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Choral Pedagogical Tools and Vocal Exercises A Practical Guide to Teaching Handel's Messiah

motive “c.” cadence in these measures becomes an appropriate lo-
For an appropriate stylistic performance of measure cation for a messa di voce. This expressive decision is sup-
1, some separation between pitches must be used for ported in Tarling’s book: “Dynamic nuances should be
consonant clarity and clean onset of the following six- sought at every rhythmic level…On long notes the art
teenth notes. The study guide indicates shortening the of swelling and diminishing the sound imperceptibly
eighth note in beat 3 to a sixteenth note followed by a on a single note—the messa di voce.” Although there is
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sixteenth rest. This rest clarifies elocution by provid- a comparable “lack of ” notated dynamics in Baroque
ing a placement for the [l] of “will.” Initial consonant period works to musical scores from the Classical and
placement and International Phonetic Alphabet sym- Romantic periods, this does not equate to an absence
bols are included with symbols shown above the text of dynamics in performance!
line vowels as illustrated in motive “a” from Figure 7.
Communicating Rhetorical Gestures in Study Guides
Dynamic Markings In his treatise, Leopold Mozart states: “It would be
Although some dynamic markings are indicated in an error if every note were played with the tremolo…
the original score, very few dynamics are included. The tremolo must only be used at places where nature
In his treatise on violin playing, Leopold Mozart ex- herself would produce it.” Mozart’s use of tremolo
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plains, “Yea, one must know how to change from piano equates to our modern term vibrato. By advocating for
to forte without directions and of one’s own accord, the thoughtful use of tremolo/vibrato, he views vibrato
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each at the right time.” Due to the absence of notated as a form of ornamentation. Motive “b” of Figure 7
dynamic marks in original scores, conductors can use includes the directive to singers: non vibrato.
study guides as an efficient rehearsal tool to communi- When making stylistic decisions, not only should
cate specific expressive details. For example, in a messa rhythmic notation inform the use of vibrato, but more
di voce in measures 3 and 4 of Study Guide B (Figure importantly, vibrato should be used to heighten and
7) has been added to show the beginning of the cre- dramatize the text. The informed performance prac-
scendo, peak, and the onset of the diminuendo. The tice decision to forgo vibrato is based on rhetoric. The

28 CHORAL JOURNAL October 2023 Volume 64 Number 3