Rehearsal Markings for Fall 2023
German Latin diction guide.
Notes from Sep 25 rehearsal
Schubert Kyrie
Schubert Kyrie
- m 46: p
- m 68: p
- m 83: pp
- m 8: decresc
- Conducted in 8
- m 32: take 8th out of “-stram”
- m 38: take 8th out of “-tris”
- m 40, S1T1S2A2T2: take 8th out of “-des”
- m 41, T1A2T2: take 8th out of “-des”
- m 41, B12: take 8th out of “-tris”
- m 42: (“des” is full value)
- m 53-54, A1T1B1: swell (cresc-decresc) on each pair of 1/4 notes (thus twice per bar for AT).
- m 1-16: Conducted in 8
- m 10, Ch 1: take 8th out of “-oth”
- m 11: take 8th out of “-oth”
- m 14-15: no breath
- m 18: note that this system is only T1B1+T2B2
- m 22, A1: the last note should be E, not D (see piano reduction)
- m 30, T2: the last note should be F, not A
- m 42, S2: beat 3 should be 8th-note D, not C
- m 45, T2: last note should be B, not C, as in T1 (this is apparently already corrected in the newest scores)
- m 55, S2A2T2: take 8th out of “-sis”
- m 57, Ch 1: take 16th out of “-sis”
- m 59, Ch 2: take 16th out of “-sis”
- m 115, S2A2T2: take 8th out of “-sis”
- m 117, Ch 1: take 16th out of “-sis”
- m 121: fermata on last note
Notes from Sep 18 rehearsal
- In this concert, we will be using German Latin diction. We have prepared a guide to show you the differences.
- m 36, 40: lift at end of measure
- m 44: take quarter rest out
- m 55: take quarter rest out of “lis”
- m 116: take quarter rest out of “est”
- Conducted in 8
- m 5: take 8th rest out of “-oth”
- Conducted in 8
- m 1, A: line up your first-measure syllables with everyone else as follows: replace beats 2-4 (dotted 1/4 + 1/8) with half note “Je-”; sing “-su” on beat 4 (1/4 tied to 1/8); sing “Je-” on beat 1½ of the next measure (starting on B♭)
- m 1, STB: take 16th rest out of “-su”
- m 4, T: the missing syllable on beat 3½ is “Je”
- In order to make the text better heard, especially when it starts low, open up the vowel on “cum” to an open “o” (IPA: kɔm)
- In general, as in previous movements, when you have a longer note tied to an 8th, lift on the tied 8th, e.g., B m 24, T m 25, etc.
- m 53, 56: the p and f are subito. Similarly 73–76 and 156–163. In the latter case, resist the urge to cresc, but do sing with increased “urgency”.
- Women divide HML
- m 20: cresc
- m 21-22: lift at the commas (after “-rae”)
- m 22: decresc
- m 23: staccato on “-li-um”, glottal on “o-”, lift on the dot (beat 4½)
- m 24: mp (all entrances)
- m 28: decresc
- m 29, T: cresc
- m 36: f
- m 37, 39: lift on the dot (beat 4½)
- m 41: glottal on “u-”
- m 44-48: lift on the dots and tied 8ths
- m 45, B: lift at the comma
- m 59: f
- m 75-76: mp at “per”
- m 76-81: lift on the dots and tied 8ths on all the “o-” runs
- m 87: f
- m 93: lift on the dot (beat 4½)
- m 97: p at “de-”
- m 98-104: lift on the dots and tied 8ths
- m 109: mp cresc
- m 110: decresc
- m 113: f
Notes from Sep 11 rehearsal
Schubert
Schubert
- Ignore the tiny notes that appear on occasion, they’re just for scholarly completeness.
- Nice strong “nƏ” release on every “-son”
- m 2, 6, etc, T: swell on the rising interval
- m 8: take 8th rest out of “-son”
- m 8, 10, etc: lift on the dot of “Ky-”, then staccato on “-ri-e”
- m 16: dynamic a little less than the opening
- m 21: poco cresc
- m 24: lift on the dot of “Ky-”
- m 28: decresc
- m 53, 56: take 8th out of “-son”
- m 75, 77: lift on the dot of “Ky-”, then staccato on “-ri-e”
- m 4: “ex-cel-” is pronounced “ek-shel-”
- m 31: take 8th out of “-stis”
- m 35: take 8th out of “-tens”
- m 67: take 8th out of “-tus”
- m 69: take 8th out of “-tus”
- m 71: take 8th out of “-mus”
- m 81: take 8th out of “-nus”, then detached and slightly accent “cum sanc-to” (tenuto staccato)
- m 83: tenuto staccato on all 4 notes
- m 84: swell (cresc, descresc)
- m 4-5: no breath
- m 8, 12, 16, 20: take quarter rest out
- m 76-77: no breath
- m 80: take quarter out of “-bis”
- m 85: subito p
- m 129: fp cresc
- m 137-138: ignore these 3 measures of tiny notes
- m 145: take quarter rest out
- m 149: no breath
- m 153: take quarter out of “-dit”
- m 182, 184, 186: messa di voce on each note
- m 187: cresc
- m 188: decresc
- Whenever you encounter “Kyrie e-lei-”, glottal on the “e-”
- m 6-7: lift on the dot of “Ky-”
- m 11, S: take 8th out of “-son”
- m 14, 15, 17, S: lift after the 8th-note “-son” (3x)
- m 20, T: take 8th out of “-son”
- m 20, B: take 16th out of “-son”
- m 21-23, TB: staccato on “-son” in each 8th-note figure of “e-lei-son”
- m 24, SA: take 8th out of “-son”
- m 27-32: keep in mind that the whole line is p
- m 2-5: tenuto staccato on “in ex-”
- m 8-19: drop the dot or the tied 8th that leads into a pair of 16ths. Similarly, any run that starts with 8th + two 16ths, lift on the 8th. Same again in mm 34-41.
- m 21: ff on the final “excelsis”
- m 33, T: take 8th out of “-tis” and don’t say the “s”
- m 34, SAB: take 8th out of “-tis” and S can omit the “s”
- m 43: ff on the final “excelsis”
- S1 is sung by the Sopranos of Choir 1, S2 by Choir 2
- Conducted in 8
- Do not breathe except at punctuation. Specifically, not in mm 3, 5, 8, 10.
- m 4: take 16th out of “-gnam”
- m 11: shorten the quarter to an 8th
