Germany Rehearsal Notes – Master
Adoramus te– Rehearsal Notes
4/2 time. Note: DOUBLE WHOLE NOTE gets 4 beats, regular whole note gets 2 (quarter notes will feel like 8ths
No real bar lines – just extremely long phrases
Wait, wait, wait at the ends of phrases
Letter B: allargando means growing louder and slower
Count like crazy: know when you are to move and then move decisively
But also watch like crazy because tempos fluctuate
Don’t get pulled into singing a syllable that is the same as yours one beat too soo (e.g. tu-am on top of p 3)
Afternoon On A Hill – Rehearsal Notes
General info:
20th century piece with a great deal of mixed meter and full dynamic contrast. Be alert to the meter changes and don’t be shy about the dynamics (on quiet as well as loud)
Note specific articulation markings (accect, tenuto – see first two measures)
Breathing/phrasing:
M8 no breath (NB) after “thing”
P6 before “ah”
Breathe after commas and periods
Other Details:
Piu mosso (P5) means: more motion
P8 m41and m43: even slow slide from one note to the next.
P10 m55 and m58: watch out for 5/4 (extra beat) and sustain and sing though the half notes (especially sop & ten)
M64 – m69: slow slide down
Ave Verum Corpus– Rehearsal Notes
General info:
Mozart is always elegant – sing it thus.
Sotto voce literally means: “under the voice” or a subdued sound
Phrases MUST be long, connected, and shaped like an arch (i.e. there is a crescendo/decrescendo in each phrase).
Remember to grow through long notes followed by short notes. The exception to this is if this occurs during the tapering of a phrase.
This piece is homophonic which means that generally all parts are singing the same words at the same time (like a hymn). Work very hard at entering together, cutting off together, shaping phrases together and shaping vowels together (basically – all the elements of good choral singing).
Breathing:
M4-5 NO BTREATH after the second ave (you will be very tempted)
M6 after corpus
M10 after –ne
M12 after passum
M13 Sops only: after –tum
M23-24 NO BTREATH after latus (you will be very tempted again)
M25 after –ra-tum
M33 S/A after –tum
M35 T/B after –tum
41 after –tis
Other details:
M30-m35 gradual crescendo through mortis (even though there is a breath after pregustatum)
M37 -41 gradual crescendo through mortis (even though there is a breath after mortis
Blue Moon – Rehearsal Notes
Swing rhythm (two eight note are triplet feel with the first long and the second short)
Put “t” on doot
Note all of the scoops: honor them
Somewhat breathier tone throughout – this is vocal jazz
Pu to p 5: B/T take over melody. Thus, S/A: back off
M21 B/T change to high harmony
Top of 7: crescendo on gold going into Blue Moon (forte)
P7 sys 3, m2 do not sing the triplet that you have in the coda
Bottom of 7 last measure: straight eighth notes
M37 may be done as an improvised scat solo but everyone learn it and it may be sung together
Bottom of 8 D.S al coda means go back to the sign (found on the top of 5) and then when you see the coda sign: skip to there (top of 9)
Coda: now there are triplets and scoops on “love of my”
Note the fall off and then watch at end
Bouree for Bach – Rehearsal Notes
General info:
Part of the 1963 Grammy winning Jazz album by the Swingle Singers
Bach’s music is not altered except for the inclusion of jazz nonsense syllables, a stand up bass, and a snare drum with brushes
Everything should be buoyant and light and slightly detached
Breathing/phrasing:
B/T m3 breathe after tie into b1
P4 s2 m1 sop: brethe BEFORE b4 not after as written Honor all other breath marks
Other Details:
Lay off if you are singing static parts and bring out moving parts
p5 -6 trio dialog between A/T and Sop. The moving lines take over the spotlight
last measure is a harpsichord part spread amongst the four parts. They must flow together.
Don’t forget the repeats
Note the dramatic change in dynamics on the repeats
Conversion of Saul – Rehearsal Notes
General info:
This is a contemporary piece and a hallmark of 20th century composition is mixed meters. The time signature changes frequently and you should mark them.
Breathing:
The breathing is pretty straight forward on rests. Be on the lookout for the dashed arched lines that mean – DO NOT BREATHE. Honor them.
