Hallelujah Chorus: Tonic Solfa Mizo

| d : s s | s : f# m | r : m r | d :- : 0 || (Where f# is treated as f with a sharp accent, or simply f if the key is understood). Part 2: The Syncopated Middle Section ("For the Lord God Omnipotent") This is the tricky part. The rhythm changes. In staff notation, you see ties and dotted quarters. In Tonic Solfa, we use dots and horizontal lines (or spaces) to denote length.

| m : m m | m : f# m | r : d d | d : 6 6 | (Where 6 is l or La) Hallelujah Chorus Tonic Solfa Mizo

There are few moments in choral music more transcendent than the opening bars of the "Hallelujah Chorus." Composed by George Frideric Handel in 1741 as part of the oratorio Messiah , this piece is universally recognized as a masterpiece of Western classical music. | d : s s | s :

| s, s, | d. d : d.d | r r : m.m |

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d : s s | s : f# m | r : m r | d : - : 0 | Hallelujah! Hallelujah! Hallelujah! d : s s | s : f# m | r : m r | d : - : d | Hallelujah! Hallelujah! Hallelujah! In staff notation, you see ties and dotted quarters

After the double bar line ( || ), the choir breathes.