Rehearsal Notes

Rehearsal Notes for Spring 2017

Rehearsal Notes 4/24/2017

Brahms, movement 1:

  • m 21 (pg 3): Cresc to mp
  • m 22-23: Tenor wait to decree until m 23, not in m 22.
  • m 26: Soprano needs to be lighter.
  • m 33-37 (pg 4): Watch tone.
  • starting m 55 (pg 5): All give more F to Freuden.
  • starting m 66 (pg 6): All keep Sie and ge of gehen same vowel.
  • m 100 (pg 8): WTC, it may be slower.
  • m 104: No S on selig. Needs to be Z.
  • m 105-106: No breath between measures.

Brahms, movement 2:

  • m 74 (pg 14): WTC – Anne may slightly hold “So”.
  • m 78: Soprano, Alto, Tenor get to vowel of Bruder quicker.
  • starting m 198 (pg 19): Be joyful, keep good tone.
  • starting m 206 (pg 20): Stay joyful, keep lighter.
  • m 230 (pg 21): Don’t slow down. Need the “te” right on beat 3.
  • starting m 245 (pg 22): Want delight.
  • m 250: Bass watch tone on high C. In general a few often get a little blatty at A and above throughout the entire piece.

Brahms, movement 3:

  • p 39: Think lively.
  • m 180: Soprano decresc.

Brahms, movement 5:

  • m 21 and 24 (pg 55): The “einen seine” needs to be more legato.

Brahms, movement 6:

  • pg 61: Watch tone and phrasing – true throughout entire movement.
  • m 193-201 (pg 72): WTC – Anne may pause before downbeats.
  • starting m 208 (pg 73): No Z on zu. Always needs to be tsu.
  • starting m 290 (pg 80): More legato.
  • m 315 (pg 81): Turn page early while singing Kraft.

Rehearsal Notes 4/17/2017

Brahms, movement 5:

  • m 21 (pg 55): Emphasize the 8th notes but they should be p.
  • m 22: Cresc to mp then back to p in m 23.
  • m 35 (pg 56): Tenor and Bass cresc to mp then back down.
  • m 36: Soprano and Alto cresc to mp then back down.
  • m 62 (pg 58): Tenors are mp.
  • m 64 (pg 59): All start phrase pp.
  • m 80 (pg 60): Larger decresc. You should already be pp.

Brahms, movement 6:

  • m 18 (pg 61): Alto have more depth – think ‘homeless’.
  • m 25 (pg 62): Alto breath between beats 2 and 3.
  • m 26: Cresc to mp.
  • starting m 82 (pg 65): Try to memorize. At least look up.
  • m 224 (pg 74): Bass first note is quarter note with quarter rest, then breath, then staccato on next two quarter notes (und durch).
  • m 237 (pg 75): Cresc is up to mp.
  • m 256 (pg 77): Soprano, Alto and Tenor lift between Kraft and zu.
  • m 259-260: Bass should sound noble with rounded tone. Lift between und and Ehre.
  • m 262: Soprano don’t sing the low E unless you have it. Altos have the same note.
  • m 288-290 (pg 80): Soprano take more breaths.
  • starting m 290: Tenor it should sound tender.
  • m 312-315 (pg 81): Soprano breath anywhere except before first beat.
  • starting m 316: Alto think ‘beautiful’ tone.
  • m 328 (pg 82): Soprano, Alto, Tenor 2nd half note should be dotted quarter note with a quarter rest.
  • m 340-341 (pg 83): All lift between und and Eh,
  • m 345 to end: Alto, Tenor, Bass carry the phrase. Breath at odd places. All no breath before beat 1.

Brahms, movement 7:

  • m 13 (pg 85): Bass breath between beats 1 and 2.
  • m 120 (pg 92): All lift at end of measure.
  • m 145 (pg 94): WTC

Rehearsal Notes 4/3/2017

Brahms, movement 3:

  • starting m 174 (pg 38) and continuing to end: All parts make “Hand” short.

