G.F. Handel: Sing Unto God

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      MARK YOUR SCORES AS FOLLOWS:

      DICTION:

      This chorus from the oratorio Judas Maccabaeus has a brief text: "Sing unto God, and high affections raise to crown this conquest with unmeasured praise." Yet it is repetitive. So mark the following things in your score each time a particular word occurs.

      "Sing" --write in your score a "t" before the initial consonant; tSing
      "unto" --place an oval around the "u" as a reminder to sing a tall accented schwa with lowered jaw and trench down the center of the tongue; write a small circle above "o" to remember to sing it with rounded lips
      "God" --underline the "d" to remember that it is a voiced consonant with a rebound
      "high"--place a tall oval around the vowel to remember that the primary vowel sound is a tall "ah"
      "affections" --place an accent mark over "-fec"; place a schwa (neutral, unstressed vowel sound) over "-tions"
      "raise" --replace the "s" with a "z"
      "crown" --slightly flip the "r"; mark an oval to remember the primary vowel is an "ah"; underline the "n" as a voiced consonant
      "this conquest" -- write in vertical arrows as a reminder to keep each of these vowels tall, not lateral: "ih", "kweh", etc.
      "with" --mark an "oo" before the w
      "unmeasured" --pencil in vertical arrows or tall ovals as a reminder to keep these vowels from becoming too lateral; replace the "s" in measured with a "z"
      "praise" it's critically important that you remember the primary vowel is "eh"; place an "eh" above each sequence of each melisma; replace the final "s" with a "z"

      RHYTHM:

      Number consecutively the measures in your score.
      For each melisma in your part throughout the piece, do these things: (1) pencil a light vertical line between each group of four sixteenth notes; (2) place a stress or accent over the first sixteenth note in each group of four; and (3) circle the head (pitch) of the first sixteenth note in each group of four

      DYNAMICS:

      As a rule, we will follow the dynamic scheme suggested by Editor Condie.
      One exception is measure 49, where we will sing the first "this conquest" forte, and the second "this conquest" mezzo forte
      Sopranos: Note in your score that you are not singing forte, Meas. 41-44

      TEXTURE:

      Pencil brackets or dotted lines in your score between your part and the involved other voice for the following "duet" passages:

      Meas. 25: Alto & Bass
      Meas. 28 (second half)-Meas. 29: Alto & Tenor
      Meas. 34 (second half)-Meas.35 (first half): Soprano & Tenor
      Meas. 36 (second half): Alto & Tenor
      Meas. 37: Alto & Tenor/Soprano & Bass
      Meas. 42-Meas.43: Tenor & Bass
      Meas. 47 (second half)-Meas.48: Alto & Tenor
      Meas. 55-Meas.56: Soprano & Tenor/Alto & Bass
      Meas. 57 (second half)-Meas. 59: Soprano & Alto

      BREATHING/PHRASING:

      Observe the breath marks given by Editor Condie, with these special considerations or exceptions:

      Basses: Pencil in a big breath on the eighth rest in Meas. 24
      Altos: Pencil in a big breath on the eighth rest in Meas.26
      Sopranos: Pencil in a big breath on the eighth rest in Meas.32
      Tenors: Pencil in a big breath on the eighth rest in Meas.34
      Sopranos: Pencil in a big breath on the eighth rest in Meas.45
      Sopranos: Pencil in a big breath on the eighth rest in Meas.56
      Altos: Pencil in a big breath on the second eighth rest in Meas.56
      Basses: Pencil in a big breath on the eighth rest in Meas.59
      All Parts: In Meas. 62 the voiced "n" of "crown" goes on the dot
      Altos: Meas 38-39: Note the sustained hafl notes and the breath mark in Meas. 39
      Sopranos: Meas. 42: Put the voiced "n" of "crown" on the tied eighth note and phrase there
      Sopranos: Meas. 43: Put the voiced "n" of "crown" on the tied eighth note and phrase there

      PRACTICE:

      Click here to hear how your part fits in, and to practice singing your part in conjunction with other parts and the accompaniment.