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 will be in time.

Page 5 bar 26: the quaver E is a misprint and should be changed to a D as per accompaniment.

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.

We shall continue with this chorus next week.


Carleton hopes to finish the third Handel anthem next week, spending time on the Alleluia section before starting on Anthem 4, My Heart is Inditing. Although we started on the third part of The King Shall Rejoice last night, I forgot to give you one change from the first part last week:

Page 33 bar 67: Delete the editorial semi-quaver marking and sing a full quaver on the A to get the right inflection for the ending “O Lord”.

Page 40 bar 198: mark an up arrow on the top G and widen the semitone interval.

Page 40 bar 209: shorten the F sharp to a quaver plus a quick breath.

End of page 40: Pencilling in the crotchet B of page 41 is useful.

Page 41 bar 223: Pencilling the top F sharp of bar 224 helps remind you to go right back up. The F sharp of bar 224 is also where the climax of the phrase falls.

Page 41 bar 227: Remove the dot from the top F sharp to sing the following E in time.

Page 42 bar 250: Remove the dot from the D.

Page 47 bar 310: Circling the C sharp and writing “note” is a useful way to pitch the opening of page 48 correctly.

End of page 49: I also find it helpful to write in the first 2 quavers of page 50.

Finally, a reminder of a marking you should already have:

Page 52 bar 360: Mark musical comma between the 2 “alleluia”s.