Rehearsal Notes for Fall 2017
Haydn Qui Tollis:
- m 149 (pg 23): Make sure you observe the rest on the first beat
Haydn Agnus Dei:
- m 153 (pg 81): Soprano careful to get to F-sharp.
- m 57 (pg 7): Bass the D and C-sharp are in the same place vocally so don’t go down too far on the C-sharp.
Lauridsen In Te, Domine Speravi:
- m 44 (pg 17): Make sure you observe the breath mark after beat one. Again, mark all breath marks in the piece!
Lauridsen O Nata Lux:
- This will probably be directed in 8.
- m 7 (pg 21): Again, notice the hold. Likewise again notice the hold in m 13 on the next page.
- m 133 (pg 28): WTC, there’s a rit.
- starting m 141 (pg 29): Memorize to the end.
Lauridsen Agnus Dei – Lux Aeterna:
- m 32 (pg 38): Soprano 1 only breath at end of measure. All others breath at end of m 31.
- m 46 (pg 40): This is unison.
- m 116 (pg 48): Sopranso and Alto the 4th note (G) should not have too much weight.
- m 140 (pg 51): This is unison.
- starting pg 17: The word motion should be more like mo-shawn
- m 84 (pg 17): Soprano and Alto prepare for triplet motion in the next measure.
- starting m 95 (pg 20): Soprano and Alto watch the timing of the hemiola. They happen through m 113 (pg 25).
- starting m 96 (pg 20): Tenor and Bass watch the timing of the hemiola. They happen through m 114 (pg 25).
Haydn Agnus Dei:
- m 36 and 37 (pg 74): Accent first syllable DO – na, NO – bis.
Haydn Kyrie eleison:
- Throughout this movement: Emphasis and pronuncian KY – ri – eh e – LEH – son. Also flip the R. Mark and watch for solos and tutti.
- m 5 (pg 2): Soprano vertical sound. All full eighth note, no spread.
- m 9, 10 (pg 3): Vertical vowels.
- starting m 26 (pg 5): Want the K to explode out.
- m 28: Bass don’t chew.
- m 31: Bass get ready for D, but still good tone.
- m 39 (pg 6): Breath after 1st beat.
- starting m 41 (pg 7): Want a hard K.
- m 63 (pg 9): Vertical sound. Hard K on Christe.
- m 66 (pg 10): Rounded O of son.
- m 86 (pg 12): Big K.
- m 7 (pg 60): Direction to “Sa” of Sabaoth. Breath at end of measure.
- m 36 and 37 (pg 63): Breath after first beat.
Lauridsen Veni, Sancte Spritus:
- Throughout this movement: Quarter-note before breath mark should be eighth-note and eighth-rest.
- m 12 (pg 26): Emphasis RA -di – um.
- m 25 (pg 28): Bass snarl to be heard.
- m 36 (pg 29): Soprano accent last eighth-note, the A, “in”.
- m 5 (pg 2): Long e for “the”.
- m 18 (pg 2): Emphasis DO – mi – ne.
- m 26-28 (pg 3-4): Go from vowel to vowel – no chewing.
- m 27: slight decres on “e – is”.
- m 31: Bass don’t chew. All not a hard t on “tu -a”.
- m 37 (pg 5): Tenor observe breath mark.
- starting m 57: Need a good tone, legato. drive to “Zi” in m 59.
- m 59: Make sure you get up to the A.
- m 74 (pg 9): Note rit, then back to tempo on m 75.
Laridsen In Te, Domine, Speravi:
- m 26 (pg 15): Big rit.
- m 44 (pg 17): Note breath mark.
- m 47-48 (pg 18): Softer – pp.
- starting m 56: Memorize and turn page for next movement.
Lauridsen O Nata Lux:
- m 7 (pg 21): Alto watch Anne for hold.
- m 13 (pg 22): Soprano watch Anne for hold.
- m 16: 2nd Soprano bring out the D.
- pg 23: Mark breaths.
Lauridsen Veni, Sancte Spiritus
- m 45 (pg 29): Note breath mark at end of measure.
- m 46: Alto may want to note next note on next page is G-sharp.
- m 73 (pg 32): “ci” should be pronounced “che”.
- m 101 (pg 34): Big rit.
Lauridsen Agnus Dei – Lux Aeterna:
- m 5 (pg 35): Note breath mark.