Brahms, movement 4:

  • m 165 (pg 53): Alto and Bass make high E-flat lighter and connected to the F.

Brahms, movement 6:

  • m 3 (pg 61): All look up.
  • m 9: Beat 4 “die” is pp.
  • m 12: Start pp again.
  • m 344 (pg 83): Make tied half note a quarter note with a quarter rest. WTC for when “zu” starts.

Brahms, movement 7:

  • m 50 (pg 87): Cresc only to mp at end of measure.
  • m 51: Decresc down to p.
  • m 52: Cresc only to mp at end of measure.
  • m 53: Decresc down to p. The “beit” needs to be softer.
  • m 84 (pg 89): Soprano start with “n”.
  • m 87 (pg 90): Bass start with “n” – except for Dave and Chip.
  • m 108 (pg 91): Tenor cresc on G half note. No “n” on “ben”.
  • m 142 (pg 94): WTC, Anne may change tempo.
  • m 162 (pg 95): “ben” needs to be softer.

Rehearsal Notes 3/13/2017

Brahms, movement 2:

  • m 256 (pg 22): Want to hear Tenor move to F-sharp on beat 1.
  • m 260 (pg 23): Want to hear Tenor move to F-natural on beat 1.
  • m 287 (pg 24): Tenor more K on beat 2.
  • pg 26: Tenor, Bass, Alto memorize.

Brahms, movement 3:

  • starting pg 35: All really emphasize the first 3 notes of the moving part “nun Herr wes”.
  • m 145: Bass be careful of the F-sharp.
  • m 159 (pg 37): Don’t slow down.
  • m 180 (pg 39): Alto and Bass more D on “der”.

Brahms, movement 5:

  • m 20 (pg 55): Alto and Bass no breath between “sten” and “wie”.
  • m 21: Start at p, cresc to mp in m 22, decres to p in m 23, then start the next phrase pp.
  • m 25: All do <> in the measure.
  • m 44 (pg 57): Tenor and Bass dim during trosten.
  • m 45-46: Soprano and Alto dim during trosten.
  • m 75 (pg 60): Soprano and Alto dim during trosten.
  • m 76: Soprano, Alto, Tenor more V and sign on the “will euch”.
  • m 79: Larger dim.

Rehearsal Notes 3/6/2017

Brahms, movement 1:

  • starting m 47 (pg 4): Want quarter notes to be a sigh motif, no accent.
  • starting m 78 (pg 6): Legato.
  • m 151 (pg 10): No breath.

Brahms, movement 6:

  • starting m 227 (pg 74): Don’t slam 2nd syllable of Ehre.

Rehearsal Notes 2/27/2017

Brahms, movement 3:

  • m 29-30 (pg 29): Soprano no s at end of m 29. Same vowel from last note of m 29 to m 30.
  • m 48-50 (pg 30): Make half notes marcato. Also first beat is accented more than 2nd beat. Still start p.
  • m 55: Make the tied note a dotted eighth note.
  • m 56: Go back down to p, then start cresc.
  • m 59: Should be up to mf.
  • m 61: Cresc into m 62.
  • m 62: st on rest.
  • m 63: Start v earlier.
  • m 65-66 (pg 31): Very slight break between measures. Decresc on ‘dir’.
  • m 82-84: Cresc in m 82, m 82 is mf, decresc in m 85
  • m 85 (pg 32): Start mf
  • m 129 (pg 34): More v on wie.
  • m 132: Decresc on ‘schen’.
  • m 135: Soprano start f, descresc, then cresc at end of measure into m 136.
  • m 136: Soprano accent syncopation.
  • starting m 144: Half notes are mf, moving parts are f. Accent first 3 notes of moving parts.
  • m 156-157 (pg 37): Soprano stay open – no consonants.
  • m 166: Start cresc.
  • m 167 (pg 38): Beginning of measure mf, continue cresc to f in m 168.
  • m 171-172: Maintain tone and continue cresc to ff at end of measure. Soprano accent E in m 171. Tenor may breath after 1st beat in m 172 to prepare for m 173.
  • m 173: All make first note quarter note.
  • m 183: Soprano note to yourself that last note (E) is different than previous sequences.
  • starting m 196 (pg 42): Soprano and Tenor are the same. Alto and Bass are the same.
  • last measure (pg 43): It will be at least 6 beats, maybe 8.

