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:
Page 4 bar 19: insert a musical comma after the minim so the C sharp will be in time.
Bar 20 No breath after “arise”.
Page 5 bar 26: the quaver E is a misprint and should be changed to a D as per accompaniment.
Bar 31 Mark up arrow on the top F sharp and widen the full tone interval. Also place an emphasis mark on the F sharp and sing a long full crotchet vowel for “them”.
End of page 5: it helps to pencil in the opening note of page 6, which is the same (A) as the last note of page 5. I’ve also written “ee” under the G of the final bar.
Page 6 bars 48/9: I’ve circled the A’s in both bars as an aide memoire not to change the pitch.
Page 7 bar 50: Insert a musical comma after the G sharp (which becomes a quaver). Ditto in the following bar after the second C sharp.
Bar 51: Shorten the second C sharp crotchet to a quaver; strong entry on “Let”
Bar 65: “arise” is repeated and the quavers need to be articulated and clear.
Page 8 Bar 69: I’ve marked (½) over the C sharp as a reminder that we drop a semitone twice in this bar.
Bar 73: Musical comma between “him” and “let” (without losing time). I also find it helpful to mark a break in the couplet (D-B).
Page 9 Final bar: Shorten C sharp to a quaver. I’ve also written in the first note (B) and word (God) of page 10 to avoid singing “them” by mistake.
Page 10 bar 115: Bar 116 starts a strong ending phrase so we need to shorten slightly the final note of bar 115. I’ve marked in a quaver rest but I think it’s best to do that without taking a breath, separating the two “flee”s.
HANDEL’s Heart Is Inditing (ie “composing” – thanks for Tim’s research).
The first important thing to have written in is that this part begins with soloists and we come in on page 56, so mark “Solo” at the start and again at bar 59 on page 55.
Tutti begins at bar 73 and continues to the end of the work.
Page 57 bar 96: Shorten the A to a minim with “g” of “king” on the third beat.
Page 59 bar 124: I’ve had to circle the C sharp crotchet and quaver to avoid singing a D on the quaver.
Page 60 bar 127: There should be a tie at the end of the bar to the E of bar 128.
Bar 130: Shorten crotchet A sharp and mark (½) over the following B if it helps to remember the interval; the following interval to a C natural is also a semitone.
Page 61 bar 133: Carleton mentioned that he did intend to follow the editorial dotted rhythm so the crotchet C sharp becomes a dotted quaver C sharp followed by a semi-quaver B for the first syllable of “daughters”.
Page 62 bar 140: Up arrow on the top F sharp.
Final bar: Shorten “men” to a crotchet with the “n” on the second beat of the bar.
Carleton also intends to rehearse this anthem to the end next week so there’s a bit more homework here.
Ann is not very well at present and unfortunately will not be able to join us for the concert so will not be attending rehearsals this term. Hopefully she will make a good recovery and be with us again in the Autumn.