Performance Practices in the Baroque and Classical Eras Dennis Shrock

Transcription

1 Performance Practices in the Baroque and Classical Eras Dennis Shrock Texas Choral Directors Association Conference July 22, 201 Tempo Tempo during the Baroque and Classical eras was indicated and determined by five factors: meter, terminology, character, harmonic rhythm, and genre. Meter signatures conveyed basic rates of speed, tempo terms provided greater specificity, character or sentiment of the music refined the choice of tempo even further, with modifications made because of the relative speed or density of harmonic rhythm. Finally, some genres such as dances had expected tempos. Meter signatures with a half note as the denominator of the metric fraction (e.g., /2) were used to convey a slow tempo, while meter signatures with an eighth note (e.g., /8) denoted a fast tempo. Quarter- note meters were used for a medium tempo. As such, the Crucifixus movement of J. Bach s B Minor Mass, with a /2 meter, is meant to be slow (slower than the preceding Et incarnatus est movement with a /4 meter), and the /8 meter of the Gloria in excelsis movement is meant to be fast. The alla breve meter (cut time or Ȼ) is an exception. It was generally used to denote a fast tempo (twice as fast as 4/4). Tempo terms, when used, communicated more specific rates of speed than those implied by meter signatures. For instance, the Larghetto marking with the 4/4 meter in The people that walked in darkness from Handel s Messiah indicates a slower than normal medium tempo. In contrast, the Prestissimo marking with a 4/4 meter in the for he is like a refiner s fire portion of But who may abide implies a fast tempo. Terms were most often used to modify the presumed speed of meter signatures. As examples, the Larghetto marking combined with the /8 meter in But who may abide from Handel s Messiah indicates a slower than normal speed of the meter (i.e., the Larghetto modifies the generally understood fast speed of the /8 meter). Similarly, the Larghetto marking with the 12/8 meter in He shall feed his flock indicates a slower tempo than a normally fast 12/8. The term Andante carried with it two meanings. The first, that understood today, is of a medium tempo between Allegretto and Moderato. The second meaning, that most common during the Baroque and Classical eras, does not refer to tempo, per se; instead, it is an instruction to the performers, especially the basso continuo players, to leave the rhythms unaltered to let them walk as they stand. Examples of this use of Andante can be seen numerous times in Messiah. In For unto us a child is born and The Lord gave the word Handel marked two terms Andante Allegro side by side at the beginning of the movement. Andante was for the rhythm; Allegro was for tempo. In For behold, darkness shall cover the earth and But thou didst not leave his soul in hell Handel marked two terms Andante Larghetto side by side, Andante for the rhythm and Larghetto for the tempo. In only one of the ten instances of Andante in Messiah (the double movement O death, where is thy sting / But thanks be to God ) is the term strictly for tempo. Character, mood, or sentiment (the expressive content of music) was the most important determinant of tempo during the Baroque and Classical eras. All compositions, whether vocal or instrumental, were imbued by composers with expressive characteristics, characteristics that 1

