Markings from May 25 rehearsal
Cantate Domino

• m 12-13: extra time between these measures

Rösten ur mörkret sjunger

• m 113, SA: men have the tune here, so sing less than f

Cry out and shout

• m 21: mp
• m 23: gradual cresc to f at m 26

Kyrie

• m 22: fermata on the rest
• m 43: rit, leading to the slower tempo in 44

Holy Lord of Hosts

• m 41-42: there is a break between these measures (the marking made in rehearsal 2 weeks ago was in error)

We welcome summer
We’re simplifying the last two pages by removing some measures of the men’s parts, causing them to line up with the women’s, so that the last page is only a 3-part canon, not 6-part. Details:

• H, m 83: after the first note, skip to the second note of m 84; alternatively, jump to the women L line and read it in octave clef.
• M, m 84: after the first note, skip to the second note of m 87; alternatively, jump to the women M line and read it in octave clef.
• L, m 85: after the first note, skip to the second note of m 90; alternatively, jump to the women H line ​and read it in octave treble clef.

You can look at the revised final pages here, or if you’re using a tablet and don’t mind transferring your markings, download a whole new score (“second revision”) from the scores folder.

Markings from Apr 27 rehearsal
Ubi caritas

• m 39, S: take 8th out of first quarter

We welcome summer

• m 42: Sanford will take a break before bringing the women in on beat 3
• m 45-61: take an 8th rest out at every comma
• m 62: fermata and cutoff for all before m 63. Effectively, change this measure to a 3/4, with both men and women holding their note for the duration of the measure, then a breath; the men do not sing on the downbeat of m 63.

Una de dos

• m 18: cut off the tied 8th

Markings from Apr 25 workshop
Cantate Domino

• Sanford will give G as starting pitch
• m 27 & 91: T has the melody, sing out; everyone else back off and listen for T

September

• Sanford gives F#
• m 12: these swells are less dramatic than those in m 10

Rösten ur mörkret sjunger

• Sanford gives C

Cry out and shout

• Sanford gives A
• m 33 & 38: take 8th out of “shout”

Kyrie

• Sanford gives D

Locus Iste

• Sanford gives E♭
• m 77: change to syllable “-i-” on second note

Cum Sancto Spiritu

• Sanford might give B♭ but seems more inclined to give all 4 notes (in his octave)
• m 76-77, T: no breath

Ubi caritas

• Sanford gives F

We welcome summer

• In general, when you have the melody, bring it out, and everyone else stay out of the way.

Hands are Knockin / Salmo 150

• Swap these pieces in the program order

Markings from Apr 20 rehearsal
September

• m 4: fermata on the final 8th, with a breath before the next bar
• m 6, A2,T2: Change the dotted quarter in the second half of the measure to a quarter plus 8th (same pitches), singing “-ing, are” to match A1T1
• m 13-14, B: delete the slur in 13, and change the underlay to “strange-ly eve-ning” on your existing four notes

Cantate Domino

• m 105-end: whoever has the moving 8th-note phrase, bring it out; everyone else listen for it
• m 106, B: instead of tying the first two 8ths, tie the second two instead, to match m 112, 116, et al
• m 126-129: stay f to the end, even if all those low notes make it sound like a decresc

Cry Out and Shout

• m 10: fp cresc
• m 36: delete the tied quarter for a big breath
• m 37: start the rit here, rather than where it’s written
• m 40: fp cresc

Rösten ur mörkret sjunger

• m 131, SA: delete this measure entirely (meaning A2’s last measure is 130)

Kyrie

• m 28: dim the third beat to the p in m 29, rather than making it subito

Markings from Apr 13 rehearsal
Holy Lord Of Hosts

• m 32 & 117: note the subito p; the cresc before this reaches f here
• m 65: breathe before the subito p

Locus Iste

• m 44-47 (or so): lower sopranos feel free to sing the alto line instead; lower altos feel free to sing the tenor line instead
• m 50: breathe at the comma

Balalaika

• m 3-8, S: the stem-up melody notes go to the middle of the 3-part divisi (designated “b” in the midis), while the stem-down notes go to the top and bottom voices (“a” and “c”)
• m 9-10, S: there are really only 3 notes here, so it’s a/b/c on the top/middle/bottom notes.
• m 43, S: sing E (the low one), rather than a shout.

Cry Out and Shout

• Everyone divide HML throughout

Markings from Apr 6 rehearsal
Ave Maris Stella

• m 28: the second syllable is “-lae-”, not “-la-”
• m 30, TB: “-lae-”

Rösten ur mörkret sjunger

• m 37, T: the word is “av”, not “hav”

Una de Dos

• m 22, TB: take out the tied 8th note to breathe
• m 26, B: the D is spurious; stay on the E
• m 34, TB: take out the tied 8th note to breathe

Markings from Mar 30 rehearsal
There Is No Rose

• m 3-4, SA: pronounce “virtue” as “veer-too”
• m 7-8, SA: pronounce “Jesu” as “Jee-zoo”

Ubi Caritas

• Divide HML in SA and TB whenever there are three notes (but not four)

Salmo 150
Sanford recommended practicing the following words until they come out cleanly:

• m 9-10, T:  “magnitudinis eius”
• m 18, AB:  “cymbalis benesonantibus”
• m 20:  “jubilationis” (4x)
• m 25-26:  “Laudate Dominum” (4x)