Other details:
Molto agitato means very agitated
Sfz stands for sforzando which means a sudden strong accent
The note heads with an x represent unpitched sounds – in this case a well supported shout
P 10 glissando means to slide
Tiny notes (e.g. p13 m41) are grace notes sung very short before the main note
Watch for and honor repeats
P1
P18 m64 tenors: note that you move on dark-ness one beat before the rest of the choir
P19 m66 and m66 note that women move on “turn” and “bow” one beat before men
Niente means dying away
6/8 bars will be conducted in two, the 3/8 bars will be conducted in one, and the 7/8 bars will be conducted in three with one of the three beats longer than the other two (2 eighth notes, two eighth notes and three eighth notes)
Note the change to 4/4 time at p16 m53
Elijah Rock – Hogan – Rehearsal Notes
General info:
Contemporarily arranged spiritual. As with most spirituals, rhythmic vitality and accuracy are fundamental to bringing the music alive. Pay attention to all markings: accents, staccatos, marcatos, sfz, portamentos (slide offs), etc.
Its easy to get this music too heavy too soon. Keep it light and rhythmic
Pay careful attention to the road map of this piece. The repeats can be very confusing
Breathing/phrasing:
They are all on the rests or are marked by the composer.
Other Details:
1st page last measure: note that the portamento happens only on beat 4
Letter B: altos – work slowly on this to get it accurate. Slash the beats to keep on track
Throughout the piece note and honor the rests (especially the 16th rests)
Basses: note the difference between the 3 eighth notes leading into C (also at the top of p5) and the 3 16th notes almost everywhere else
Bottom of p 5: ten and bass are singing one line that has been broken apart and sung an octave apart. But you should hear/think it as one
Coda top of page 6: MUCH slower and free tempo – watch
Tenor Is: bottom of p7 – very light
Letter E: WATCH
Gloria – Dvorak – Rehearsal Notes
General info:
Pronunciation:
Gloria flip the r or replace with a d
In: een
Excelsis: ek-shel-sees
Deo: Deh – o
No h on Hominibus
Te: halfway between eh and a long A – NEVER: eh-ee (like day)
I will teach the rest of it in rehearsal
Breathing/phrasing:
Breathe after: Gloria in excelsis Deo
No breath: et in terra pax hominius – then breathe
Sop: NB p15 s2 m3 hominibus – bonae
Breathe after: adoramus te glorificamus te
Exception: Sop: m59 breathe BEFORE glorificamus te – honor accents
If either of these repeats: breathe after the first
Other Details:
M67 staccato (separate)
Hallelujah– Rehearsal Notes
General info:
Although Beethoven is the culminating figure of the Classical Era and lead the musical world into the Romantic Era, this oratorio chorus is a throwback to the oratorios of Baroque composer Handel (the master of this form) and the early classical composer Haydn. An oratorio is a large scale choral work that is essentially a sacred version of an opera without the costumes and staging. The most famous oratorio is Handel’s Messiah. Another famous oratorio is Haydn’s Creation from which we have sung: The Heaven’s are Telling.
This has many, many diction challenges including lots of A and EE vowels that must be sung with a vertical, classical, British shape.
The biggest diction problem are many, many diphthongs. A diphthong is where one syllable contains two vowel sounds (this is not a problem in Latin and Italian where they do not exist – but is a huge problem for singers of English). Since singing is sustaining sound on a vowel, the questions arises which of the two vowels should be sustained and for how long? The answers for classical English singers (as opposed to Country and Western singers) is to sustain the first vowel sound for the entirety of the note and only say the second vowel with the consonant to end the word.
Looking now at the allegro section beginning on p 3 we find:
the following diphthongs:
Praise (eh – ee), bright (ah – ee), choirs (ah – ee), joy (oh-ee), grace (eh-ee), and almighty (ah-ee)
Bright horizontal vowels in:
Praise, bright, choirs, holy, joy, grace, glory, almighty
The second biggest diction concern is the three consonants that give singers fits when they come towards the end of a syllable: r, s, l. The way to treat these is to LAY OFF of these consonants as much as possible – sometimes completely eliminating them and always making them as short, clean and crisp as possible. When sung classically, r’s should be flipped or rolled.