2 performers were obligated to identify and communicate. Tempo, aided by articulation, was the chief means by which expressive qualities were conveyed in performance. Harmonic rhythm the rate at which harmonies change in meters influenced relative tempos. Compositions with slow harmonic rhythms (harmonies that changed every half note, for instance) could be taken at a slightly faster tempo, while compositions with fast harmonic rhythms (harmonies that changed every eighth note) might need to be slower. Tempo adjustments allowed for the harmonies to unfold at a logical and comfortable rate of speed. Genres of music were often associated with particular performance situations and related expressive characteristics and, therefore, the genres carried with them certain tempo expectations. Requiems were to be slow; gigues were to be fast. Most important to choral musicians, recitatives were to be free of metric constraints and were to be delivered in a natural speech- like manner. Tempo of recitatives is to be flexible. Articulation and Phrasing Articulation during the Baroque and Classical eras was customarily determined by the relative length of individual notes in performance. As a result of metric accentuation, certain notes were performed their full durational value, while other notes were shortened; notes on strong or good beats were long, while notes on weak or bad beats were short (shorter than printed). Thus, each performance was characterized by patterns of long and short articulation. As an example, the notes on the downbeats of And the glory of the Lord from Handel s Messiah are sung and played their full duration; the notes on beats two and three, as well as between the beats, are sung and played shorter than printed. Articulation was also communicated by slur marks and rhythmic beams. The notes under slur marks were to be connected in a legato, or cantabile manner, while the notes between slur marks were to be clearly separated. Likewise, the notes between beams were to receive a degree of separation. In addition to degrees of length, articulation was characterized by messa di voce, which is the term given to the practice of performing a crescendo followed by a decrescendo on all notes of length. This practice was so pervasive throughout the latter part of the Baroque era and the full time span of the Classical era, it was discussed, recommended, praised, and universally appreciated as an ingredient of all musical performance by singers and instrumentalists alike even by keyboardists. Phrasing was analogous to oratory in speech; musical phrases were to be performed as one would deliver a speech, with varying degrees of emphasis imparted to manifest coherent thoughts. Whether vocal or instrumental, small collections of notes identified through means of articulation were to be combined or separated in larger segments based on their relation to points of arrival important peaks of music and/or text. Rhythmic Alteration Rhythmic alteration refers to the practice of changing printed rhythmic figures in performance, most commonly dotted- eighth- sixteenth- note patterns. The change generally resulted in lengthening the time value of the dotted eighth note and shortening the time value of the following sixteenth. The length could result in a double dot (the notation of which was not devised until the nineteenth century and not employed by composers until the very end of the Classical era) or in some other rhythmic disposition between a triplet configuration and a triple- 2

3 dotted one. Because of this variability, the practice is referred to as over dotting. Performers were free to lengthen and shorten notes as the expressive character of the music dictated. As another inherent result of the notation of the time, rhythmic patterns were altered in order to adhere to the prevailing rhythmic context of a composition. Examples can be seen the Domine fili unigenite movement of Vivaldi s Gloria and in the Rex tremendae and Confutatis movements of Mozart s Requiem. An additional alteration practice resulted in conforming dotted patterns to prevailing triplet figurations. This is necessary in the opening of the Sanctus in Bach s B Minor Mass and in the opening of the Magnificat movement in Mozart s Vesperae solennes de confessore. Ornamentation The practice of enriching a printed score in performance with added melodic material was well established and prevalent throughout both the Baroque and Classical eras (there are many primary source descriptions and examples of ornamentation in Mozart operas, for example). From simple embellishments such as appoggiaturas and trills that decorated single notes to very complex additions such as long passages that augmented or altered notated melodies, the involvement of the performer in decisions of melodic design was a recognized, expected, and valued factor of performance. The most common ornament was the appoggiatura, which was to occur on the beat of the note it preceded and which was to have considerable length. When notated, the appoggiatura generally took the form of a small eighth note with no flag through its tail. The little eighth note with a flag, which did not appear until the beginning of the nineteenth century, indicates a short grace note that should be performed before the beat. The notation of the appoggiatura had no effect on the length of the note; the eighth note was merely a convention. There were specific rules that determined the precise length of the appoggiatura: 1) If it was applied to a note divisible by two, the note values were to be equally divided; 2) if it was applied to a note divisible by three, the appoggiatura would take two thirds of the value, with the resolution on the final third; ) if it stood before two notes tied together, the appoggiatura was to last the duration of the first note, while the resolution would last the duration of the second note; 4) if it was attached to a note followed by a rest, the appoggiatura was to take the entire value of the note, with the note itself taking a portion or the total value of the rest. The application of appoggiaturas did not depend upon their notation in scores; it was very common to apply them liberally in recitatives, where they were almost never marked (see the Messiah recitatives in the musical examples here). Trills were generally short and were preceded by appoggiaturas, the trill itself consisting of only two repetitive note exchanges. In ensemble music, these trills, referred to as appoggiatura trills, occur most frequently at cadences the trills often not marked in scores because the practice of adding them was so commonplace. Trills by solo performers, also often short, should occur on notes that were deemed important to decorate. The long trill was reserved for long notes that were not treated with a messa di voce; these trills were generally marked in the scores with a long wavy line. Passages, called passagi during the Baroque and Classical eras, consisted of turns and scalar passages that generally filled in written melodic leaps (see Rejoice greatly from Messiah in the musical examples here for typical passage work).

