Tenor Notes

We spent a little time on movements 6 and 7 of Let God Arise with further exhortations from C around clear diction, particularly the sounding of the “t” at the end of “Let”. Otherwise the only point to remember is that C intends to have a Rit. at the end of movement...

Tenor Notes

LINLEY Movement 6 Bar 11 mark as “prèh – sè” with the “s” falling on the first note of bar 12. Final Bar (27): Sing the edited crotchet G followed by the long F sharp. Movement 7 We rehearsed the first section up to page 27 and this seems to be the best bit from the...

Tenor Notes 19 February

We reached the end of the opening chorus of Linley’s work last night, and will attempt movements 6 and 7 next week, so that’s our homework at least in part. There weren’t many markings for the Linley last week so the following is a comprehensive list for movement 1:...

Tenor Notes

We started on the opening chorus of Linley’s work last night, in the same bouncy baroque style, often shading off on the last syllable of a phrase. Notes to mark on the first few pages (4 to 7) are: Page 4 bar 19: insert a musical comma after the minim so the C sharp...

Tenor Notes 12 February

A reminder that we should be starting tonight with Part 3 of the 2nd Handel anthem, The King shall Rejoice (page 39); and we were asked to revise Part 4 (pp 46 – 52) which we rehearsed last week. New score marks: Page 30 bars 36 to 38: articulate the quavers. Page 31...

Tenor Notes 29 January

We have now managed to complete the first three movements of Anthem 3, The King Shall Rejoice, so presumably we’ll finish with the fourth and final movement next week. In addition we rehearsed the whole of the final movement of Linley’s anthem, Let God Arise. Next...