I plan to make some changes to Iesous Ahatonnia'. I want to assure that the changes I would like to make are to help this song fit more seamlessly into my vision for this concert. It is not my intention to challenge, dismiss, minimize or invalidate anyone's social or religious view with my changes, and I hope that you will embrace my vision.
I want to create a vastly simplified experience of this beautiful melody and harmony, singing Oo and Ah, etc., but retaining the Wendat lyric "Ahskennon'nia" (which means "peace") at the end of each refrain. We will also sing the final Wendat phrase "kwaten'ndiyonhrahchondiah," meaning "let us prepare our minds." You will see where I have added "Mm" or "Oo" or "Ah" at the beginning of a verse or phrase. Most of my edits will be above the vocal staff. One or two below. And the very first one, for S/A, is next to your first line of lyrics. I think these edits are relatively easy to make, and will save the world some paper and energy if we each make the edits directly in our scores. I'm attaching a PDF of how I have marked these changes in my score. (Of course you're free to print and use my edited pages, if that is more your speed.)
Thank you for embracing this concept for this beautiful piece!
--Bronwyn.
I want to create a vastly simplified experience of this beautiful melody and harmony, singing Oo and Ah, etc., but retaining the Wendat lyric "Ahskennon'nia" (which means "peace") at the end of each refrain. We will also sing the final Wendat phrase "kwaten'ndiyonhrahchondiah," meaning "let us prepare our minds." You will see where I have added "Mm" or "Oo" or "Ah" at the beginning of a verse or phrase. Most of my edits will be above the vocal staff. One or two below. And the very first one, for S/A, is next to your first line of lyrics. I think these edits are relatively easy to make, and will save the world some paper and energy if we each make the edits directly in our scores. I'm attaching a PDF of how I have marked these changes in my score. (Of course you're free to print and use my edited pages, if that is more your speed.)
Thank you for embracing this concept for this beautiful piece!
--Bronwyn.
| iesous_ahatonnia_.pdf |
PRONUNCIATION: (you can also piece this together from page 6 of the forward material in the score)
Ahskennon'nia: Ah (as in 'father')(+h as in 'home') Sken (sk+vowel as in 'lamp') Non (N+vowel/consonant as in 'bone'+glottal stop) 'Nia (N+ya as in 'yard')
kwaten'ndiyonhrahchondiah: Kwa (Kw+A as in 'father') Ten' (T+vowel as in 'lamp'+glottal stop) Ndi (Nd+ee (vowel as in French 'vite') Yon (ch* as in German 'ich' + French 'ton') Hrah (h as in 'home' + single flipped stroke 'r' or soft 'd' + A as in 'father' + h as in 'home') Chon (Sh as in 'shoe' + French 'ton') Diah (D+ya as in 'yard')
Ahskennon'nia: Ah (as in 'father')(+h as in 'home') Sken (sk+vowel as in 'lamp') Non (N+vowel/consonant as in 'bone'+glottal stop) 'Nia (N+ya as in 'yard')
kwaten'ndiyonhrahchondiah: Kwa (Kw+A as in 'father') Ten' (T+vowel as in 'lamp'+glottal stop) Ndi (Nd+ee (vowel as in French 'vite') Yon (ch* as in German 'ich' + French 'ton') Hrah (h as in 'home' + single flipped stroke 'r' or soft 'd' + A as in 'father' + h as in 'home') Chon (Sh as in 'shoe' + French 'ton') Diah (D+ya as in 'yard')