In the allegro section we find:
Lord (eliminate the r), choirs (eliminate the r), holy (hold vowel as long as possible), angelic (hold vowel as long as possible), glory (hold vowel and flip the r)
Breathing: Pretty straight forward on rests
P2 s2 m1 not breath between jah and hal
Other details:
Even though this starts ff always stress the syllable lu in hallelujah (not all notes have the same weight)
P2 s3 m1 no one sing the ee of al mah-ee- ty son (on this diphthong just sing the first vowel exclusively
Like the Bach, the allegro section should be sung buoyantly.
The allegro is a fugue (complicated round) and thus:
Be assertive when your sections states the theme
Back way off when you do not have the theme
Letter G: count count count so you KNOW when to move
Letter H begin softly and gradually build but continue to be relatively loud/quiet depending upon whether you have the theme
Letter J same as letter H
P13 piu allegro means more quickly (it will really book to the end).
Hine Ma Tov – Rehearsal Notes
General info:
We may sing this a cappella at the concentration camp but it will be accompanied at our home concert.
Breathing/phrasing:
When singing the melody (e.g. m 13, men m 32, 36) – do not breathe after “na-im”, but in other sections you should breathe after “ma tov” (e.g. ms 22, 25, 40, 44)
Breathe before m53
Other Details:
M47 notice that everyone except altos are mp while altos are f
Note rall. (slow down) and cesura ( cease) in m 53
Wait for me to show the change to the hmm (lips together/teeth apart) in the last measure.
Shape vowels properly for a warm rich tone.
Honor all dynamics and tempo markings
Home on the Range – Rehearsal Notes
General info:
Be careful about rhythms and chords. – This is deliberately written as a jazz ballad and thus there are many moments that are not the same as you remember.
Breathing:
M18 – 19 no breath
M27 no breath after “heard”
M29 DO breathe after “word”
P6 NO Breathing until m47
M51 breathe before “and the skies”
M94 breathe and watch after “range”
The rest should follow the previously established pattern
Other details:
As always, but particularly in this piece crescendo through long notes that move into shorter notes (e.g. m18 “home, home on the” m24 “deer and the” m27 “heard a discouraging” m30 “skies are not”. This piece is full of these long note short note combos
m43 watch rhythm
m50 S/A: watch notes and rhythm
How Lovely Are The Messengers – Rehearsal Notes
General info:
Romantic composer who rediscovered and promoted the music of Bach
Breathing/phrasing:
Breathing is all marked by the editor. Honor all markings. Remember, the dashed/arched line means no breath
Other Details:
This has long, long phrases and all should be arch shaped.
This piece is full of long short long short (quarter 8th combos): sing through the 8th notes so it doesn’t sound “loopy”
Altos: bottom of p9 m2 note that you move to “through” before everyone else
In Virtute Tua – Rehearsal Notes
General info:
This is Baroque style so like Lobet is should be sung lightly, buoyantly, and with a fair degree of separation between notes.
Always separate: dotted eighth/sixteenth combos (e.g. Do- mine)
Melismas (many notes on one syllable – e.g. alto part beginning p4 s2 m3 b3 ta——) should have a bit of separation – enough to keep it clean and accurate. Learn it slowly and carefully
This era also has terraced dynamics which meant that the change in dynamic level is direct and immediate. There are a lot of echo passages with sudden changes in dynamics (e.g. p6 s2 and p7 s1 laetabitur soft loud soft loud. They are all marked – honor them.
Breathing/phrasing:
Breath at each rest
Space/separation at each comma
Other Details:
Sop: look out for p12 s1 m2 and 3 – work this out
Sop: p13 s2 m1 b3 D# – this is an unexpected modulation from the original key and tends to be sung very very flat. Sing it high and in tune.
P14 s2 m3 note the meter change to 3/2. It is also a mood change – more legato (smooth)
This section really requires counting like crazy
When you have “tribuisti” repeated: crescendo throughout and then taper back on: “e-i”
It Don’t Mean A Thing – Rehearsal Notes
General info:
This whole work is in swing rhythm which means that the two eighth notes in a pair of eighth notes are NOT equal in duration. Rather, the first is twice as long as the second.
