Notes from November 15 rehearsal
Carols of South America

• m 197, 199, 205, 207, SA: accent the 16th note
• m 201, 203, 209, 211, TB: accent the 16th note

Christmas Song

• m 74: Sanford is thinking of conducting this a little differently, elongating the first 2 beats to finish the piano riff before bringing the basses their beat 3.

Notes from October 30 workshop
Noel Festival

• m 71, TB: Take 8th rest out of "child" for a good "d"

Carols of South America

• m 334-337: Replace text with the Spanish to match m 332-333 (twice).
• m 338-340: Replace as above, with one syllable per quarter note.

Carols of North America

• m 125 ff: First syllable of "behold" is "bih" (bɪ), per Sanford's usual rule.

Peace on Earth

• m 32: retracting an earlier note, there should be no sizable dim here

Christmas Song

• m 21½-25½, B1: sing along on the T line

Notes from October 25 rehearsal
Babe of Bethlehem

• m 44-45, AT: stress each of the half notes

Peace on Earth

• m 50, S2AT: swell (cresc, decresc) on "many holy"
• m 51, S1B: swell (cresc, decresc) on "many holy"
• m 53, S2T: swell on "sing" 8th notes

Glorious, Glorious

• Close to the "ng" on every "ding" and "dong"
• Sanford didn't point them all out, but he often wants a little accent on quarters and dotted quarters that fall on beat 2½, at least in places where different parts have different rhythms; specific cases he mentioned are listed below.
• m 46, AT: accent on "in"
• m 60: schwa on "-gel"
• m 83, TB: accent on "clang"
• m 87, TB: accent on "clang"
• m 99, S: accent on last note

Here We Come

• m 118 & 126, TB: change 5th note to E to match m 122

Notes from October 18 rehearsal
Babe of Bethlehem

• m 53, S: take quarter rest out of "lay"
• m 64, T: change "said" to dotted half, deleting the quarter rest, and no breath over the bar line.
• m 83+pickup: B1 join the T line thru m 86.

Coventry Carol

• m 17+pickup, SA: divide HML
• m 44, TB: take quarter rest out of "slay"
• m 52: take quarter rest out
• m 56: take quarter rest out

God Rest Ye Merry

• m 4, S2: close to "n" on the downbeat

Peace on Earth

• m 57: take 8th rest out of "-ing"
• m 58-59, S1B: no breath

Nutcracker

• 25.2: glottal on "eyes"
• 26.2: lift after "saying"
• 28.8: take 8th rest out of "-way"
• 33.1: "Yigh" rhymes with "High"
• 38.3: overdo the legato here, and the staccato in the next measure
• 71.1: rit (just like 55.1)
• several other markings previously given were repeated (see 2006 notes below)

Notes from October 11 rehearsal
Peace on Earth

• m 22, TB: no breath
• m 32: slight dim to around mf-f in 33
• m 66: all voices take exactly an 8th rest out of the end of the measure; this means S2AT change the dotted half to a double-dotted half.
• m 82, T: take 8th rest out of "like"
• m 94-95, S1B: no breath
• m 95: slight dim
• m 124: take 8th rest out of "-on" (S2 both times)
• m 128-130: gradual cresc, with mp at 128, mf at 129, f at 130.
• m 128, AT: slight tenuto on all notes
• m 131, AT: make your rhythm match SB exactly: make "Earth" a half note, and delete the first 8th note of "Peace" entirely, replacing it with 8th rest

Nutcracker

• 17.5: the dotted lines indicate a glissando
• 18.3: ignore the stacc mark on beat 1

Carols of North America

• m 31, TB: divide HML
• m 35, SA: divide HML
• m 62, SA: divide HML

Christmas Song

• m 36: there should be a fermata on the dotted half
• m 76: add vibrato

Notes from October 4 rehearsal
Peace on Earth

• m 123, STB: breath after “chil-dren”
• m 128-129, B: take 8th out of the last quarter note to match S12.
• m 131: there will probably be a fermata on beat 1.

Nutcracker

• 7.2, TB: separate “-pak danc-” (16th rest)
• several other markings previously given were repeated (see 2006 notes below)

Glorious

• m 41 (and elsewhere): “New” = “nyu”
• m 101, S: decresc a bit faster than the hairpins suggest, so that the lower voices are heard. Not abruptly, though--it’s not a fp.

Sing, Sing

• m 4-29: B1 join the T line
• m 9, T: cut off the tied 8th.
• m 50-68, TB: all T sing the T1 line; B1 sing the T2 line
• m 50, ST: ignore the stacc marking. This should be relatively legato, though still punctuated with all those b’s.
• m 110, T: all sing the upper note, as the D is doubled in the bass.

There are several places where syllables are omitted in one voice or another for no particularly compelling reason, so we’re changing the underlay to be more natural. Sanford gave some of these markings in rehearsal, and others by email afterward:

• m 48, TB - Sing “Hol-i-day sea-son it’s” on six 8th notes to match SA.
• m 49, B - Sing “we” on second 8th to match SAT.
• m 62, B - Change “bright” to “bright-en” to match S.
• m 67, B - Make second half of bar three 8ths, “tid-ings a” to match S
• m 91, AT - Change the second “friends” to “for”
• m 93, AT - Change the second “love” to “it’s”
• m 94, AT - Add “in” to match SB
• m 95, AT - Add “-i-” in “hol-i-day” to match SB
• m 103, SAT - Change second half of bar to match bass rhythm and underlay; note that it’s “friends” plural.