4 Soprano 1 Soprano 2 Alto Tenor o Continuo C. 8 Et incarnatus est B Minor Mass J. Bach Et in - car - na - tus Et in - car - na - - tus Et in - car - na - tus est, in car - - na - tus Et in car - - ( ( ( ( est, in - car - na - tus est de spi - ri - tu san - cto est, in - car - na - tus est de spi - ri - tu san - cto ) ( ( ( * * ( ( ( * * ( ( * * est, in - car - na - tus est de spi - ri - tu san - cto ( ( ( * na - tus est, in - car - na - tus est de spi - ri - tu san - cto ( )( ( ( * Et in - car - na - tus est de spi - ri - tu san - - cto ) * * o Continuo 5 Crucifixus B Minor Mass ) * * * ) Cru - ci - fi - xus, ) (* * ( * Cru - ci - fi - xus, Cru - ci - fi - xus, J. Bach ( ( ) ) * * ) * ) * * * ) C. ( Cru ( - ci - fi - xus, 4

5 Tenor Trombone Tuba mirum Requiem Andante ) * ) * * * + + ) * ) * * * + Tu - ba mi-rum spar-gens so W. Mozart, * * ** * ** * * ** * * * * Tmb. Tmb. Tmb. 7 - * *** -. ) * * * * * * *. * * * - *. / *** * * * * * * * ) * *** * * * * * * * * * * 12 * *. * * * * * *. * * * 0 * * *. * 1 * * * * 1* pulch - ra re- gi - o - num, co-get om-nes an - te thro- num, co - get om - nes an - te, * * * * * *, * * * * * *., * * 1 * * * * 1 * * * * * * 0 * 17 num, - * Mors stu-pe bit tu * * * * 0 * * *. - ba mi-rum spar - gens so - num per se - * * * * - et na - tu - ra, cum re - sur - get cre 0 * * 2 * * * * * * 0 - a - tu - ra, ju - di- + *. / thro - - num. 1 * * * * * * * 1 * *. / 22 can ti * * 1 * * 0 1 * * / ) * * * * * * * * * 0. * * ( * 1 * 0 * * re - spon - su - ra. Li - ber scrip - tus pro - fe - re - tur, in quo to * * / ) * * 1* ) 1 ) * * 0 ne- tur, un - de mun - dus, mun - dus ju 1 () * * ) * * - tum con - ti- 1 *. / - di - ce - tur. 5

6 Violin 1 Soprano Alto Tenor Adagio ( Ave verum corpus A A A A W. Mozart ) () ) ) - ve, a - ve ve - rum cor - pus na - tum ) ) ) ) ) ) - ve, a - ve ve - rum cor - pus na - tum ) ) ) ) ) ) ) ) ) - ve, a - ve ve - rum cor - pus na - tum ) ) ) ) ) ) ) ) ) - ve, a - ve ve - rum cor - pus na - tum Vl. 8 ) ) Vl. 15 de Ma- ri - a Vir - gi - ne; ve - re pas - sum, im - mo - la - tum in de Ma - ri - a Vir - gi ne; ve - re pas - sum, im - mo - la - tum de Ma - ri - a Vir gi ) * de Ma ri - ne; ve - re pas - sum, im - mo - la - tum - - a Vir - gi ne; ve - re pas - sum, im - mo - la - tum ) ) ), * ) * ) * ) ) ) ) * ) ) ) ) ) ) * ) ) ) ) cru - ce pro ho - mi - ne. + ) ) ) * in cru - ce pro ho - mi -ne. + ) ) ) * in cru - ce pro ho - mi - ne. + ) ) ) * in cru - ce pro ho - mi - ne. ) ) + ) 6