This is jazz so… when you have off beats (the & of the beat – e.g. 1& 2&) they should be accented. Examples include: m10 must, m11 train, m16 if
In vocal jazz the diction is different from classical. Consonants are much less crisp and are stopped without explosion
Last notes of phrases can fade away – not crisp cut offs. Having sdaid this it must be rhythmic not random
Generally more air in the tone for vocal jazz
Breathing is straight forward on rests
Other details:
A Train:
Observe accents that are written in (e.g. p4 m30: those)
Teepee shaped accents are stronger (e.g. p5 m40 above “take the”
P4 m24 note the rest between “better and hurry” – same thing on p4 s3 m2 “a-hummin”
P5 s2 m1 T/B note the staccato above not indicating a separation
Everyone must honor the jazz slides down and back up in ms 39, 41, 43, 45 and the slide up and then back down in m47
Mood Indigo:
strive for a warm rich “bluesy” sound
M55 tenors bring out the moving line. Everyone else sustain for the full three beats while they move
M66 change sit to sid (perfect example of a stopped consonant)
Satin Doll:
Lots of off beat accents see m101 “which” m 103 “she” etc
M108 and m110 watch out for the triplet (“baby shall” and “careful a”)
Big crescendo at m122
Big slide into m124
N138 note strong accents
M139 “Dwee” – the slash under the note indicates that you are to scoop up into the notes
It Don’t Mean A Thing:
Eighth quarter eighth note combos are classic examples of syncopations which give jazz its rhythmic drive. The quarter note is now the offbeat and thus is accented – see m148
Practice rhythm slowly to get it accurate
M155 – the long slashes after “wah” indicate a large “fall-off”. This is another classic jazz style element
T/B m 165 note the eighth/dotted quarter syncopation on “rhythm’s” – accent the second note
M180 – look out for the repeat
Learn m185 – mm192 carefully and slowly. Once you have theat the rest of the song is repetitive with each part just moving up the chord in subsequent sets (i.e tenors move from do – mi, altos move from mi – sol, and sops move from sol – do – etc…)
Start softly and each set in this section should get progressively louder to the big finish
Java Jive – Rehearsal Notes
All basses and tenors sing the baritone line
This should have a laid back swinging feel. Thus
Consonants are stopped – not classically (Italian) crisp
See especially letter D doot – don’t release the tongue on the “t”
Tone is a bit breathier – less bright
Eighth notes are swung
Light scoops and slides are acceptable
Heavier scoops where marked (e.g. m 15)
Note staccatos in letter D
Breathing is laid out on rests EXCEPT baritones p.9. Here: breathe every two measures
Jesu Meine Freude – Rehearsal Notes
Breathing: Every two measures EXCEPT m’s 15 through the first half of 17 and from the last half of 17 till the end.
Sing very connected lines.
Clear crisp diction.
DON’T slow down at ends of phrases
Kyrie Eleison – Haydn – Rehearsal Notes
General info:
Haydn is the musical “father’/mentor to both Mozart and Beethoven
The Kyrie Eleison is the first part of the ordinary of the mass which means that it is spoken, chanted, or sung in every mass. Thus many many many composers have set this text. Many, like Haydn, have set it numerous times for different masses they have composed.
This mass was composed when Austria was in turmoil from fear of Napoleon’s army which helps explain the dramatic and powerful minor key opening. It was named Lord Nelson Mass since the day it was premiered was possibly the same day that Lord Nelson defeated Napoleon.
Breathing/phrasing:
Pretty straight forward on rests with a couple of exceptions:
When repeating the word “eleison” put in a space (not necessarily a breath)
P5 s1 m1 breathe after –son
P5 s1 m3 and 4 breathe after –son
P10 s1 m2 breathe after –son
P11 m1 breathe after –son
Other Details:
Strong “K” on all “kyries”
Flip the r or replace with a d on all kyries
Make sure that the “e” of Kyrie is pronounced eh not ay
Sing THROUGH high notes and long notes
P10 sepmre ff means always very loud
When the two syllables lei are on one note put the “i” (ee sound) on the last beat (sometimes a quarter note and sometimes an eighth note).
Lebenslust – Rehearsal Notes
General info:
The title says it all: Joy of Living. Lilting is the operative word.
Breathing/phrasing:
Look at the program notes page on the inside cover where it shows the poem and the translation. Breath at the end of each line (phrase)
P10 m36 breath after “nuss”
Lobet den Herrn, alle Heiden (Bach Motet VI) – Rehearsal Notes
COMPLETE
General info:
This is in 4/2 time so… the half note is the unit of beat and quarter notes will feel like eighth notes do in 4/4 time (1& 2& 3& 4&). Likewise, eighth notes will feel like 16th notes do in 4/4 time (1e&a, 2e&a, 3e&a 4e&a).
