UNIVERSITY OF EDUCATION, WINNEBA

SCHOOL OF CREATIVE ARTS

DEPARTMENT OF MUSIC EDUCATION

‘YOUR GRACE’

RAPHAEL SUCCESS ADORNYO

202137744

SEPTEMBER, 20
UNIVERSITY OF EDUCATION, WINNEBA
SCHOOL OF CREATIVE ARTS
DEPARTMENT OF MUSIC EDUCATION

‘YOUR GRACE’
AN ORIGINAL COMPOSITION
BY

RAPHAEL SUCCESS ADORNYO

202137744

SEPTEMBER, 2023

PRESENTED TO UNIVERSITY OF EDUCATION, WINNEBA,

DEPARTMENT OF MUSIC EDUCATION, IN PARTIAL
FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF
BACHELOR OF ARTS, MUSIC EDUCATION

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 DECLARATION

I, Raphael Success Adornyo, do hereby declare that this work is my original composition and

that it has neither in whole nor in part been presented for any award in this university or

elsewhere.

…………………………………. …………………………………..

Signature Date

i
 APPROVAL

HEAD OF DEPARTMENT DR. MRS. AUGUSTA ARKO

MENSAH

………………………………….. …………………………………

Signature Date

SUPERVISOR MR. EDWIN FERGUSON

……..……………………………… ……………………………….

Signature Date

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 DEDICATION

I dedicate this work to my mother, Miss Elizabeth Anku Attia, my brother, Samuel R.

Adornyo and Benedicta Nwie.

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 ACKNOWLEDGEMENT

I owe a great debt of gratitude to God almighty, who made it possible for a day like these.

Also, my sincere thanks goes to the Head of Department, Music Education, my Lecturers,

Teaching Assistants and all staff in the Music Department for their support, kind gestures and

dedication which brought me this far.

A very big thanks to Mr. Edwin Ekow Ferguson, my supervisor for his dedication and time.

To him I say God richly bless you.

My profound gratitude to my mother and siblings whose advice, guidance and assistance, I

am where I am today.

I also in a special way want to express my appreciation to the following; Benedicta Nwie,

Madam Irene Asamoah, Mr. Godwin Yao Yabameh, Madam Veronica Aboagye, Rev. Fr.

Happy Akaboah, Rev Fr. Anthony Azah, and Rev. Fr. Godwin who were very instrumental in

my educational journey.

My gratitude goes to Success Celestial Choir and patrons for their time and support. To them

I say ayekoo!

Finally, I end by saying a very big thank you to everyone who through their little efforts

makes my journey here a success. May God richly bless you all.

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 TABLE OF CONTENTS

DECLARATION i

APPROVAL ii

DEDICATION iii

ACKNOWLEDGEMENT iv

PREFACE v

LIST OF INSTRUMENTS AND PERFORMERS vi

GENERAL ANALYSIS vii

SECTIONAL ANALYSIS viii

INTRODUCTION (bars 1 – 8) ix

SECTION A (bars 5 – 25) ix

SECTION B (bars 27 – 43) x

SECTION C (bars 47 – 63) xi

SECTION D (bars 66 – 79) xi

SECTION E (bars 86 – 92) xii

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 PREFACE

YOUR GRACE, emphasizing the abundant grace of God upon me since the day I was born.

If not for the grace of God, where will I be? I have been through a lot but I am still strong.

The grace of God is what sustained my family and I to be among the living.

The lyrics of the music depicts the glory of the Lord in my life and that his mercies endure

forever.

