You raise some interesting points. Unfortunately, they are probably too esoteric (being focused more on choral technique) for the needs of the Finale list, other than to mention that lyric diction notation is a complicated topic that requires considerable experience as a singer, composer, conductor and engraver to assure that the needs of the singer are being met. IMHO if the composer does not know what the singer is doing, then the composer should not be writing for the voice.
On the issue of tied notes I comment that if the final sound is a sustained vowel then it should be held for the full value of the notation. However, if a final consonant is needed then I will ask the singers to place it on the tied note if such occurs or otherwise on the rest following the note. IMO only composers who do not care whether the text is understood write phrases ending with voiced consonants without allowing a rest before the next phrase begins! I have been working with my volunteer choir now for over three years. I am still training them to sing with the particular technique I want them to use. Part of the training is how I want them to mark their scores so that the tactus is clear. Traditional beaming helps them know where to advance their initial consonants and where to begin the vowel sounds. It greatly facilitates that training if the notation they are reading is consistent. They are still learning to watch me for releases, placement of final consonants, passing vowels in diphthongs and triphthongs. My task is complicated in that I conduct from the organ console. The clearer and more consistent the notation is, the better the result! I do bow to your extensive experience. I have only been conducting choirs for 40 years! ;) Guy Hayden, Minister of Music St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, Virginia 23606 ----- Original Message ----- From: "Harold Owen" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, June 22, 2004 1:36 PM Subject: Re: [Finale] To beam or not to beam? (was: Basic guide to vocal > Dear Guy, > > Your singers are probably right more than wrong. Many composers, > especially the Brits, tie a long note to an eighth note followed by > rests when they mean for the final consonant to be located on the > eighth note, not after it. > > This practice began as a reaction to singers who routinely do not > hold out the long note for its full value. The tie to a short note > keeps them singing until the final consonant. I think most American > choral composers (certainly not all), do not follow this convention. > However, in Benjamin Britten's music, for example, the vowel sound > should NOT hang over during the tied eighth. > > As you can see, this problem has not been settled. If the syllable on > the long note does not have a final consonant, should singers hang > over on the eighth or quit? > > I think you are unwise to reject modern beaming in choral music. It's > here to stay, and it's much more logical. All you have to do is give > a singer a fast moving recitative from a cantata or opera that has > mixed eighth and sixteenth notes flashing by. In the old notation > style, it's almost impossible to get the rhythm right. In modern > vocal beaming, the beats and the beat divisions stand out clearly. In > contemporary choral music, quick rhythmic passages in eighths and > sixteenth benefit greatly from modern beaming. > > My opinions here are based on over 50 years as a composer, choral > conductor, and singer in small and large ensembles and as soloist - > including music of all ages and styles. > > Hal Owen _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