This is Baroque style and as such should be sung with a sense of buoyancy and space. As such, melismas (many notes on one vowel – e.g. Lo – – – – – – – ) should be slightly separated (just enough to keep it clean and precise).
Keep everything light and sing mp after you have sung the theme. Conversely, when you have the theme, keep it light but at considerable more volume to bring it out.
Slight crescendos on long notes followed by short notes (this is a general rule but especially applicable here – see e.g. sop part m3
Breathing/phrasing:
For this to be clean and accurate we must all breathe together within our sections. Please mark and honor breath marks below.
Be clear – you should always breathe on rests.
For the Alleluja (m99 on) breathe after EVERY Alleluja that ends with a quarter note or longer note.
Tenors you may need to take one before letter Q
Tenors also take one after the tie crossing into p 32 M154
Sopranos:
M2 after herrn
M3 b1 after –le
M5 after Heiden
M7 b1 after – le
M10 after den
M11 b1 after – bet
M15 b1 after – den after b3 – bet (first one)
M20 after Herrn
M22 b3 after Heiden
M30 after Volker
M31 after Volker
M 32 after Volker
M33 after ihn
M 34 after ihn
M36 after alle
M45 after Volker
M46 after ihn
M47 after ihn
M50 after alle
M52 b1 after – ker
M54 after Volker
M56 after herrn
M60 after Wahrheit
M66 after Wahrheit
M75 after waltet
M85 after Ewigkeit
M86 after Wahrheit
m89 after – keit
m95 after – keit
Alto:
M3 b3 after Herrn
M4 b1 after – le
M5 b2 after – le
M7 b3 after Heiden
M10 b3 after Heiden
M11 b1 after Herrn AND b3 after – bet
M13 B1 after Heiden
M15 b1 after – den
M18 b2 after – den
M20 b3 after – den
M21 b1 after Heiden
M22 be after Heiden (2nd one)
M33 after ihn
M34 after ihn
M36 after alle
M38 b1 after –le
M41 b2 after first alle
M42 after Volker
M45 after herrn
M46 after preiset
M49 b1 after first Volker
M51 b1 after first alle
M60 after Wahrheit
M66 after Wahrheit
M81 after Ewigkeit
M83 after Wahrheit
M86 after Wahrheit
M89 after – keit
M91 after uns
M92 after Ewigkeit
M93 after Wahrheit
M95 after uns
Tenor:
M6 b3 after Herrn
M7 b1 after – le
M9 b1 after Heiden
M12 b1 after Herrn AND b3 after – bet
M15 b1 after Heiden
M18 b3 after Herrn
M21 b3 after the first al – le
M22 b3 after – den
M33 after preiset
M33 after ihn
M34 after preiset
M34 after ihn
M35 after Volker
M37 after – le
M38 after Volker
M40 after ihn
M41 after alle
M46 after ihn
M50 after alle
M52 b1 after – ker
M52 b3 after Volker
M53 after Volker
M55 after ihn
M72 after – heit
M76 after uns
M77 after – keit
M78 after Wahrheit
M81 after Ewigkeit
M82 after Wahrheit
M84 after Ewigkeit
M85 after Ewigkeit
M89 b1 before wal-
Bass:
M7 b3 after Herrn
M10 b1 after – den
M14 b3 after – den
M21 b1 after Herrn AND b3 after the first – le
M33 after ihn
M34 after ihn
M37 b1 after first alle
M44 after ihn
M45 after Volker
M48 after herrn
M50 after alle
M52 after – ker
M53 after – ker
M56 after – ker
M72 after – heit
M75 after – tet
M82 after Wahrheit
M87 after Wahrheit
M88 after uns
M95 after Ewigkeit
M97 after waltet
Mack The Knife – Rehearsal Notes
This should have a upbeat swing feel. Thus
Consonants are stopped – not classically (Italian) crisp (see bops on p 11)
Tone is bright
Eighth notes are swung
Accent offbeats (e.g. m5, 7, 9) and syncopations (e.g. m10, 18) where appropriate
Light scoops and slides are acceptable
Note staccatos (e.g. S/A p5)
Breathing is generally laid out on rests However, there is a pattern of very short phrases followed by one long one and you may not breathe in the middle of the long one (e.g. m 13, 14, 15)
Starting on p 5 the melody ends with an eighth NOT an eighth tied to a quarter as in the beginning. Be sure to get off of those notes.
