MONDAY, October 10, at Fountain of Life Church (No sectionals)
- I would like to achieve performance level run-throughs of most of this repertoire.
- Avoid retroflex r by flipping implying or trilling (“FIT”)
- Place final consonants correctly. Be rhythmic! Sense the beat and its subdivisions.
- Breathe in VOWEL and PITCH
- More enthusiasm in the sound, not necessarily more sound.
Warm up: #1, 3, 2, 8, 11 – mind half steps and whole steps, and whether you change pitch
at all! Please use these symbols, which represent these intervals, above and between
notes: ^ ┌┐
NOWELL SING WE
- Light and quick. Be “on the ball” rhythmically
- Accurate pronunciation (e.g. Jesu = “GEE – zoo”)
HYMN TO THE VIRGIN
- Consonant placement and British pronunciation are critical in this one.
- “Messa di voce” = crescendo followed by decrescendo
- Be aware of differences in each verse
- SOPRANOS: m. 24-27 – breathe well and pace your breath for the rise and fall (messa di voce) of this phrase
- Due to the chromaticism and frequent modulations it’s important to think about the harmonies in a piece like this, not just your part.
- BASSES: It starts in e minor, and your first pitch is “Do.” But by m. 7 it has moved to G major, and now you’re a to g is “Re – Do.”
- ALTOS: In m. 11 you change us from G major to g minor. BASSES: We are already moving to B-flat major, and in m. 13 your B-flat is the “new Do”!
- 21: A good unison B-flat. M. 25: a well-tuned open 5th.
- I CANNOT EMPHASIZE enough (though I will try, using CAPS):
MIND YOUR HALF STEPS AND WHOLE STEPS!
Use these symbols, which represent these intervals, above and between notes: ^ ┌┐
- Please write in additional measure numbers, e.g. the beginning of page 5 is m. 18.
- The composer tells us that it is a dotted quarter note beat (=ca. 63) but sometimes a quarter note beat is thrown in, e.g. end of page 3, the 5/8 bar is quarter, dotted quarter (2+3), same in m. 11. Measure 21 and 22 are: Dotted quarter, quarter, quarter, quarter.
- Unison 16th notes: m. 20, 32, 70: Each is different. Be aware of the intervals so they are true unisons.
DING DONG MERRILY
- Nadeen: for the high Cs, just one soprano.
- 37: I’ll start beating dotted half notes (in 2)
- All breathe following m. 42.
- This piece is going to make a dazzling closer! But it mustn’t become a “shoutfest.” “Never louder than lovely.”
DECK THE HALL
- 21 and all corresponding places: no breathe after the dotted 8th! Tenuto/Legato there!
- Tenors: What say ye about the proposed change of text in m. 72? Singing or drinking? (I’m an Anglophile and even I don’t like “quaffing!”)
- Measure last: Tenuto!