7 Soprano Alto Tenor 18 Allegro ( ( ( ( ) ( ( ( ( * And the glo - ry, the glo- ry_of the Lord 10 ( ( ( ( ) ( ( ( ( * ( ( ( ( * 10 And the glo - ry, the glo- ry_of the Lord, the glo- ry_of the Lord ( ( ( ( ) ( ( ( ( * ( 25 ( ( ( ( ) ( ( ( ( * ( and the glo - ry, the glo - ry_of the Lord ( ( ( ) ( * ( ( ( ) ( ( ( ( * ( * ( * shall be re - veald, shall be re - veal * ( ( ( + ( ( ( ( ( + ( ( ( 2 ( ( ( + ( ( ( ( ( ( ( + ( ( ( ( ( ( ( ( ( * + be re - veald, and the glo - ry, the glo - ry_of the Lord shall be re - veal - ed. ( * ( ( ) ( ( ( ( ( ( ( ( ( ) ( ( * * - - ed, and the glo - ry, the glo - ry_of the Lord shall be re - veal - ed. ( ( ( ( ( ( ( ( ( + ( ) ( ( * * 10 And the glory of the Lord Messiah G. F. Handel And the glo - ry, the glo- ry_of the Lord shall And the glo - ry, the glo- ry_of the Lord shall be re - veal - - ed, ( ( ( + ( ( ( ( + ( ( ( ( ( be re - veal - - ed, Lord ( ( veal - ed, ( ( ( ( ) ( ( ( ( * ( ( ( + ( ( ( ( ) ( ( ( ( ( ( ( + ( ( ( ( + ( ( ( ( and the glo - ry, the glo- ry_of the shall be re - veal - - ed, shall be re - shall be re - veal - - ed, and the glo - ry, the glo ry_of ( ( ( ( ( ( ( ( ( + - the Lord shall be re - veal - ed. and the glo - ry, the glo - ry_of the Lord shall be re - veal - ed. ( ( ) ( ( ( ( ( ( ( + ( ( ( + ( ( * * shall 7

8 Soprano Alto Tenor Allegro Cum sancto spiritu Gloria RV589 Antonio Vivaldi ( ( ( ( ( ) ( ( ( ( ( ( ( * ( ( ( ( ( ( ( Cum san-cto spi - ri-tu in glo-ri-a De - i pa - tris, in glo-ri-a De - i 5 + * * * ( + + * ( ( * * * * Cum san cto ( ( ( ( + + De - i pa- tris. A - men. 9 * ( ( ( ( ( ( ( * + * * + * * * * * pa - tris, in glo - ri - a De - i pa - tris. A - men. A men. A - ( ( ( 1 pa - spi - ri - tu in glo - ri - a De - i pa - tris, - tris. A - men. A men. A - ( ( + * + ( ( ( ( ( ( ( ( ( + * + * * De Cum san - cto spi - ri - tu in glo - ri - a Cum san-cto spi - ri-tu in glo - ri - a De - i - men. A - men. Cum san - cto spi - ri - tu - i pa - tris, De - i pa- tris. A - men. A - - men. in glo - ri - a De - i pa - tris, De - i pa- tris. A - men. A - men. A men. - A - - men. * * + * * * ( + + * ( ( * * * * ( ( ( ( + + ( ( ( ( ( ) ( ( ( ( ( ( ( * + * * * ( + * * * * Cum san-cto + * ( ( * * * * ( ( ( ( + + +, * * * + * * + * * * men. ( ( ( ( ( ( ( ( ( * ( ( ( ( ( ( ( ( ( + * + - spi - ri-tu in glo - ri - a De - i pa - tris, in glo - ri - a De - i pa tris. A - men. + 8