P 13 f starts the “big finish.” Don’t be shy – Even more on p 15
Marianske Ave – Rehearsal Notes
Breathing: Breathe at the end of each line. Note that there are no bar lines which implies that you:
Sing very connected lines.
Clear crisp diction.
Be prepared to wait to start the next phrase
Translation:
Ave Marianske
100,000 times greetings
To you love rekindling
Oh my, oh my greetings
Because you are worshipped.
So be healthy and praised
Virgin Mother (worshiped adored praised)
With stars coronated (crowned)
In love for God praised
My dove, o my little birdy
O my dove, when I’m yours
So I would with you singing
Your son is praised
Mi Yitneni Of – Rehearsal Notes
General info:
We may sing this a cappella at the concentration camp but it will be accompanied at our home concert.
Breathing/phrasing:
The composer has given you breath marks and rests – honor these and you should be good.
Other Details:
Pitch, pitch, pitch. To accomplish this keep the sound high and light – NEVER heavy. Be particularly careful in the passagio (treble clef 3rd space c through 4th space e).
Shape vowels properly for a warm rich tone.
Honor all dynamics and tempo markings
O Haupt voll Blut aka Matthaus Passion – Rehearsal Notes
Breathing: Every two measures EXCEPT that each phrase begins with a pick up (4th beat of previous measure).
Sing very connected lines.
Clear crisp diction.
DON’T slow down at ends of phrases – However, be prepared to wait to start the next phrase
O Schone Nacht – Rehearsal Notes
General info:
Long, long, long phrases
In general, each phrase should grow and taper
Breathing/phrasing:
Bass: p3 s2 m2 breathe after: erglanzt
Ten: p4 s2 m1: after schaft m4 after schaft
Alto: p5 s2 m3 after: Tau
T/B: p9 s1 m1 after : seiner
Other Details:
M67 stacatto (separate)
Sop: p6 s2 m1-3 note the difference amongst eighth notes pairs, dotted eighths/sixteenth combos, and doted quarter/eighth combos. Also do not accent the upper note – make it even and light.
T/B: p7 s2 m3 and the following measure: note that the basses move on three quarter notes while the tenors have a dotted pattern
All: p9 s2 m1-3 (e.g.) note the quarter note with staccato followed by a quarter rest followed by a quarter note with staccato all with a phrase marking over. I interpret this to mean short on the quarter notes and no breath on the quarter rest.
Rorando coeli – Rehearsal Notes
General info:
Pronunciation:
I will teach in rehearsal
Breathing/phrasing:
Breathing is obvious at the rests – nowhere else. These are short phrases
Other Details:
This is early Baroque and is homophonic in that within each choir every part sings the same words at the same time (like a hymn).
This is also an excellent example of antiphonal singing where one group echoes another. The two parts are identical so be prepared to sing either. The second group may well be smaller that the first (more like an echo). How we perform this, will depend upon the venue and its particular acoustics and space options. This can be very exciting in the right setting.
Dynamics are fairly static but will have variety in the different sizes of the two groups.
Shenandoah – Rehearsal Notes
General info:
This is a contemporary arrangement. – quite easy BUT watch the time signatures. They change and you will be forced to move or not move at times that will “feel wrong” to you.
Breathing/phrasing:
Never breathe after “Shenandoah” except men pp 3 & 4
Breathe before every “away” and never after “away” except women p 4
Other Details:
Pitch, pitch, pitch. To accomplish this keep the sound high and light – NEVER heavy. Be particularly careful in the passagio (treble clef 3rd space c through 4th space e). Be especially careful of the descending steps (E-D#-C#) on “away” This will go flat almost every time if you are not diligent.
