almost) chromatic scales.
          This one is worth doing over.

Just One More

The last example almost established two contrary-motion chromatic scales. The only problem was the first Alto note, F# instead of D#, which could be produced by the only form of chromaticism which we have not yet used, Orbit 4.

This example consists of Alto Line 7 (not in the table) and Tenor Line 5 -
     D# \ E, E# / F# and C \ B, Bb / A, with chords D⁷⁺¹/F# \ G⁶, Gm⁺⁶ / D,
          Orbit 4 applied to the first and the F# (abandoned by the Alto) placed in the Bass,
               the . is complete and the second is dominantized and half-diminished.
     NOTE the contrary-motion chromaticism in the Alto and Tenor.