Rehearsal Markings for Spring 2022
Notes from May 16 rehearsal
Bach
Bach
- m 33+pickup: sing this section more detached than usual
- m 43, SAB: back off to hear the T melody
- m 44, STB: back off to hear the A melody
- m 28-31: detaché at "omnes"
- m 31: more legato
- m 50: this section detaché, especially on the 16th notes
Notes from May 9 rehearsal
Hailstork
Hailstork
- m 169, 171, 173, 175, ST: fp, cresc on each long note
Notes from May 2 rehearsal
Hawes
Hawes
- m 43: take 8th out of beat 3 for breath at the comma
- m 19: fermata on downbeat
Notes from April 30 workshop
Sweelinck
Sweelinck
- m 60, B: less than f, we need to hear the altos
Notes from April 25 rehearsal
Chilcott Gloria
Chilcott Gloria
- m 92, ATB: tenuto on beat 2½
- m 154-157: separate "et ter-"
- m 254: portamento
Notes from April 18 rehearsal
Pergolesi
Pergolesi
- p 3: mf; allow the long notes to blossom
- p 5, A, last note: mp
- p 6, STB: mp at your entrance
- p 6: Roll (or at least flip) the initial "r" of "recolitur"; flip the "r" of "memoria"
- p 8-14: Text correction: "futura gloria" should be "futurae gloriae". It occurs 4-5 times for everyone. No breath between "gloriae" and "nobis" wherever it occurs.
- p 15, Ⓗ, SA: 2-measure swells (cresc one measure, decresc next measure) on the moving half notes
- m 1: f; in 4
- m 19, S1AT: dim
- m 21-22: mp at "Qui-a"
- m 23-26: mf at "Ec-ce"
- m 31-32: mp at "Qui-a"
- m 35: start a dim all the way to m 38
- m 38-40: p at "Et mi-"
- m 43-45: mp at "ti-men-"
- m 50: f
- m 55-56: mp at "dis-per-"
- m 60-61: f at "De-po-" (or "Et ex-" for A)
- m 66-68: mp at "E-su-"
- m 71-72: p at "et di-vi-tes"; also sing those 2 words slightly detached
- m 72, ATB: mp at "(et) di-vi-tes"
- m 73, S12: mf
- m 75, ATB: f
- m 77-79: mp, legato at "Re-cor-" (thru "su-ae"); ATB dim on "su-um" to get out of the way
- m 82-83: mf at "si-cut"
- m 90-91: mp at "et se-mi-ni"
- m 91, B: add 8th note C "et" on beat 2½ to line up with tenors
- m 95-96: mf at "et se-mi-ni" or A-bra-ham for S1 (but not for B)
- m 102: f at "et se-mi-ni" or "in sae-cu-la"
- m 28-32: legato (except T should pulse the off-beat notes)
- In the final measures, "Do-mi-ni", close to "m" before singing "mi" and close to "n" before "ni"
Notes from April 11 rehearsal
Batten
Batten
- m 22-27: second syllable of "sol-emn" uses an open e (ɛ) not schwa.
- m 31: "Is-ra-el" pronounced "ihz-ray-el" (ɪz-re-ɛl)
- m 41-43: conducted in 4
- m 58: mp at "Denn"
- m 60: take quarter rest out of "-heit"
- m 66: take quarter rest out of "-heit"
- m 70: p
- m 77, ST: take quarter rest out of "-keit"
- m 77, T: mp
- m 77-78, A: still p, but slightly cresc the final beat of m 78 into the resolution in 79
- m 80-82, S: p, slightly cresc the final beat of m 82 into the resolution in 83
- m 89-90, B: p, slightly cresc the final beat of m 90 into the resolution in 91
- m 92, A: take 8th rest ouf of "-keit", then bring out the tune thru m 94
- m 92-94, T: p, slightly cresc the middle of m 94 into the resolution
- m 99: f. For the entire fugue, destress "-ja", especially the ones that are upward leaps.
- m 124-125: dim to mp in m 126
- m 139, S: mf
- m 139, TB: dim
- m 141, AT: mf
- m 143, B: mf
- m 146-149: cresc to f in m 150
- In the 3-part women's sections, divide HML (this is a change to an earlier note)
- m 211: take quarter rest out
- m 219: change downbeat to quarter rest
- m 227: change downbeat to quarter rest
- m 243: take quarter rest out
Notes from April 4 rehearsal
Bach
Bach
- m 1-6: all entrances mf
- m 9: dim to p in m 10
- m 12-17, STB: bring out the fugue entrance (12, B; 13, S; 17, T) then back off
- m 17, T: sing 3rd note C as written
- m 23-29: all entrances mp
- m 32: p at "und preiset"
- m 36: p (still)
- m 35 and beyond: bring out the running 8th-note phrase first seen in alto (within context of p, of course)
- m 43-47 (at least): light for eveyone except the voice that has the return of the first fugue subject (m 43, T; m 44, A; m 47, B). Continue to bring out the "preiset" subject when you have it (m 45, S; m 46, T; etc)
- m 49: mf at "und preiset"
- m 54, S: bring out your phrase
- m 57: fp
- First 3 measures are slow, but after that it's 1 beat per measure
- m 8: end "bloom" with a good "-muh"
Notes from March 28 rehearsal
Hagen
Hagen
- m 19, ATB: Key signature should be 6/8
- m 24-30: This section is out of time. Most people sing the lower staff of their respective parts; designated soloists sing the aleatoric upper lines. There are five landmarks: m 25, 26, 27, 29, 30, which Sanford is calling #1 thru #5. He will hold up finger(s) to indicate where he is about to be, and then give a downbeat for it.
- m 27 (aka #3), A2T2B2: Sanford will conduct these as normal rhythms (there is no aleatoric element).
- m 29-30, ATB: It might look like this is only for the firsts, but it's everyone.
- All firsts sing Choir 1, all seconds sing Choir 2.
- m 35: p on beat 2½ (it's an echo)
- m 72-74, A: The missing words are "di-mi-sit in-a-nes" (twice).
- m 19, T: everyone sings this "solo" section. Sing out enough that this part is prominent.
- m 24, B: everyone sings this "solo" section. Sing out enough that this part is prominent.
- In general, when there are 3 notes on a staff, divide HML. Exceptions: in m 66, 139, 173-176 the tenors divide and all the basses sing the bottom note; in mm 173-176 the sopranos divide.
- In Sanctus, divvy up the 3-note chords by following the up/down stems.
Notes from March 14 & 21 rehearsal
Sweelinck
Sweelinck
- Women divide HML
- m 3: Metric modulation: the half note of m 2 = the dotted half note of m 3. Reverses at m 14. Same thing happens again in m 88-90.
- m 17-32: Women divide HML
- m 23 & 28: note that the first note is B natural, despite the absence of a courtesy natural sign.
- p 12, Ⓕ: ignore the fermata
- If you have the score with all 3 motets, note that your page 18 is page 3 in the single-motet score. Pagination is the same.
- All divide HML
- p 8: break before the final "Domini" (Sanford will conduct)
- In the 3-part women's sections, divide SSA, not HML. (At least for now)