JESU TI DE S’AYE

Author: Sunday Oludele Oluwaseun BABALOLA Ph.D

Musical Analysis

The composition Jesu Ti De S’aye draws its inspiration from the biblical narrative of Jesus Christ’s birth. It reflects the journey of the three wise men who followed the star to Bethlehem, capturing the joyous essence of the Nativity.

The work situates itself within the tradition of Christmas carols, inviting listeners to embrace the message of Christ’s coming and to acknowledge Him as Lord and Saviour.

Structural Analysis
The piece opens with an organ introduction (bars 1–4), establishing a solemn yet anticipatory atmosphere. A female soloist then enters with the line “Mo gbo ohun kan” (“I heard a voice”). By bar 14, the full ensemble joins, sustaining long notes on “OH” until bar 22, creating a layered texture distinct from the soloist’s line.

At bar 23, a true call-and-response dynamic emerges: the soloist sings “Emmanuel o”, while the SATB ensemble responds with “Oba wa, Baba wa” (“Our King, Our Father”). This exchange reflects reverence and highlights Yoruba cultural elements of communal dialogue and respect.

A bridge follows at bar 37, during which all vocal parts rest until bar 40. From bar 41, sopranos enter sequentially, while alto, tenor, and bass voices maintain rhythmic support. By bar 52, all voices unite with the sopranos, singing the same text together. This section allows interpretive flexibility, accommodating either a slower, meditative tempo or a faster, celebratory pace.

At bar 53, the female soloist reappears, urging listeners to accept Jesus and proclaiming the blessings of doing so. From bar 60 to 66, the choir sings in unison, reinforcing the message with clarity and strength. Bars 67–72 feature harmonised singing across all voice parts, enriching the texture.

At bar 73, the soprano re-enters, declaring the joy of hearing the proclamation of Christ’s birth. The piece concludes after 80 bars, marked by repetitions and a piano bridge that provides structural cohesion.

Copyright © 2025 The author retains the copyright of this article. This article is published under the terms of the Creative Commons Attribution License 4.

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Author

Sunday Oludele Oluwaseun BABALOLA Ph.D