9 Soprano For unto us a child is born Messiah G. F. Handel Andante allegro ) ) ( ( ( ( ) * ) ) ) * ( Alto Tenor For un-to us a child is born, un-to us a son is given, un-to us a son is 12 ) + + ( ( ( ( given, for un-to us a child is born, + ( ( ( ( ) + ) ) * 16 ) ) ) * ) ) un - to us a son is giv - en, un - to ( ( ( ( 2 For un-to us a child is born, un - to us a son is ) ) ) * ( ) + giv - en, un - to us a son is given, us a child is born, For un-to us a child is born, ) * ) ) ) * ) + us a son is given, un - to us a son is given, ( ( ) * ( ) un - to us a son is given, + ) + For un-to 9

10 Soprano Alto Tenor o Continuo Et in terra pax hominibus Gloria RV589 Antonio Vivaldi ( ( *) ) *( *( ( ( ( ( + ( Et in ter - - ra pax ho - mi ni- 5 ( (,) ),( *) ( ) ( ) 5 Et in ter - - ra pax ho - mi - ni - bus 5 5 ( ( ) ( Et in ter - ra pax, - bus ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) C. C ( ( ( ( ) *) ( ) ) ) ) - ( bo bo - nae vo-lun - ta ( ( + ( ( ) ) ) ) ) ) - nae vo-lun - ta ( ( ( ( - ) *) ),) ) ) bo - nae vo-lun - ta ( ( + ( ( ) ) ),) ) ) bo - nae vo-lun - ta ( (( ( ( ( ( ((((( ( ((((( ( (((((,( ((((( ( ((((( ( ((( (( ) ( ( ) ) ( ( tis. ) ( ( ) ) ( ( ) tis. Et Et in ter - ) ( ) ( ( (,) ),(,( ( ( ( ( + ( tis. Et in ter - ra pax ho - mi ni- ) ) ) ( (,) ( ) ( ( ( ( tis. Et in ter - ra pax ho - mi ni- in - bus, - bus, ( (((( ( ( ( (((( ( ( ( ( (( ( (( ( (( ( ((( (( ( (( ( ( ( ( (( ( ( ( 10

11 C. 74 ( ) ter - ra pax ho - mi - ni-bus ( bo ra pax ho - mi - ni-bus bo - nae vo - ) ) et in ter - ra pax ho - mi - - ni - bus bo - ) ) ) et in ter - ra pax ho - mi - - ni - bus nae C. 80 vo - - lun - ta lun - ta nae vo - - lun - ta bo - - nae vo - lun - ta C tis. tis. tis tis. * 11

12 o Continuo Domine fili unigenite Gloria RV589 Antonio Vivaldi Allegro Alto 7 Do - mi - ne fi - li u - ni - ge - ni - te, Je - ) ( ) * Do - mi - ne fi - li u - ni - ge - ni - te, C. Alto C. 1 ) ) su Chri - ste. ) ) ) ) ) Je su Chri - ste. + Soprano Rex tremendae Requiem ( W. Mozart Alto Rex, ( Tenor Rex, ( Rex, ( o Continuo ) * +, +, + * + ) Rex, 12

13 C. 4 ( ( rex, rex, rex tre- men- dae ma - je - ( ( rex, rex, rex tre- men- dae ma - je - ( ( - rex, rex, rex tre- men- dae ma - je - ( ( rex, rex, rex tre- men- dae ma - je - ) ) ( sta-tis, rex tre - men - - dae ma - je - sta - - tis, rex tre-... sta- tis, rex tre- men - - dae ma - je - sta - - tis, rex tre - men - +, sta-tis, qui sal - van- dos sal - vas gra- tis, qui sal - ( +, C. sta-tis, qui sal - van- dos sal - vas gra - tis, )/ -/ ) ) 10 ( men dae ma - je - sta - tis, rex tre- men - dae ma - je - sta - tis. ) ( dae ma - je - sta tis, rex tre- men - dae ma - je - sta - tis. ( van- dos sal - vas gra - tis, rex tre- men - dae ma - je - sta - tis. ) ( C. sal * - vas gra tis, rex tre- men - dae ma - je - sta - tis. ) 1

