First of all, Happy New Year and Get Well Soon to those with colds, flu etc.  However, there is no sympathy for those of you in holiday in sunny parts. 

Secondly, this term the altos do a lot of singing as two parts.  This is making the taking of notes quite challenging.  It would be really helpful if one or two people could offer to do the notes to help out with amendments for their part.  It is not too difficult to do as part of the evening and Gill and I could then amalgamate the notes for all parts.  Please think about it, especially if you value having the notes.

Handel

Pronunciation

right – round the vowel so that it sounds like “rahght”

exalted – lengthen the vowel so that it sounds like  “exohlted”

justice – round the vowel so that it sounds like “jahstice”

 Let Thy Hand    – note the split between 1st and 2nd altos.  2nd altos advised to mark your line, so that you sing the right one. 

Pg 14 Bar 25 – “Let thy Hand” – make each word very clearly emphasised, almost staccato( and of course, sound the T.

           Bar 26 – make the octave jump clear and strong

            Bar 30 1st Altos – mark out “and thy right” – almost staccato 

             Bar 32 – 2nd Altos – make the “E” bright

            BAr 33  2nd Altos  – mark out “and thy right” – almost staccato

             Bar 33 and onwards all altos  the emphasis in each phrase should be on the first and third note,, e.g. “be” and “,,,alted”

Pg 15 – Bar 35 – breathe after “ alted”

             Bar 40 (and wherever the same effect is required in future) -accent the intial sound of each minim, and then soften off to give a “bell like” effect

             Bar 42 – turn the page quickly – note quavers in Bar 43

Pg 16 Bar – make sue the F# at the start of the phrase is in tune. 

           Bar 50 and onwards – put the emphasis on “...alt’d”

Pg 17 Bar 61 – make sure the words “let thy right hand” are marked, almost staccato

Pg 18 Bar 63 – take a quaver out of F# on “en’d“, snatch a breath

Pg 20 onwards – sing this refrain with long legato phrasing

Pg 20 onwards – make  “tion” (as part of preparation be sung with as long a vowel as possible to aid tone, e.g. “shone” not “shun”

           Bar 99 2nd alto –  take a breath out of judgement

Pg 21  Bar 109  1st alto  – quick breath after judgement

            Bar 111 –  2nd alto – make sure the F# is bright (not the harmony you would have expected)   

           Bar 114  2nd alto  – put the emphasis on “be” and lighten “the”

Pg25 Bar 164 – all altos – ellide the “ia” and “al” on the D. this will sound as “allelu-yal-ehloo-yah“( This is repeated again in Bar 181, 913, 194, 206). 

         Bar 172  – both parts  – take a snatched breath after first crotchet (G for 1st altos and B for 2nd altos )

Pg 26 Bar 175- both parts  – take a snatched breath after first crotchet (A for 1st altos and F for 2nd altos ) 

Zadok the Priest

Pronunciation –  pronounce “KIng” as  “kinger” to make a ringing sound at the end of King  (rather than kin)

Pg 4 Bar 31  2nd alto – use a dotted rhythm for these notes  (and also in Bar 55)

         Bar 41 1st alto – use a dotted rhythm for these notes 

 

We did sing all the way through Zadok, but there was little note bashing, so no notes.