Sicut Cervus – Rehearsal Notes
General info:
Pronunciation:
I will teach in rehearsal
Breathing/phrasing:
Breathe after:
Cervus
Fontes
Aquarum
Desiderat
Anima mea
Deus
Other Details:
This is a perfect example of Renaissance polyphony (many voices). Each voice part has its own integrity and is of equal value. It is round like with each part maintaining some of the characteristics of the others but not exactly the same. Each phrase grows and tapers. This, as one group tapers, another is growing causing an aural tapestry. We should never hear one solid block of sound – rather we should hear parts weaving in and out of prominence.
Virtually no vibrato. – very even
Pitch, pitch, pitch. To accomplish this keep the sound high and light – NEVER heavy. Be particularly careful in the passagio (treble clef 3rd space c through 4th space e).
There are a couple of minor discrepancies in syllable placement in the bass and tenor parts between the two editions. I will go over this in rehearsal.
Sleep – Rehearsal Notes
General info:
Eric Whitacre, the composer of this piece, is regarded as one of the finest American choral composers working today. He music often features tone clusters – not traditional chords based upon triads (stacked up thirds) – rather clusters of notes that are a step apart. This makes his music challenging, but his voice leading in general is often stepwise which mitigates against the difficulty. Do not be afraid of “clashes” – own them.
On a side note, his explanation about the work on the inside cover is an interesting foray into the arcane world of copyright.
Breathing/phrasing:
Whitacre has marked specific phrasing. Honor it.
Other Details:
Lento; lontano e molto legato means: slow, distant/remote and very smooth
Watch out for meter changes (almost every measure). These take away the sense of pulse which will help keep it smooth
M14 poco piu mosso means: a little more movement
M58 (p9) – M62 (p10): COUNT COUNT COUNT. It is critical that you KNOW when to move from note to note. This is the most dramatic moment of the song but will also be the weakest if you are unsure.
Verano Porteno – Rehearsal Notes
General info:
This is a Tango. It is very rhythmic, sulty, and emotional.
Basses are the bass in the orchestra, the melody and rhythm section move among the sop, alto, and tenor parts. When you have the melody – bring it out. When not, back off. Be aware of how it moves from one part to another
Breathing/phrasing:
Pretty self evident
Other Details:
Really pay close attention to dynamics and articulations – they bring this piece alive. Accents are very very important
Slash rhythms at m17 – learn accurately
M39 meno means less – this refers to tempo – it slows down here
M41 altos: slide down on long dash.
M41 altos: dolce means sweetly – think sultry
M42 altos: careful with the rhythm in the triplets
M49 altos: crescendo through the half notes
M53 rit begins here not one measure later
M56 accel. means accelerando which means speed up
What a Wonderful World – Rehearsal Notes
General info:
Pop/jazz ballad – not the swing rhythm (see It Don’t Mean a Thing for explanation)
Warm sound – more air in tone
Stopped consonants
Lots of dotted quarter eight combos (e.g.m11 “skies of blue and clouds of white): long followed by short – slight crescendo
Pay careful attention to dynamics – mark them
Breathing:
M3 NO BREATH after “green”
P6 s3 m1 breathe after “hands”
P7 s1 don’t breathe after “sayin”
M27 no breath (NB) after “cry”
P7 s3 NB after “more”
Other details:
M34 tenuto marking (flat line above note head) this means to stress and slightly lenghten
Zigeunerleben – Rehearsal Notes
General info:
Lots of German here. Work slowly and carefully to get it to flow freely. The language is the most difficult part of this piece.
Breathing/phrasing:
Pp3-5 are regular two measure phrases
P6 s1 m2 bass: breathe before the last two 16th notes
P6 s2 m1 B/T breathe before “da”
Letters C and D are regular 4 measure phrases
Letter H to end (like beginning) is regular two measure phrases
Other Details:
Very animated and intense even (especially) when soft.
Honor dynamics
Letters C and D are very legato and connected
Everyone learn the parts at E through G
P10 s3 m3 divide the two sopranos parts into Sop/Alto
P11 s1 m2 divide the tenor parts into Ten/Bass
Note the ending: pp and decrescendo
Zog Maran – Rehearsal Notes
General info: In Yiddish and English
Breathing/phrasing:
The main verses are in two measure phrases
The oos and ahs should be unbroken. If you must breathe do so during a note (note between notes) and not when your neighbor breathes
Other Details:
Count carefully on the oos and ahs so that you move at the correct time
Put slight accent each time you change notes on the oos and ahs
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Adas
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sdf
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