Brahms, movement 5:

  • m 48 (pg 57): Rit here – WTC.
  • m 74 (pg 60): Tenor and Bass breath between beats 3 and 4.
  • m 75: Soprano and Alto breath between beats 3 and 4.

Brahms, movement 7:

  • m 100 (pg 91): Dim on nach.
  • m 130, 131, 140 (pg 93, 94): Have accurate rhythm when you have triplets or half note.

Rehearsal Notes 2/20/2017

Brahms, movement 2:

  • m 33 (pg 12): Alto center your pitch on beat 3, jumping the octave from beat 2
  • m 61 (pg 13): move dim to here from m 60. No breath from keit to des.
  • m 78 (pg 14): possible breath at end of measure. WTC.
  • m 82: Alto, Tenor, Bass dim after kunft.
  • m 146 (pg 17): lift after Denn.
  • m 178 (pg 18): Start ff. Lift after Denn. Then start cresc during phrase.
  • m 206 (pg 20): Soprano, Alto, Tenor make 3rd beat on eighth note.
  • m 208: Bass breath after beat 2. Accents on beats 3 and 4.
  • m 219: Tenor ff, Bass f, Soprano and Alto mf. Tenor drive to the Freude. All less on the ‘de’ of Freude.
  • m 223 (pg 21): no breath at end of measure.
  • m 262 (pg 23): First wird weg – Alto mp, Tenor mf. Second wird weg – Alto mf, rest f.
  • m 291 (pg 25): Alto ff.
  • m 297: beat 3 needs to be in time even though it’s piano.
  • m 311 (pg 26): Tenor dim.
  • m 315: Alto dim.
  • m 319: Alto, Tenor cresc.
  • m 320 (pg 27): Alto, Tenor dim.
  • m 321: Alto, Tenor cresc. Soprano breath at end of measure.
  • m 322: Alto, Tenor dim. and breath at end of measure.
  • m 333: First beat and a half dolce ff.

Brahms, movement 4:

  • m 48 (pg 46): Bass no breath between le and ver.
  • m 136 (pg 51): Tenor beat 3 is a D, not B-flat.

Brahms, movement 6:

  • m 209 (pg 73): Alto breath between dig and zu.
  • m 212: Soprano breath between dig and zu.
  • m 217: Bass breath between dig and zu.
  • m 225 (pg 74): Alto breath between dig and zu.
  • m 242 (pg 78): Soprano accent the tied D.

Rehearsal Notes 2/13/2017

Brahms, movement 1:

  • m 15 (pg 3): start pp.
  • m 16: cresc and desc in this measure, WTC.
  • m 17: “t” sound on beat 2.
  • m 19: start pp again.
  • m 23: Alto, Tenor, Bass breath between beats 2 and 3.
  • m 26: dim at end of measure.
  • m 27: “n” sound on beat 2.
  • m 29: start pp again.
  • m 33 (pg 4): start pp and cresc to mf in m 34.
  • m 34: “t” sound on beat 2.
  • m 42: Bass breath between beats 2 and 3.
  • m 44: dim at end of measure into m 45.
  • starting m 47: more emotion and depth but still start p.
  • m 54 (pg 5): Soprano no breath.
  • m 55 and 57: Soprano breath after beat 2.
  • m 61 and 62: Tenor cresc and decresc on beat 1.
  • m 66-76 (pg 6): connect vowels, centered, drive to “wei” then dim to “nen”.
  • m 74: Alto, Tenor, Bass breath at end of measure.
  • m 79-80: Tenor, Bass no break between gehen and hin.
  • m 80-81: Tenor, Bass make sure you put the “t” on und and “V” on wienen.
  • m 120 and 122 (pg 9): start pp.
  • m 124: start p.
  • m 143 (pg 10): dim at end of measure.

