How to describe and notate...

[miker]

Let's say we have the line "sing in the choir," on the quarter notes FFFC. We want it performed so that when singing, you would jump from the F to the C on "the" and then restate the C on "choir."

If I had to notate it, I guess something like this:

Screen Shot 2018-05-30 at 6.13.04 AM.png

But I'm sure there is a better way. What is it? And what would this be called?

[Peter Thomsen]

Perhaps triple-dotting is a little “over the top” ?

I suppose that a double-dotted 8th and a 32nd would do ?

Or perhaps even a (single-)dotted 8th and a 16th ?

[RMK]

...and put a word extension after "the".

[miker]

...and put a word extension after "the".

Of course. This was just a quicky, but thanks!

[zuill]

Another possibility.

Zuill

[miker]

I like that, Zuill. Thanks!

[David Ward]

I do this from time to time and usually notate it as has Zuill. Something similar can be seen in the operas of Verdi, Puccini and others.

[miker]

Thanks, guys. Does it have a particular name?

[David Ward]

Thanks, guys. Does it have a particular name?

If you're very, very careful with the term, and absolutely clear that it's never a sliding or glissando, it is actually a form of vocal portamento (ie a ‘carrying’ of the voice).

[motet]

Something similar can be seen in the operas of Verdi, Puccini and others.

Do you have an example?

[David Ward]

Something similar can be seen in the operas of Verdi, Puccini and others.

Do you have an example?

In the next few days I'm aiming to watch the recently issued DVD with Jonas Kaufmann as Otello (from the ROH with Pappano conducting). I'm expecting to hear quite a few of these, so will then check whether or not some at least of them are actually notated.

[John Ruggero]

It's the ornament called an "anticipation."

[miker]

Thanks, John. That led me to a few other terms, to remember!

[motet]

"Anticipation" is also a harmony term, where one voice anticipates a resolution ahead of the others (often the leading tone to the tonic).

I know opera singers do this sort of thing all the time, especially as a way of negitiating a big jump, but I don't recall seeing the grace-note notation Zuill posted, which is why I asked.

[David Ward]

I know opera singers do this sort of thing all the time, especially as a way of negitiating a big jump, but I don't recall seeing the grace-note notation Zuill posted, which is why I asked.

Having just watched & listened to the Otello DVD mentioned above, there are very few of these vocal portamentos or ‘anticipations’ (a term new to me in this context, but certainly appropriate). They are often heard (but I think not notated) in earlier bel canto Verdi, and are certainly frequently heard in Puccini. I had thought that they were sometimes actually notated by Puccini, but I may be wrong (I'll keep checking). Possibly (silly as this might seem) I have been misled into assuming it was a common practice by my own occasional habit of notating this effect with a grace note (like Zuill) when I do positively expect it.

[zuill]

If you search through this book you'll see some examples:

https://books.google.com/books?id=m6Kwj ... to&f=false

Zuill

[David Ward]

If you search through this book you'll see some examples: …

Thanks for the link.

I'd buy the book, which looks interesting and informative, if it were a little cheaper; but £83…! (from Amazon UK)