Source of text: Jeremiah 40:10 and Matthew 25:6 / A
couple of extra points concerning the score to which I
previously suggested changes. In bar 9, the alto's
first three notes appear to be identical to the
soprano's, whereas they should be: whole note B flat,
half-note A. In bar 21 the alto's penultimate note
(quarter-note F) should be deleted, so that the first
note in bar 22 (likewise a quarter-note F) can be
brought forward into bar 21. In bar 22, the alto's C
sharp should be a half-note and...(+)
Source of text: Jeremiah 40:10 and Matthew 25:6 / A
couple of extra points concerning the score to which I
previously suggested changes. In bar 9, the alto's
first three notes appear to be identical to the
soprano's, whereas they should be: whole note B flat,
half-note A. In bar 21 the alto's penultimate note
(quarter-note F) should be deleted, so that the first
note in bar 22 (likewise a quarter-note F) can be
brought forward into bar 21. In bar 22, the alto's C
sharp should be a half-note and its penultimate note in
this bar should be editorially modified to C natural.
In bar 28, the tenor should have C sharp rather than C
natural, by analogy with bar 7, creating a nice false
relation. Some editions also have a passage of
plainsong at the end, which is not included here.
Given that there are a few significant errors, you don't feel moved to correct them and re-upload the amended version? Seems a pity not to finish off the good work you've started. Also I'm not sure about the barring at the beginning, which seems to go against the word-stress.
very clearly set out, a lot of the time, i find these scores still in their original stsve setting which means unless you are trained in reading in this style, it is impossible to present to a choir to sing