Braphms, movement 3:

  • m 183 (pg 40): Soprano f, others mp.
  • m 185-187: Soprano relax and float. dim at end of m 187.
  • m 186: Bass breath between Hand and und. High D on beat 3 should be mp then cresc through m 187.
  • m 188: Soprando mf then cresc up to f at end of m 189.
  • m 189 (pg 41): Tenor breath between beats 1 and 2.
  • m 196 (pg 42): Bass accent der on beat 2. Tenor accent der on beat 4.
  • m 198: Alto accent der on beat 2. Soprano accent der on beat 4.
  • m 200: Alto breath between “an” and und.
  • m 201: Bass dim through measure. Soprano mf.
  • m 202 (pg 43): Bass mf.
  • m 206 to end: will be quarter-note beat, slowing so WTC.

Brahms, movement 4:

  • m 74 (pg 60): Tenor and Bass breath between beats 3 and 4.

Rehearsal Notes 2/6/2017

Brahms, movement 2:

  • top of pg 24: Soprano dynamic mp-mf.
  • m 278-279: Soprano no breath between Zion and kommen.
  • m 291-297 (pg 25): Alto has melody so look up and express joy.
  • m 333-336: All bounce on syncopation and watch dynamic.

Brahms, movement 3:

  • m 28-29 (pg 45): Tenor no breath between deine and Wohnengen.

Brahms, movement 6:

  • pickup to m 10 (pg 61): All should be pp for “die”.
  • m 18-30 (pg 61-62): All be legato.
  • m 284-286 (pg 79): All really emphasize the zu – want to hear the ts.
  • starting m 316 (pg 81-82): Think beautiful tone
  • m 338 (pg 83): Alto, Tenor, Bass make 2nd beat staccato and Soprano shorten the whole note. Then all accent the zu.
  • m 339-340: no breath.
  • m 341-344: whisper.
  • m 342: want the t on und.
  • m 343: strong K on Kraft.
  • m 344: WTC – Anne will pause before beat 4.
  • m 345-347: no breath – drive to “Eh”.
  • m 349: Will be 8 beats.

Brahms, movement 7:

  • m 22-23 (pg 85): Alto have same B-flat last note of m 22 and first note of m 23.
  • m 32-34 (pg 86): Alto need rich sound because you are below the tenors.
  • m 48 (pg 87): Note key change.
  • m 67 (pg 88): WTC.
  • m 72-73 (pg 89): Alto and Tenor emphasize 2nd and 4th beats.
  • m 74: All, “nach” should be softer.
  • m 80: Soprano, Alto, Tenor dim at end of measure and into m 81
  • m 81: Bass no crescendo.

Rehearsal Notes 1/30/2017

Brahms, movement 3:

  • m 193 (p 41): Soprano be careful to get C-natural.

Brahms, movement 4:

  • m 80 (p 48): Soprano be careful to get E-flat.
  • m 134-137 (p 51): Soprano keep this phrase lighter.
  • m 159 (pg 53): Bass don’t punch first note.

Brahms, movement 5:

  • m 18-26 (pg 54-55): All sing more horizontally – want smooth phrasing. This is probably true for this whole movement.

Brahms, movement 6:

  • m 16 (pg 61): All make sure you cut off and observe beat 2 rest. We don’t want to step on the orchestra. That’s true for most of the phrases, e.g. m 46, m 59
  • m 104 (pg 67): This first beat should be softer
  • m 152, 155, 156, 159, 169 (pg 69-71): These half notes are all unison. (I heard some people trying to sing something else.)
  • starting pg 73: The counter-phrase should be lighter but make sure the the words come out.
  • m 236-238 (pg 75): Tenor and Bass sing the whole phrase smoothly – no chopping of notes.