14 Alto Trombone Tenor Trombone Tenor o Continuo Tmb. Tmb. C Confutatis Requiem Con Con - fu - ta - tis W. Mozart - fu - ta - tis ma - le - * ) + ( ma - le - di - ctis, flam - mis a - cri bus ) * + di ( ) ( ( * ) * * ) + + ( ) + ( ( ) + +, ( - ad - - ctis, flam - mis a - cri-bus ad-di - ctis, con - fu- ) + )) + + Tmb. Tmb. 14 ( ), * ) + ) * ) C. di - ctis, con - fu-ta - tis ma - le - di - ctis, flam - mis a - cri-bus ad - di - ctis. ) ) + ) ta - tis ma - le - di - ctis, ma - le - di - ctis, flam - mis a - cri- bus ad - di - ctis. ) ) + ) (

15 Soprano Alto Magnificat Vesperae solennes de Confessore W. Mozart ( ) * +, Ma - Tenor o Continuo C. C. 2 2 * * * * * * * /* * * * * * * * /* * * * * * /* * * gni Ma- gni - - * * * * * * * * * * * * * * * /* * * /* * * * * * - - fi - cat a - ni - ma me - a ( ) * -. 1 * *. * Ma-gni - - fi - cat, ( ) * -. * * Ma- gni - - * * * 0 0 ( ) * -. ( ) * -. * * 0 *. * * 1 *. *. * 1 * 1 1 * Do fi - cat, ma mi - num, ma - gni - - ma - gni - - fi - cat * * 0 * 1 * * fi cat * 0 *. * * 0 * * * * gni - a fi - cat a - ni - ma me - a, * * * * * * * /* * * * * * * * * * * /* * * /* * * *. * ( ) * -. * ( ) * -. * 0 *. * 15

16 C. 4 a fi - cat Do - - mi - num. - ni - ma me - a Do - - mi - num. * * ) ni - ma me - a Do - - mi - num. ) a - ni - ma me - a Do - - mi - num. ) ( ) ( ( ( ( ) There Were Shepherds Abiding in the Field Soprano orn. Soprano ( ) There were shep-herds a - bid-ing in the field, keep-ing watch o -ver their flock by night. ( ) o Continuo * ) Soprano orn. Soprano orig. Andante And, Lo, The Angel of the Lord ( ) And, lo, the an-gel of the Lord came up-on them, ( ) and the glo-ry of the 5 ) * + Lord shone round a - bout them: ( * + and they were sore a - fraid. 16

17 Soprano orn. Soprano orig. o Continuo And the Angel Said Unto Them ( ) ) *) ) ) ) ) ) ) ( ) ) + ) ) ) + ) ) *), ) And the an - gel said un- to them, Fear not: for, be - hold, I bring you good ( ) ) *) ) - ) ) ) ) ( ) ) + ) ) ) + ) ), *) ) *. / *. / C 4 *) ) ) ) ) *) + ) ) *) ) ) ) ) ( + *) 0 ) ) *) ) ) ) ) ) + ) ) *) + ) ) *) ) ) ) ) ( + *) 0 ) ) *), - ) ) 1 ) ti- dings of great joy, *. ) which shall be to all people. ( / ( ) ( *. / For un - to you is born this 8 ) ) ) ) ) *) ) ) + *) ) ) ) ), ) ) ) *) *) *) ) *) ( day in the ci - ty of Da-vid a Sa - viour, which is Christ the Lord. ) + ) ) ) ) *) ) ) + *) ), ) + ) ) *) + *), *) ( ) C *) ( ) ( / ( *) *) ( / Soprano orn. Soprano orig. Allegro And Suddenly There Was With the Angel 2 ( ) And sud - den- ly there was with the an - gel a mul - ti- tude ( ) ) 6 of the heavn - ly host prais - ing God, and say - ing, ) ) 17

