In class, the other day Dr McGrath talked about how Handel’s Messiah had different word inflections and dynamics depending on what the lyrics were. However, this technique is not unique to Handel. Many songwriters across the years have used this technique to match their lyrics. The opera Aida uses this technique in its lyrics. One excerpt says “Celeste Aida”, meaning heavenly Aida, as it becomes louder, signifying Aida’s beauty. Similarly, the song goes on to say “forma divinia, mistico anno”, increasing to a forte and then immediately falling back down. In addition to Aida, musicals such as those on broadway use this technique to show emotion and demonstrate conversation even in song. Even further, songs from everyday life do this as well. The song Stars, by Skillet, starts with the verse in a minor key because it is talking about darkness and some hopelessness, but then in the chorus, it moves to a major chord progression to signify God’s omnipotence. A final song that does this is You Never Let Go by Matt Redman. This song starts out in mp and in a minor key as it says, “even though I walk through the valley of the shadow of death”. But then, it switches to a major key for the chorus, “Oh no, you never let go”.