Rehearsal Notes 1/23/2017

Brahms, movement 2:

  • m 267 (pg 23); Alto tune C to Bass C.
  • m 276-283 (pg 24): Soprano back off when you have quarter or half notes to let the other moving parts with come through.
  • m 297 (pg 25); All observe rest on 2nd beat. Alto tune your A-flat.
  • m 302: WTC. (New people, that means Watch the Conductor.) Last night our guest conductor said he likes a ritard. Anne may do something different.

Brahms, movement 3:

  • m 144-158 (pp 35-37): Moving parts should have emphasis so if you don’t have quarter or eighth notes, back off.
  • m 146: Alto possibly get your low G from either bass F-sharp in previous measure or Soprano high G on first beat.
  • starting m 173 (pg 38): in 4, half note gets the beat
  • m 179 (pg 39): allow Tenor to come through.

Rehearsal Notes 1/16/2017

Brahms, movement 1:

  • m 33 (pg 4): All start pp
  • m 96 (pg 8): This will start slower again
  • m 132-135 (pg 9): Need more bass in this phrase

Brahms, movement 2:

  • m 313-315 (pg 26): Alto needs to be piano – match what tenor and bass have done previously.

Brahms, movement 4:

  • m 152 (pg 52): Watch Anne for slight rit.

Rehearsal Notes 12/12/2016

Brahms, movement 1:

  • m 51 (pg 5): should still be piano
  • m 106-109 (pg 8): Alto, no breath
  • m 135 (pg 9): All, don’t punch beat 1 (den), it should be softer than the first syllable (wer) in the previous measure.

Brahms, movement 2:

  • m 150 (pg 17): Breath between 2nd and 3rd beats.

Brahms, movement 3:

  • in 2 so half note gets the beat
  • m 17 (pg 28): Tenor, Bass get your note from orchestra – last note of previous measure.
  • m 51 (pg 30): Alto, Tenor, Bass accent 2nd note. All need to listen for Tenor.
  • starting m 105 (pg 33): Start of 3/2 time, still half note beat
  • starting m 129 (pg 34): Memorize this section
  • starting m 141 (pg 35): Still in 3/2.

Brahms, movement 4:

  • m 11 (pg 44): Breath between 2nd and 3rd beats.
  • m 54 (pg 47): Alto make sure you go down to the G-natural in beat 3.
  • m 56: Tenor make sure you go down to the D-natural in beat 3.
  • m 154-158 (pg 52): Soprano listen for Tenors.

Rehearsal Notes 11/28/2016

Brahms, movement 2:

  • m 22 (pg 12): Alto, Tenor, Bass start out unison.
  • m 26: All breath between 2nd and 3rd beats.
  • m 33: Alto breath between 2nd and 3rd beats.
  • m 54 (pg 13): All start out unison again.
  • m 58: Breath between 2nd and 3rd beats.
  • m 60-64: Stagger breaths until end of phrase on 2nd beat of m 64.
  • m 74 (pg 14): Soprano, Alto, Tenor start unison.
  • m 146 (pg 17): Alto, Tenor, Bass start unison.
  • m 206 (pg 20): Sudden change in tempo. Anne will conduct in a fast 4. Previous measure (and page) is in a slower 3.

Rehearsal Notes for Fall 2016

Rehearsal Notes 11/16/2016

Bach:

  • m 145 (pg 8): There will be a rit so watch Anne.
  • m 158,159 (pg 9): Alto and Tenor should be forte and give a strong T on Trotz.
  • m 298 (pg 20): Anne will conduct the 8th notes.

Gjeilo, The Spheres:

  • 1st section: All pucker more, especially Sopranos.
  • m 39-50 (pp 6-8): Alto split – back 2 rows do bottom note, first 2 rows do top note. I didn’t hear what the Bass and Tenor 2 splits, but it sounded like you’re all set.