Notes from September 27 rehearsal
Peace on Earth

• m 89: hor-ror = "or-uh"

God Rest Ye Merry

• conducted in 2
• "com-fort" = "com-fuht"
• m 53: take 8th rest out for the breath
• m 57: take dotted 8th rest out of "find" (equivalent to 8th rest in previous meter)
• m 85-87: listen for the melody, which travels from S2 (3 notes) to A to T.

Carols of Central and South America
(In the following, a liaison is indicated with a slash, e.g., "le/a" means "le‿a". That's in case some of you have browsers that don't display all of unicode.)

• m 15-16: move underlay "Ca-mi-" back one note, so both syllables are in m 16, none in 15; make "din" in m 15 a half note
• m 36-37, TB: change underlay to "So-bre/un ju-men-ti-llo"
• m 49-50: move underlay "Ca-mi-" back one note, as in m 15; make "din" in m 49 a half note
• m 69-69, TB: change underlay of last 2 notes to "-le/a dios"
• m 70, SA: change underlay of first 3 notes to "Lar-go/es el"
• m 83-84: move underlay "Ca-mi-" back one note, as in m 15; make "din" in m 83 a half note
• m 108-109, TB: drop the low C entirely; sing "se le/a" on the first 2 notes of 109.
• m 110-111, TB: drop the A entirely; sing "se le/a" on the first 2 notes of 111.
• m 155, SA: divide HML
• m 211, TB: divide HML

Nutcracker IV.

• women divide SSA
• 35.3: mp
• 36.2: cresc starting last note
• 37.2: p
• 42.1: take 8th rest out of "dance"

Notes from 2006 performance of Nutcracker
Measures are not numbered, so all references are to page#.measure, and occasionally rehearsal letters in parentheses.
I.
3.1: flip the r of "ring"
3.2: staccato "up" (take 16th off)
4.3: separate "bit of"
6.1-2: legato thru "toes", then detache next 2 measures
7.2, TB: separate "-pak danc-"
8.1, TB: take 8th rest out of "on", with schwa release ("on-nuh")
9.2, SA: take 8th rest out of "on", with schwa release ("on-nuh")
10.1: finale rhymes with ballet
12.3: accel, returning to previous tempo at (F)
13.2: subito p, whispery
15.1: flip the r of "merry"

II.
All men on the tenor line, dividing TB or HML as appropriate for the number of notes.
17.2: legato
17.5½-6: legato
18.3: join "glide and" (as suggested by the tone syllables)
18.6-19.2: take 16th off "-light" each time
19.4: pp
19.5, SA: "suave", legato
20.4, TB: "tune" = "tyune"
20.5, TB: "beautiful" = "beaudiful"
22.2, S2: D#
22.1: breath after "light"
22.3: sing thru the rest (i.e., make "night" a quarter note)

III.
"dance" = "dahnce" throughout, similarly "dancing"
24.3: flip the r of "rafters" and "ring"
24.5: take 8th out of "beat"
25.5: take 8th out of "night"
26.6: take 8th out of "-night"
28.4, SA: take final 8th off.
29.8: extend the downward glide thru the next measure.
30.8: flip the r of "rafters" and "ring"
31.2: take 8th out of "beat"

IV.
Men divide HML (Sanford hasn't yet decided on the women).

V.
2nd syllable of "flowers" is "uhz"
51.2: cut off tied 8th
55.1: rit.
58-60, SA: sing "oo" rather than "Hm"
67.3: cut off tied quarter
67.4-69, SA: sing "oo" rather than "Hm"
68.2, TB: no breath
69.3, TB: no breath
74.4, T: ignore the high G (it's doubled in A2)
75.1: take quarter out (i.e., kill the dot)
75.3, T: ignore the high G (it's doubled in A2)
76.2, T: ignore the high B-flat (it's doubled in A2)
77.1, T: ignore the high B-flat (it's doubled in A2)
82.3, T: ignore the high A (it's doubled in A2)
82.5: cut off tied quarter

Choralography

16: scan head to the left on first "loo", then right on the second, back to center at (A).
19.6, TB: scan head upward
20.1, T: scan down
20.4, SA: scan head upward
20.5, SA: scan down
20.5-21.4: tilt head left at "they", right at "dance", left at "they", right at "dance", back to center before "To".
22.4 (= 19.3 second time): tilt head left, right on the eighth notes, then back to center.

55.2-6: sway left, right, left, hold
56-7: sway right, left, right, hold, left, right, left, hold. Return to center at 57.4.
58.4-61.1, SA: divide chorus into pairs and sway apart from each other at 58.4, together 59.1, apart 60.1, together 60.3, each time holding until the next change, returning to upright at 61.2.
67.5-70.2, SA: same as previous, returning to upright at 70.3
71.2-73.3: same as 55.2-57.3.
82.5: extend outside arm out and up (so be sure to shift your music to opposite hand earlier). "outside" =  left on stage left, right on stage right