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Remember what we talked about before? [In much of the Renaissance music, there is a sense of tension that comes from holding those notes through those dots and ties.]
What would we do when we have tied notes, connecting the fourth beat to the down beat [of the next measure] across a barline? [We would usually have a suspension here.]
Ready, and....
Let's try it again. This time, we sing it more naturally. Ready, and....
Taller.
Have a seat. Please take out Palestrina's piece. [Now, let's mark out all the suspensions, anticipations and phrases in your score.]
Now, I would like you to number off by twos. Let's do it from this side.
Great! So we can now have many pairs of singers.
Ones, please raise your left hands; twos, please raise your right hands, like this, so that you can push each other.
I am not sure if any of you are singled out. Alright, all of you have a partner!
Now, I want you to push your partner and then release.
No, don't push that hard!
When we approach to the apex of a phrase, we start to push gradually.
You see, our phrases are usually like this [like hairpins], right?
We crescendo to the apex and then decrescendo, so we push gradually and then release.
For example, we crescendo as we approach "-leison". At the same time, we start to push our neighbors to let them feel how the phrase is shaped.
Ready....
That's great!
Here I only care about this little detailed thing. Let's just start from "-eleison." One....
That's better!
Tune!
Okay. Let's move on.
Don't retard.
We have to cut off altogether. Sing the final chord.