Gjeilo, Sunrise:

  • section I, J (starting pg 26): need to keep moving ahead – anticipate the beat with Anne

Gjeilo, The City:

  • m 133-135 (pg 48): Bass, the low tones need more air – breathe often

Rehearsal Notes 11/14/2016

Bach:

  • make sure you mark your score from Anne’s notes.
  • m 182 (pg 11): Alto, Tenor, Bass – drive through measure to Ruh in m 183.
  • m 187: break between 1st and 2nd beats.
  • m 191-192: Bass stay strong – already forte.
  • starting pg 13: Make sure you have a strong F on fleisch
  • pg 17: be very conscious of 8th rest. All leave space for the part singing alone.
  • m 259 (pg 18): Be careful of pronunciation of Schatzen
  • #8 (pp 19,20): Tenor and Bass use dee-dee for runs
  • #9 (pp 21-24): Alto use as much consonants as possible.
  • pg 24: Tenor need more consonants.
  • m 414 (pg 25): lighten up for new theme.
  • m 418: no breath at end of measure
  • pg 26: All need to back off for Tenor in m 423, then for Alto in m 425, then for Soprano 1 in m 427, then for Soprano 2 in m 430, then for Bass in m 433 (pg 27).
  • m 440 (pg 27): Soprano 2 use doo-doo for run.

Gjeilo, The Spheres:

  • m 85-88 (pg 12): Alto be more thoughtful with tone – remember puckered note from last week
  • m 97-99: stay full but energy starts to go

Gjeilo, Sunrise:

  • pp 17-18: Soprano start Gloria with “ng”. The entire line is in the same place in your mouth and head to keep from going flat.
  • m 67-71 (pg 18): Soprano listen for violin playing the same note.
  • pg 33: turn while still singing. Anne will give the cut-off.

Gjeilo, The City:

  • pg 38: We need to hear the words.

Gjeilo, The Ground:

  • m 98 (pg 67): Start with N then open to O.

Rehearsal Notes 11/7/2016

Bach:

  • m 64-65 (pg 4): Soprano 2 should be legato
  • m 122 (pg 7): turn while singing to prepare for #4
  • m 123 (pg 8): Alto hold full 2 beats
  • m 171 (pg 10): Soprano 2 do not sing lower E (2nd 8th note)
  • m 185-186 (pg  11): be careful of pronunciation of halt – should be long-e sound, not a
  • m 270 (pg 18): 1st 8th note of each beat should stronger than the 2nd 8th note.
  • m 385 (pg 24): Alto be careful of G-natural

Gjeilo, The Spheres:

  • m 85-88 (pg 12): Alto more puckered

Gjeilo, The City:

  • m 32 (pg 38): breath at end of measure
  • m 179 (pg 51: Soprano should be mp. Alto should be mf.

Gjeilo, Identity:

  • pg 58-59: ctus should be just ooo – forget the ct
  • pg 61: turn early while still singing so there is silence before m 42 (pg 62)

Rehearsal Notes 10/31/2016

Bach:

  • m 385 (pg 24): Alto be careful of the G-natural.

Gjeilo, The City:

  • m 99, 107, 115 (pp 44-45): Alto 1 look up and emphasize the eighth notes.
  • m 101, 109 (pg 45-46): Breath at end of measure.
  • p 48: stagger breathing.
  • m 37 (pg 48): Tenor make B-flat stronger.
  • m 205 (pg 54): Accent first note – Bass strong on higher G, all others should make the Et strong

Gjeilo, The Ground:

  • m 53 (pg 62): Alto make the E stronger.
  • m 57 (pg 63): Breath at end of measure.
  • m 67 (pg 64): Put the ‘s’ of ’tis’ right at the beginning of ‘qui’.
  • m 86 (pg 65): Breath at end of measure.
  • m 92 (pg 66): Alto make sure 2nd beat is accented.

