Carleton was on form last night and seemed quite enthusiastic even. We covered all 3 movements of the second anthem, Let Thy Hand Be Strengthened, and whizzed through Zadok in a few minutes just at the end. No markings yet for Zadok but you may wish to mark where the tenor line is on some pages.

Starting at page 14, there are quite a few points to note:

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 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.


Hopefully Ros, Victoria and John will be back next week when we shall have a full complement of 12 tenors.

Our scores for the Linley work are due to be issued at the rehearsal on 20th January.