All notations . . .

Are highly dependent on: room acoustics, choir/cantor leadership, registration, hymn context, and congregational responsiveness. ALL aspects demonstrated here are only some possible parameters to conscioulsy consider; in any give accpt, maybe just a few come into play, subtly at most. Slight and perhaps cannot be emphasized enough in this illustration!

annotated hymn accompaniment

Text commas: Usually ignore unless major separation needed

tips

Structural phrases: Perhaps a slight break to acknowledge half-way through the rst line

Key Signatures: Modulate 1/2 step for last verse (using free transposition)

Structural phrasing: Slight break to allow a breath

(otherwise choppy)

Tie Bass Line: In many cases, its e ective to tie

Rhythm of underlying chords: For clarity in the intro & (unison) v.1, adopt the soprano rhythm as block chords

Dotted notes: Clearly delineated to keep the congregation with you

Moving chordal tones: For seventh, passing, or suspensions, give the harmony time to be heard

Acknowlegde high note: Delay very slightly to give time for voices to reach high

. .

Amen-tie: Tie top (or l.h. bass) common tone for plagal cadence. This is the signal to the congregation that an Amen is coming!

Phrase commas: Slight separation when structural

Dotted notes: Separate chords distinctly

2012 Will Sherwood 1.0

Inter-verse choreography: Typically one whole measure added between verses which includes a quarter or half note rest/breath

Last chord: (Amen or not) Hold nal note for 1, 1.5, or 2 measures