Rehearsal Notes 10/24/2016

Bach:

  • m 79 (pg 5): Bass wording (also mentioned in Anne’s email) Chri on beat 1, sto on beat 2, Je on 1st half of beat 3, su on 2nd half of beat 3.
  • #6 (starting pg 13): subject is forte, everything else is piano.
  • m 234-235 (pg 15): Soprano 2 and Alto accent the half notes and tied quarter notes.
  • m 236: turn page early.
  • pg 17: when there’s an 8th rest, consonant on downbeat

Gjeilo, The Spheres:

  • m 56,59 (pg 8): After you stop singing, wait to turn the page until letter D (m 75, pg 10).
  • m 86-87 (pg 12): No breath between these 2 measures.
  • m 96 (pg 13): Stay ff until you stop in m 99

Gjeilo, Sunrise:

  • starting m 96 (pg 21): This is NOT legato, be energized.
  • starting m 113 (pg 23): Alto and Bass watch tone.

Gjeilo, The City:

  • m 45 (pg 39): Soprano think of the 1st note as a C#, up a 3rd from the A in m 44

Rehearsal Notes 10/17/2016

Bach:

  • m 116-117 (pg 7): eighth note is important and short.
  • m 119: no breath.
  • m 121: Alto, C is important to bring it out.
  • m 297 (pg 20): Bass, be careful of B-natural coming off the C.
  • m 386 (pg 24): Tenor take a quarter rest and put the “t” at end of the measure.
  • m 421 (pg 26): Bass may to the octave.
  • m 424: Alto lift (take breath) between beats 2 and 3.
  • m 434 (pg 27): Soprano 1 be careful of D-natural.

Gjeilo, Sunrise:

  • m 85 (pg 19): all lift (take breath) at end of measure. Make sure your page is turned for start of m 86.
  • starting m 96 (pg 21): this is not legato. Should be short, lifted.
  • m 166 (pg 28): Soprano and Tenor, circle rest at end of measure. Take breath and be ready to come in in m 167.
  • m 178-179: no breath between measures, but make sure to lift in middle of m 181
  • m 188-205 (pp 30-32): need to sound relaxed.
  • m 194: Alto watch Anne for 4th beat (“tus”) – she will give it.
  • m 206 and m 212 (pg 32): Tenor, this is the same note (D-flat and C-sharp)

Rehearsal Notes 10/10/2016

Bach:

  • m 167-169: Needs to be very strong – I stand here and sing.
  • p 17 (adagio section m 246-257); Each part has a time where they sing alone and the other parts are silent. If you have that part, take charge.
  • m 255: Alto needs deep sound, please pucker.

Gjeilo, Sunrise:

  • m 51 (pg 17): Soprano leave off Gl for a more open sound.
  • m 122-126 (pg 24): no breath (stagger) until rest at end of m 126
  • m 152 (pg 27): When theme starts again, notes need to short, lifted, to contrast from previous section.

Gjeilo, The City:

  • m 197 (pg 53): Soprano, Alto, Tenor breath between beats 2 and 3. (ce-dit, breath, Qui cum) Also turn early so you get all the words in m 199.
  • m 213 (pg 56): Alto 2 no need for low G. Sing upper G with Alto 1 then drop down.

Rehearsal Notes 10/3/2016

Bach:

  • m 5: Bass accent 4th beat
  • m 36: Everyone needs to hear tenors. Likewise whichever part has the melody.
  • m 64-70: Soprano 2 pay attention to tone. No words at least for now. Keep mouth in pucker.
  • m 70: Alto make more of the moving line.
  • m 79-81: Ver-damm-li-ches is all one word so don’t chop it up.
  • m 96: Soprano 2 – 1st note is a B, not a D.
  • m 256: All lift after “sein” (1st note)

Gjeilo, The City:

  • m 72-90 (pp 42-44): Alto be careful with the rhythm. There are triplets and just plain half notes so counting is important.

