Rehearsal Markings for Winter 2026
Markings from Jan 17 workshop
Bach
Bach
- m 40, SA: mf at “praise”
- m 42, SA: back way off in the final beat so the tenor melody can be heard
- m 43, T: mf
- m 73, B: messa di voce on each note thru downbeat of 75
- m 82, S1: take quarter rest out of this measure to prepare for your entrance next measure
- m 9 & 13, S: Sing the “U” on the beat it’s written (Sanford checked with composer)
Markings from Jan 12 rehearsal
Cho
Cho
- Sanford will conduct most of the 6/4 measures in 6 (3+3), but m 24-27 is in a subdivided 3.
- m 7-14, 33-34: second altos sing with tenors
Markings from Jan 5 rehearsal
Narverud
Narverud
- m 16 & 39: close to “m” on beat 2
- m 56-61: women divide HML
Markings from Dec 15 rehearsal
Esmail
Esmail
- m 89-90: women divide HML (just here, nowhere else in the SA portions)
- Last syllable of “sunflower” is a schwa, no “r”
- m 96: everyone divide HML
Markings from Dec 8 rehearsal
Esmail
Esmail
- Women divide HML when there are three staves SSA (mm 1-32, 99-128). In the rare divisi within the SA pages, divide within your own section.
- m 105: take quarter rest out of all voices; cello will carry through
- In the 7/4 sections, Sanford will conduct different patterns according to where the word stresses fall. E.g., m 20 is 2+2+3. Occasionally it is less neat than that.
Markings from Dec 1 rehearsal
Szymko
Szymko
- m 48: All tenors sing the F; Alto 2 sing the A-flat.
- Divide HML when there are 3 notes on your staff. (Despite that, I’m guessing the first half of m 57 should be SSA for the women.)
Markings for Bach from previous performance
Sanford intends to use these markings from our June, 2022 performances for this quarter as well.
Sanford intends to use these markings from our June, 2022 performances for this quarter as well.
- m 1-6: all entrances mf and “gently separated”
- 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 23-29: all entrances mp
- m 32: p at “und preiset”, and sing this section more detached than before
- 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 everyone 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 the subject
- m 57, B: beats 2 and 3 don't line up properly with the other parts in Peters. The quarter rest should line up with T “ihn”, and the subsequent 3 notes should be one eighth later
- m 58: mp, legato at “Denn”
- m 60: take quarter rest out of “-heit”
- m 61, S: the first note should be a dotted whole (the dot is missing in Peters)
- 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 98, B: the second note should be a low G, not B.
- m 99: f. For the entire fugue, de-stress “-ja”, especially when it’s an upward leap.
- 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
- m 164, ST: trill on the dotted quarter, starting on the upper note. The rhythm is ♪♬♪. Notes are C-B-C-B for S and E-D-E-D for T.