- m 1-2: This is the main theme.
- m 5 (pg 2): Note molto rit.
- starting m 6: Slower.
- m 8 (pg 3): Note first key change. (There are lots of them.) Back to main theme and faster.
- m 14 (pg 4): Note change to 12/8. It will be a 4 beat pattern.
- starting m 17 (pg 5): Men have melody.
- m 19 (pg 6): Soprano and Alto split.
- bottom of pg 7: Shawn has solo.
- starting m 37: Soprano and Alto start unison.
- m 43 (pg 10): Key change.
- m 49 (pg 11): Bass note you go up to a G.
- m 56 (pg 12): Note change to 6/8.
- m 65 (pg 14): Note key change. Note back to 12/8. Note men swap notes. Tenor 1 and Tenor 2 swap. Bass 1 and Bass 2 swap.
- starting m 69 (pg 15): This is a different rhythm.
- m 72-75: Use da-da for the ahs.
- m 80 (pg 16): Men start with melody again.
- bottom of pg 26: Shawn has solo.
- top of pg 29: Shawn has solo.
- m 141: Tenor note you will swap notes each phrase. e.g. m 141-145 Tenor 1 have top note then m 146-149 Tenor 2 have top note.
- starting m 154, 155 (pg 30): Soprano start with a pattern and just keep repeating at your own pace.
- starting m 156, 157 (pg 31): Alto start with a pattern and just keep repeating at your own pace.
- m 161, 162 (pg 32): Soprano change your pattern.
- m 171 (pg 34): Soprano and Alto land on your final chord.
- starting m 34 (pg 4): This is a faster tempo. Tenors start out and need to move forward with the new tempo.
- m 49-51 (pg 6): Soprano watch your notes.
- starting m 57 (pg 7): Tenor and Bass relax – watch your tone.
- m 76 (pg 9): Tenor not as loud, it’s mf.
- m 77: Tenor watch count – this is a 4-beat measure.
- starting m 90 (pg 11): This should be smooth.
Lauridsen In Te, Domine, Speravi:
- m 6 (pg 13): Alto watch B-flat.
- m 7: Alto watch E-natural.
- m 8: Soprano and Alto watch Anne for rit.
- m 10-12 (pg 14): No breath.
- starting m 35 (pg 16): Soprano and Alto unison for most of this section. Tenor and Bass also unison.
- m 54 (pg 18): Soprano notice that A and marked A-natural same note. It’s marked because Tenor has A-flat.
- m 60 (pg 19): Fade throughout this bar.
Lauridsen Veni, Sancte Spiritus:
- m 35 (pg 28): Alto have melody.
- m 39 (pg 29): ti should have ts sound.
- m 70-71 (pg 31): Alto memorize so you can turn the page and be strong with the melody starting in m 72.
- starting m 95 (pg 34): All memorize so you can look up and end the movement joyfully
- m 71 (pg 17): Tenor no D on first note.
- starting m 74: Soprano and Alto softer.
- m 77: Soprano, Alto, Tenor change last note to 8th-note with 8th-rest.
- starting m 112 (pg 20): Alto don’t drag and tone is not as deep.
- m 113-115: Soprano first 3 notes are staccato then the last 2 beats are legato.
- m 116: Breath at end of measure.
- m 117: Alto and Bass need a strong F on Filius. Tenor don’t care about the “L” of Filius. All drive through to “Pa” in m 118.
- m 119: First note is 8th-note with 8th-rest.
- starting m 25 (pg 38): Separated 8th-notes.
- m 27-28: Alto more sound on higher notes.
- m 28 (pg 39): Tenor more legato because it’s higher.
- m 31: Soprano more open, legato and no D on “de”.
- m 33: More “ch” on coelis.
- m 94: First note is most important, make sure we hear the “Et”, memorize first two measure so you’re looking up.
- m 97-98 (pg 45): Soprano lighter.
- m 99 and 101: Second note is 8th-note with 8th-rest.
- m 166-167 (pg 49): Stay open – don’t close the “m” of “nem”.
- m 297 (pg 59): Lift after the “et”.
- m 298 and 300: Separate quarter notes.
- m 310: Ending C is refined – not a “broadway C”.
- m 14 (pg 13): Emphasize first syllable, TER – ra.
- m 24 and 28 (pg 14): Put s on 3rd beat rest.