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 LIST OF INSTRUMENTS AND PERFORMERS

SOPRANO ALTO

Doreen Dorothy Agbeko Michael Believe Asare

John Cudjoe Priscilla Narh

TENOR BASS

Ezekiel Ansah John Anto

Samuel Offie Vandyke Baidoo

Shadrack Boateng Bandaily Wisdom Amoakwa

ORGANIST: Francis Donkoh CONDUCTOR: Raphael Success Adornyo

PERFORMING GROUP: Success Celestial Choir (SCC)

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 GENERAL ANALYSIS

TITLE: YOUR GRACE

LANGUAGE: English and Ewe

INSTRUMENTS: Keyboard and voice (Soprano, Alto, Tenor and Bass)

KEY: G Major

FORM: Through composed

MEDIUM: Choral

TEXTURE: Monophonic, Polyphonic

TEMPO: 110

TIME SIGNATURE: 4
4
DYNAMICS: p, mp, mf, f, rit,

TEXT: Sacred

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 SECTIONAL ANALYSIS

YOUR GRACE is a composition of 90 bars and it begins with an eight-bar keyboard

introduction. The work is through composed and it has 5 thematic sections (A, B, C, D, E)

with short piano passages separating the sections.

INTRODUCTION (bars 1 – 8)

This is the introductory section of the piece. It features just the solo piano introducing the

song by improvising on the first theme of the song. The same theme is repeated in three keys

using the cycle of fourths hence the song begins in the key of A major, moves to the key of D

major and finally to the home key of the song, G major. The piano introduction is shown in

fig. 1 below.

Figure 1: Piano introduction

SECTION A (bars 5 – 25)

This section features the first theme of the piece. All voices sing in homophony from the

beginning of this section to the end. The dynamic trend of this section is forte (loud), to piano

(soft) in bar 18. This section has two sub themes (see fig. 2 and fig. 3 respectively). The first

part of this section is taken forte up to bar 13. The second part begins in the latter part of bar

13 and ends in bar 18. The first part is then restated but this time, piano (soft).

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 Figure 2: Section A first sub theme

Figure 3: Section A second sub theme

SECTION B (bars 27 – 43)

In this section, the piece shifts in tempo from allegro to moderato. All voices start mezzo-

piano (moderately soft). This section also has two sub themes. The first sub theme is taken

from bar 27 to bar 35. The second sub theme begins from bar 36 and ends at bar 43. A

portion of both themes are represented in fig. 4 and fig. 6 respectively. A short single bar

piano passage precedes this section (see fig 5).

Figure 4: Section B first sub theme

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Figure 5: Section B second sub theme

Figure 6: Preceding piano passage

SECTION C (bars 47 – 63)

Section C is a solo section for tenor. It is accompanied by the piano and is also preceded by a

piano passage which is four bars in length. Fig. 7 and fig 8 show a portion of the tenor solo

and the preceding piano passage respectively.

Figure 7: A portion of the tenor

Figure 8: Preceding piano passage

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 SECTION D (bars 66 – 79)

This section is preceded by a piano passage (see fig. 11) taken from bar 64 to bar 65. The

tempo of the piano passage is allegro. There is a tempo alteration using ritardando in bar 65

and the piece slowly moves to moderato in bar 66 as the first sub theme of this section is

taken (see fig. 9). The dynamics for the first sub theme is forte (loud). The second sub theme

is taken from bar 71 to bar 79 (see fig 10). The dynamics of this portion is mezzo-piano

(moderately soft) .

Figure 9: Section D first sub theme

Figure 10: Section D second sub theme

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Figure 11: Preceding piano passage
 SECTION E (bars 86 – 92)

This is the final section of the work. It is preceded by a piano passage of four bars followed

by a recurrence of the theme in section A but this time, the theme has been modified and it

brings the song to a close with the tonic chord of the home key. A portion of the theme and

the piano passage are shown in fig. 12 and fig. 13 respectively.

Figure 12: A portion of Section E theme

Figure 13: Preceding piano passage

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UNIVERSITY OF EDUCATION, WINNEBA
SCHOOL OF CREATIVE ARTS
DEPARTMENT OF MUSIC EDUCATION

‘THE SOLDIER’S WIFE’

AN ORIGINAL COMPOSITION
BY

RAPHAEL SUCCESS ADORNYO

202137744

SEPTEMBER, 2023

PRESENTED TO UNIVERSITY OF EDUCATION, WINNEBA,

DEPARTMENT OF MUSIC EDUCATION, IN PARTIAL
FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF
BACHELOR OF ARTS, MUSIC EDUCATION