Rehearsal Markings for Fall 2019
Notes from November 20 rehearsal
- m 37: dim
- Cut m 52-59. In m 51, S hold your A or E until end of measure without singing the “daugava” syllables.
- m 78-81: T2 sing the T1 line; B1 sing the T2 line.
- m 1, A: add a tied 8th at end of measure to match S
Notes from November 18 rehearsal
- m 45: no breath
- m 57: no breath
- m 4-5: no breath
- m 15-16: no breath
- m 46: no breath
- m 81: breath before “to-”
Notes from November 11 rehearsal
- m 3, B: make the vowel more like “eh” (ɛ)
- m 46: breath at end of measure
- m 35, SA: take 8th rest out of the first note (take the dot off)
- Sanford will give F to start.
- m 35, SA: take quarter rest out
Notes from November 4 rehearsal
- In all the runs with dotted 16ths, lift on the dot (as if it were Baroque music), e.g., m 10-11 AB
- m 112-end, STB: stagger breathe, except at the one marked breath (m 127). In particular, change chords seamlessly.
- No breaths except those noted below
- m 8, S2ATB: breath at end of measure
- m 15: breath at end of measure
- m 20: breath at end of measure
Notes from October 28 rehearsal
Mence (new tonight)
Mence (new tonight)
- every time you have an “ah” with an accent, rearticulate (e.g., m 13-20 SAB)
- m 67, S: take 8th rest out at the dot
- m 93-103: legato with straight tone
Notes from October 21 rehearsal
- m 68-69: first syallable of “be-hold” is (in IPA) “bɪ” not “bi”
- m 70, SA: take ¼ rest out of “-hold”
- m 56-58, 59-62: slight accent on “here”, no breaths at commas (presumably the same applies to m 81-87)
- m 66-67, SA: no breath
Notes from October 19 workshop
- m 15, SA: close gradually to “n” somewhere in this measure
- m 20: at the end of this measure, everyone sings the “m” of their last word of m 19, which is accidentally the same as the soloist’s last consonant.
- The gradual cresc on the last page could have the following signposts: m 131 mp, m 134 mf, m 140 f.
- m 51-52, A: no breath
- m 55-56, SAT: no breath
- m 38: go ahead and accent “-daine” too, even though it’s not explicit.
- m 31, ATB: it’s marked f, but take with a grain of salt, as the Sopranos have to come thru.
Notes from October 14 rehearsal
- m 28: fermata on beat 3, then breath
- m 49-54: breath before and after each “amen”
- m 52: fermata on beat 3, then breath
- Sanford will give E-flat to start.
- m 19: breath after “bed”
- m 23-24: no breath
- m 36: dim to mf; no breath going into m 37
- m 37: lift after “I”
- m 40: lift after “by”
- m 53-54, SA: no breath
- m 57: breath after “light”
- m 77, ATB: accent
- m 93, 95, (etc.), SA: close to the “n” on the downbeat
- First page: repeat is softer
- Women divide HML wherever it makes sense (m 8-16, 24-32, 41-56).
Notes from October 7 rehearsal
- When a glissando starts from a half note (m 13, 25, 67 for the men), start the glissando in the middle of the note (as if it were a quarter tied to a quarter with glissando on the second quarter); in all other cases, glissando uniformly thru the length of the note.
- Second vowel of “dis-tance” is a schwa (but bright rather than dull)
- m 54: breath after “wei”, no breath in 55.
- m 63: breath after “yo”
- m 99, ATB: mf
- m 7: T only on the bottom staff (B enters in m 12)
- m 9-11: women divide HML
- m 19: men divide HML
- m 21: B only on bottom staff
- m 22: SA on middle staff, TB on bottom staff
- Sing the two vowels of “io” equally across the duration of the note. This is most important in m 1 and m 66-67.
- m 30: this section will be a little faster
- m 82: sing the two vowels of “tua” equally across the duration of the note.
- m 14: take 8th out of “Stund”
- m 18: take 8th out of “Rund”
- m 22: take 8th out of “Pracht”
- m 30: take 8th out of “Nacht”
- m 42 + pickup: echo
- m 76 + pickup: faster
- m 80: rit
Notes from September 30 rehearsal
- m 16: take 8th out of “it” to place the “t” on beat 2.
- m 32, S: take 8th (the dot) out of “mind”
- m 36, S: take 8th (the dot) out of “kind”
- m 40, B: dim beat 4
- m 42: take 8th out of “it” to place the “t” on beat 2.
- First syllable of the title word uses a schwa, not ɛ.
- m 4: breathe at end of measure, possibly some extra time.
- m 83-87, SA: These measures are HML. Middles of the Alto section can sing the small notes on their own staff to avoid skipping to a different staff, so the only people who should have to shift at all are the few S2’s who are also Highs.
Notes from September 23 rehearsal
- In 2
- m 20-26: the 3 vowels of “do’ahi” are divided more or less equally across whatever note value you have
- m 31, B: “la” should be “le”
- m 33, T: “la” should be “le”
- m 59, 88, 98: breathe at end of measure, maybe a little extra time
- m 127, ATB: breath (where indicated in A part)
- m 66: take 8th rest at comma
- m 69, S2ATB: take 8th rest out of “heart”
- m 47: “be” should be “by”
- m 48: “Bap-time” rhymes with “team”, not “time”
Notes from September 16 rehearsal
- m 3-21: lift at the comma between repeated “alma” (but be sure not to break between “alma” and “redemptoris”); whenever you have the 8th + two 16ths figure, lift before the 16ths.
- m 90-93: dim
- m 101-102, ATB: hemiola, phrase accordingly
- m 119-120: dim
- m 120, B: stay soft so you can hear the altos, who are a mere third above you.
- m 127: cresc gradually thru the end of the piece
- m 2: break at end of measure for everyone; Sanford will give new downbeat for basses.
- m 27: the modern word is “Eyes”
- The 3 measures marked “solo” have been assigned. If you weren’t assigned, don’t sing.
- m 22: yes, AB really do have a dim that ST don’t.
- m 23, A: A1 only
- m 24, T: T1 only
- m 25, T: Steve only
- m 26, S: S1 only
- m 27, S: designated singers only
Notes from September 9 rehearsal
- There’s an implicit fermata at the end of most measures.
- The funny symbols above the S line indicate conductor’s beat pattern
- p 5: Altos sing the top line (melody) thru m 24; Soprano tacit