- m 31: This is forte.
- m 49 (pg 15): Bass 1st note is short.
- m 96 (pg 19): Emphasize first syllable, GE – ni – te.
- m 98 and 100: Emphasize first syllable, CHRI – ste.
- m 105: Emphasize first syllable, DE – us.
- m 109: Emphasize first syllable, DE – i.
- m 86 (pg 44): Bass growl the low note.
- m 94: Be ready to move. This is allegro.
- m 250-258 (pg 55): Bounce on the quarter notes.
- m 269 (pg 56): Bass watch the C-natural.
- m 275 (pg 57): Emphasize the last note – et.
- m 283-284 (pg 58): Cresc through held note – carry through to m 285.
- m 62 (pg 9): Make sure you observe the 8th rest at the end of the measure.
- m 71-72 (pg 10): Notice this is piano for these two measures.
- m 93-94 (pg 12): The last four notes are unison.
- m 51-52 (pp 15-16): Alto notice that last note of m 51 is same as first note of m 52.
- m 87 (pg 18): First beat is 8th-note followed with an 8th-rest.
- m 29 (pg 4): Watch Anne during rit.
- m 74 (pg 9): Watch Anne during rit.
- m 75: Tenor make sure you take a breath at end of this measure to come in on time in the next measure, m 76.
- m 57 (pg 7): Tenor and Bass are unison.
- m 65 (pg 8): Back to Home chord.
- m 90 (pg 11): Back to Home chord.
Lauridsen In te, Domine, Speravi (starts pg 13):
- m 44 (pg 17): First note is unison.
Haydn Sanctus (starts pg 60):
- Start in 8, 8th note beat.
- m 14 (pg 61): Now in 4.
- m 16: Emphasize first syllable, TER – ra.
- m 19-20 (pg 62): No breath between measures.
- m 20: O is on the beat, gl is before the beat. Emphasize first syllable, GLO – ri – a.
- m 21, 23: Emphasize first syllable, TU – a.
- m 28-30 (pg 63): Emphasize second syllable, o – SAN – na.
- m 33-37: Want to hear the x for excelsis, ex-chel.
Haydn Benedictus (starts pg 64):
- Soloists start, chorus starts on m 106 (pg 71). In 8, 8th note beat.
Haydn Agnus Dei (starts pg 72):
- Starts with 8th note beat.
- m 14 (pg 72): Lift at end of measure.
- m 40 (pg 74): Now in 3. Key change and faster.
- m 145 (pg 80): Last two notes of measure are unison.
Haydn Kyrie (starts pg 2):
- This will start in 8 – 8th note gets the beat.
- m 11 (pg 3): Switch to 4 – quarter note beat. You may want to circle the Solo and Tutti sections so you know where to come in.
- m 26 (pg 5): All Sopranos now have the melody – taking over from the soloist.
- m 82-83 (pg 11): Please memorize these two measures so you can turn the page early.
- m 84 (pg 12): Breat after first note. Probably want 8th note and 8th rest for the 1st beat.
- m 92-93: WTC (watch the conductor) because Anne may slow down here.
Haydn Gloria (starts pg 13):
- Note that this is in 3 and will be fast.
Haydn Qui tollis (starts pg 21):
- 8th note gets the beat.
- m 154 (pg 24): Break after 1st beat.
- m 173 (pg 26): Whisper.
- m 178: Alto make sure you get the C-natural.
Haydn Quoniam tu solus Sanctus (starts pg 28):
- Starting m 225 (pg 30): This will be faster.
Haydn Credo (starts pg 36):
- In 4 – quarter note gets the beat.
Haydn Et incarnatus est (starts pg 39):
- Chorus comes in at m 58 (pg 41) and 8th note beat.
Haydn Et resurrexit (starts pg 44):
- Might want to mark m 161 (pg 48) since it will be a frequent starting point.
- m 179-184 (pg 49): WTC
Haydn Et vitam venturi saeculi (starts pg 50):
- Half note beat.
Lauridsen Introitus (starts pg 1):
- Note for the entire piece: Break at all breath marks and no breaks (stagger breathing) at all other places.
- m 17 (pg 2): This is the “home chord” to which we keep returning.
Lauridsen Agnus Dei (starts pg 35):
- Starting m 116 (pg 48): This should be very joyful.