|Author:||Woodrow Conroy MD|
|Published:||7 April 2017|
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O sing praises unto the Lord our King. For God is the King of all the earth: God reigneth over the heathen: Even the poetic rubric "Selah" is marked by a cadence and double bar.
The second part, "God is gone up," again begins with imitation, o clap your hands gibbons time beginning in the vocal heights. Much of the second half exploits the contrast between the two halves of the choir, the four decani voices answering the cantori.
O clap your hands, anthem for 8 voices
The spatial antiphony carries through a long series of exclamations on "O sing praises," and continues later in a higher register to claim God as "highly exalted. O sing praises unto the Lord our King.
For God is the King of all the earth: God o clap your hands gibbons over the heathen: Each successive verse of its text, making up of all but one verse of the joyous Psalm 47 plus a full doxology Gloria patriuses a subtly different facet of Gibbons ' musical expression. The opening verse slowly expands through the musical space in a pair of imitative motives, while the o clap your hands gibbons mention of the name of God arrives on a sudden accidental inflection.
The passage claiming God's place as "great King" features lively triple-meter cross-rhythms, followed by still chords embodying the people's submission before Him.
A striking imitative motive leaping up a full octave evokes God's action of "choosing out" His heritage.