There are a number of examples of this in Britten's operas -- not exactly
au courant, but I've always found him to be a model of notational clarity.
He used both "Missus" and "Mrs."; a quick flip through some scores shows
more of the latter than the former.

Aaron.





On Mon, Sep 2, 2019 at 5:21 AM Giovanni Andreani <[email protected]>
wrote:

> I would consider using the word extension symbol; although it is intended
> for a melisma, it might point out the composer’s intention and, as Jennifer
> Higdon points out, the singer should be able to find the best placing.
>
>
> ————
>
> Giovanni Andreani
>
> www.giovanniandreani.com
> www.ga-music.com
>
>
> > On 28 Aug 2019, at 02:43, Michael Edwards <[email protected]>
> wrote:
> >
> > [ Robert Patterson: ]
> >
> >> FWIW (joking aside) my copy of Merriam Webster correctly identifies
> >> "missus" as dialect in one of the definitions, and I would rather avoid
> >> that implication.
> >
> >     In that case, how would "Mr  -  s." go?  But that might cause the
> singer to start pronouncing "Mister" - although surely as they got to know
> the line they would realize it's not that, so it shouldn't be an issue.
> (Nothing seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in
> parentheses underneath the "Mr  -  s." would look like a pronunciation
> guide rather than dialect.
> >     Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable
> extension and going under the second note).  That wouldn't need the
> pronunciation guide underneath in parentheses.
> >
> > Michael Edwards.
> >
> >
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