Rehearsal Markings for Fall 2022
Notes from Nov 21 rehearsal
- m 23-27: more legato
- m 1-22 etc, AT: less detached than originally directed. Do accent without a glottal, so there isn’t space between the 2 notes.
- m 42: rit in the 2nd half of the measure
- m 53: special sound here, darker and more inner
- m 43-48: women divide HML here. That means M has to jump to the upper staff then back in m 46.
- m 46: no breath
- m 73: Take 8th rest out of beat 3 (“-ja”)
- m 58: softer here (it’s an echo)
Notes from Nov 14 rehearsal
- m 21, A: “fill” is B natural, not B flat
- m 63: drop back in volume and cresc to the end
- m 15 & 75, A: sing along with the tenors on the first beat
Notes from Nov 7 rehearsal
- m 32, ATB: take 8th rest out of beat 3 for comma
- m 8-9, TB: dim “lays”
- m 12, TB: cresc
- m 16-17, TB: dim “lays”
- m 20, TB: cresc
- m 179, ST: take 8th rest out
- m 181, AB: take 8th rest out
- m 183, ST: take 8th rest out
- m 185, AB: take 8th rest out
Notes from Oct 29 & 31 rehearsals
- m 39, SA: detache
- m 53: slower tempo
- Sit at start of movement, and sing seated
- Stand at start of movement
- m 6: watch for faster tempo
- m 13 and beyond: Sing line, not just note to note
- m 15, A: 8th rest on “art”
- m 16, T: 16th rest on “art”
- m 8: mp, faster
- m 9: mf, cresc through m 11
- m 13 and on: articulate, slightly detached, especially on SA 16th runs on next page
- m 26, S: quarter off “joined”
- m 27: this section legato
- m 37: slower
- m 35: detache
- m 48: decresc
- m 49-52: cresc
- m 55: more legato
- m 57: detache
- m 57, B: change rhythm on beat 2 to match piano part
- m 59: 8th off the first note, but don't lose sense of phrase
- m 67, SA: lift before 16th
- m 24: breathe before “and Harmony”. Turn the page early.
- m 26-46: cresc “who while a-mongst”, aiming for that last syllable
- m 47: slower, legato
- m 51-55: cresc toward “art” then decresc
- m 60: fermata on last note
- m 84: breathe before “and Harmony”
Notes from Oct 24 rehearsal
- m 40-44: lift on the second 16th of "than" to put a good glottal on "a"
- m 47: take 8th rest out
- m 51: take 8th rest out
- m 40-45: "Ce-ci-li-a" pronounced with no schwas: sɪ-si-li-a ("sih-see-lee-ah")
- m 48: dim
- m 75-94: Alto 2 + Lyndesay & Samee sing the tenor line, Tenors sing the upper bass line, Basses sing the lower bass line
- m 13: mf
- m 13-16: slight cresc on "Fill"; lift at commas (an entire 8th rest for A in m 15, less for shorter notes)
- m 43-46, AT & m 51-54, SB: slight lift at end of long notes before the 16th pair, but without interrupting the otherwise legato flow
- m 58-59, SA: cresc for 6 beats, decresc for 2 beats (direction only given to SA, but TB would probably do that anyway)
Notes from Oct 17 rehearsal
- m 52-53, B2: feel free to sing just the upper note
- m 18, A: sing the entire measure in octaves with soprano (i.e., drop the first 3 notes an octave)
- m 25-84: the last syllable of "Cre-a-tor's" is pronounced with a schwa
- m 79, TB: dim the last 2 notes
- m 78-83: glottal on "a" of "a-bove"
- m 84: take 8th rest out of first note to place the "t"
- m 114: first syllable of "de-vour" is pronounced "dih-" (ipa: dɪ)
- m 165 & 167: take 8th rest out (making the resulting note a half tied to an 8th)
- m 195 & 198: delete the tied 8th
- conducted in 1
- m 55-73: A2 sing the upper tenor notes, all T sing the lower tenor notes. A2 continue on tenor line in 74 for ease of voice leading, then return to home line in 75.
- m 76: take quarter rest out
- m 83: A2 sing the upper tenor note, all T sing the lower tenor note
- m 128-131, A2: sing with the tenors (but not 132-135)
- Men divide HML whenever the tenor line is divided, which is everything except m 61-68
Notes from Oct 10 rehearsal
- Glottal on every "O", so that it's separated from preceding syllable. This includes sopranos, whose line is otherwise legato.
- Try to pronounce "O" purely, without the final glide to "u" found in English.
- m 1: take 8th rest out
- m 9: take 8th rest out of final beat
- m 17, ATB: take 8th rest out of final beat
- m 27-30, 36-39, 55-64: glottal on the "in" of inspiring, to separate it from "Notes". Also solid "və" on end of "love".
- m 68-75: glottal on start of "angel"
- m 43-46, AT & m 51-54, SB: slight swell on each long note (mostly dotted quarters)
- m 12: take 8th rest out of first note
- m 14, B: no breath, accent on "great"
- m 18-23: second syllable of "patroness" is a schwa
- m 51-54: slight cresc on "-'rite" into "art" each time
- m 57-59: take 8th rest out at each comma to place the "t" of "-nite".
- m 72, 74, 78-83: repeat the first 3 markings above for the recap.
Additional email note from Sanford for Dvorak page 21
- A2 sing the upper (or only) tenor line
- T1 sing the lower (or only) tenor line
- T2 sing the upper bass line, but at m 70, Bill only move to lower tenor line
- Dave and Kevin sing the upper bass line
- Brian, Jason, John sing the lower bass line
Notes from Oct 3 rehearsal
- m 56: no breath
- m 59: "luh" (lə) on the release
- m 10, B: sing the tenor note instead of your own
- m 24, B: sing the tenor note instead of your own
- m 66: no breath
Notes from Sep 26 rehearsal
- m 23, B: there's a slur missing on the last two 8th notes
- m 163: The rests are incorrectly spelled. They should be 1/4 rest, 1/4 rest, 8th rest. The total value is the same; this is just to align with the 2+2+3 beat pattern.
- m 38, B: sing along with the tenors for two notes
- m 53, TB: make first note 8th + 8th rest.
- m 8 & 10: no breath, unaccent "-lia"
- m 20: T bring out your line, other voices back off
- m 25, S: the trill starts on the upper note (D), so DCDC...
- m 43-46, AT: legato
- m 60, S: the trill again starts on the upper note, so EDED...
Notes from Sep 12 & 19 rehearsals
- m 26: S omit the "d" of "joined" and breathe as needed; others carry the full value
- m 43: take 8th rest out for breath
- m 51, S: last beat should be dotted 8th+16th, just like A&B.
- m 52: no breath
- m 54: take 8th rest out
- m 59: no breath
- m 18, S1: the final note is E-flat