18 Soprano Solo oon ad libitum Andante ma un poco sostenuto Lau Laudate Dominum Vesperae solennes de Confessore ) ) ) ) ) ) ) ) ) ) ) ) ) ) * ) + 10 W. Mozart ) ) ) ) * ) * ) + - da - - te Do-mi-num o - mnes gen - tes, ( -, ) ) -) ) ) ). ) +, ) lau ) )/) ) ) ) ) ) - da - te e - um o mnes po - ) () ) - pu - 24 ( ) ) ) ) ) ). ) ) ) ) ) ) ) ) ), ) ) ) ) ) ) li, quo - ni-am con - fir - ma - ta est su - per nos mi - se - ri - 0 () )) ) ) ) ) ) ) ) ) ) ) ) ) () ) ) ) cor ) ) ) ) ) di-a e jus; ) ) ) ) + Do - mi ni ( ) ) - - et ve - ri- tas, ve - ri-tas (, ) + ) ) ) ) ), ) ), ) ) /) ) ) ) ) -) ). ) - ma - net, ma - - net in ae - ter ) ) () ) ) 0 - num. An die Musik Franz Schubert Solo 8 14 Mäsig Le - bens wil - der Kreis Um - strickt, Du hol- de Kunst, in wie - viel grau - en Stun - den, wo moch des ( ( * ( ( * ( ( ( ( ) ( ( ( ( ( ) ( hast du mein Herz zu war - mer Lieb ent - zun - den, hast mich in ei - ne beß - re Welt ent - rückt, in ei-ne beß - re Welt ent -rückt ( ( * ( ( ( ( ( ( + ( ( ( ( * ( ) ( ( ( (, ( ( ( ( ( ( ( ( ( * ( ( ( ( (, ( (, ) - ( * ( ( ( ( ( ( ( ( ) + 18

19 Soprano orn. Soprano orig. Allegro 8 Rejoice Greatly ( ( ( ) * ( Re- joice, re - joice, re - joice greatly, re - joice, ( ( ( ) * ( *,, ( O daugh-ter of Zi - on, O daugh-ter of Zi- on, re - joice, *,, ( 18 simile, + +, ) re - joice re - joice,,, ) 21 simile + + *, *, 26 ( daugh - ter of Zi- on, re - joice great ly, ( - ) ),, - shout, O daugh- ter of Je - ru - sa - lem;. ) ),, O 0 *,, ) *, behold, thy King com - eth un - to thee, be - hold thy King com - eth ) *,, ( *, 5 ) )., un - to thee, com - eth un - to thee. He is the right - eous 7 ) (., 19

20 46 ( ) Sa - viour, and he shall speak peace un - to the hea - ( ) 50 * +, , ) then, he shall speak peace, he shall speak peace, peace, he shall speak 54 ) / ) ( / ) / ) 0 0 ) peace un - to the hea - - then, he is the right - - eous ) / ) / ) / ) ( 58 / ) - ) Sa - viour, and he shall speak, he shall speak peace, peace, / ) - ) ( ) + ) ( / ) + ) + he shall speak peace un - to the hea then. + ) ( / + + ) + ( Re- joice, re - joice, re joice ) ) greatly, rejoice greatly, 20

21 76 ( ( ( ( ) O daugh - ter of Zi on, ) ( ) - shout, O daugh - ter of Je - ru - sa- lem; ) 80 ( * ( ( ( ( ) behold, thy King com - eth un - to thee, rejoice, * * ) 84 * ( ( ( ( ) rejoice, and shout, shout, shout, * ) 88 ( ( ( ( ( ( ) shout, re - joice great - ly, ) + re - joice great - ly, O daugh - ter of Zi - on; shout, O daugh - ter of Je - ru - sal lem, behold, thy, + * 97 ) King com- eth un - to thee, be - hold thy King com - eth un - to thee. * ) 8 21