Apologies for the delay in sending out these notes: BT managed to shut down the internet in our area for 4 days. However, last Tuesday we made good progress with the first two Coronation anthems and even looked at pages 41 to 43 of the Linley work, proving that this will need some attention at home before we meet again.


Page 4 (and throughout)    We follow the editorial dotted rhythm first shown in bar 33 which will be supported by the orchestra in similar vein.

Page 5 bars 60 and 61:         Mark no breaths between the 3 words.

Page 8 bar 85:           Very difficult intervals to master starting with the C sharp at end of bar 84 through to the crotchet A of bar 86.

Page 9 bar 92:           Keep same mouth shape throughout the semiquavers and avoid any head movements.

Bar 95:            Very easy to lose pitch on the second D – circling the first and last notes of the bar may help.

Page 11 bar 107:       The “v” of “live” is to be placed on the quaver rest with no breath before “ever”, with an emphatic minim D.

Page 12 Penultimate bar: Note the change to Adagio on the dotted D; C will conduct quaver beats for final 3 notes (3 – 1 – 8).


The notes below on this movement are all repeated from last week but there is one new marking on page 22, first bar: shade off on second beat (D sharp) of “tru-uth”.

(From Week 1):

Page 14 bar 26          we open with clear separation of the first 3 words, “Let thy hand”, a clear t on “Let”, and a full length dotted crotchet on “hand”.

Bar 27 “strength-en-ed” is sung as 3 syllables ie “en-ed” rather than “e-end”.

Bar 30 and each time we sing “right” we sing an “ah” vowel with the “i” right at the end.

Page 15 bar 35          Change crotchet B to a quaver plus rest.

Bars 40/41      Each minim to be emphasised on the beat but falling away in volume straight afterwards, almost but not quite fortepiano.

Page 17 bars 54/55   The crotchets are to be sung Legato so that they flow.

Bar 60 as per bar 26 opening.

Page 18 bar 63          Change crotchet A to a quaver plus rest.

Bar 64     Make sure “hand” is heard properly as a full length quaver ending “d”.

Bars 68/69       Mark with 4 diminuendo hairpins after the emphasis points, as per bars 40/41

Page 20 Opening to be sung Legato and note we are unison with the 2nd altos for the whole of page 20.

Bar 99 sing a full quaver C on “judg-” and cut the crotchet B of “-ment” to a quaver plus breath.

Bar 103           The “tion” of “preparation” is to be sung “shone” and not “shun”

Page 21          “Justice” and “Judgement” to be sung with emphasis on first syllable, falling away on second.

Bar 114           Do the same for “be the” (emphasis mark on “be” and dim. on “the”).

Page 22 bar 121:       Shade off on second beat (D sharp) of “tru-uth”.

Page 25          We follow the elision in the opening alleluias as written – no extra note

Bar 169           Shorten the first crotchet A to a quaver and rest.

Bar 172           Shorten the first crotchet B to a quaver and rest.

Page 26 bar 175        Shorten the first crotchet D to a quaver and rest.


LINLEY – Last Movement Pages 41 to 43

Bar 1: The “L” of “wonderful” is placed on the 4th beat

Bar 6: Breath after “places”.

Bar 14: Breath after “places”.

Bar 24: Breath after “pow’r”.