Gjeilo, Identity & The Ground:

  • m 35 (pg 61): Probably want to turn page early. Anne will let us know.
  • letter B (pp 62-63, but probably through the end): Stagger breathing except if Anne shows a lift.

Rehearsal Notes 9/26/2016

Bach:

  • #2: Accent on syncopated beat. Examples: m 37 for tenor, m 39 for alto, m 44 for soprano 2, m 46 for soprano 1, m 47 for bass. There are more.
  • m 72: Change/bridge/different section. Then back to theme in m 84
  • #7: 2nd measure of piece, (m 259 and m 265) Schatzen and Ehrun are the point of the phrase.
  • m 261 (and m 267): Bass start sequence C-B-A on beat 3 1/2, the Alto echo the sequence starting on beat 4 1/2.
  • #10, m 423: Tenor restart the theme.

Gjeilo, Sunrise:

  • m 58 (pg 18): Soprano leave off Gl
  • m 84: turn page now
  • m 93: s (of tis) on beat 4
  • m 104: all take a breath at the end of the measure
  • m 112: All off for rest on beat 4. Soprano and Tenor relax and take breath to come in with open sound in m 113.
  • m 122: start crescendo
  • m 127 (letter G): this section is twice as slow so Watch The Conductor (WTC)
  • m 139: IMPORTANT CHANGE! Soprano 2 stay on D – both the dotted half and quarter are D. Alto 1 move down to C-natural – both the dotted half and quarter are C-natural.
  • m 177: dexteram is point of phrase so make sure m 175,176 keep driving to m 177 (draw an arrow to the dex)
  • m 180: Soprano breath in middle of measure
  • m 211,212: Soprano and Alto have same note for Cum and Sanc (last half note of m 211 and first half note of m 212)

Rehearsal Notes 9/24/2016

Bach:

  • #7 m 275 (pg 18): Bass don’t hold on to first note.
  • Also m 275: Alto watch D-natural on beat 3 1/2. Might want to write in a down arrow to remind yourself.

Gjeilo, Sunrise:

  • m 117 (pg 23); First note is unison.
  • m 121: Whole measure is unison.
  • m 126: Circle rest – big change coming in m 127 (letter G)
  • m 139: 2nd soprano watch the C-natural. Alto have a C# just before so make sure  you get down to the C-natural.
  • m 150: Theme starts again after the change at letter G.
  • m 175: Unison
  • m 185: The one note (bis) is very short.

Gjeilo, The City:

  • m 124-125 (pg 47): Alto 2 have tritone from m 124 to m 125
  • m 125-126: Soprano 2 have the same note from last note of m 125 to note in m 126
  • m 126: Alto 1 move to D# on beat 3 from the E. Alto 2 stay on E and move to C# on beat 5.
  • m 140: Unison

Rehearsal notes 9/19/2016

Gjeilo, The Ground:

  • m 42, letter B (pg 62): Half of the people leave out the P of Pleni. We want a soft entrance.
  • m 63,64: Don’t chew the words.
  • m 66, letter C: full Forte but not too loud because we will build to ff at letter D.
  • tenors: same note on first beat of m 77 and 78
  • 2nd sopranos: no i of Dei in m 88
  • m 93, 94: dim so “di” is softer than “mun” of mundi. Also look up so “di” is together.
  • memorize last two pages of the piece so we can all be looking at Anne for best effect.

Gjeilo, The City:

  • m 53, letter C (pg 40): stagger breathing – no breath before the downbeat.

Bach:

  • #8 (starts m 277, pg 19): in 12/8, conducted in 4, so the beat is a dotted quarter and the count for each beat is “1and-a, 2and-a, 3and-a, 4and-a”
  • m 405 (last measure of #9) is unison
  • #10 (starts m 406, pg 25): half note gets the beat. It is like #2 but about half as long.
  • m 423: tenor starts the theme, then alto in m 425, soprano 1 in m 427, soprano 2 in 430, bass in m 433.
  • m 433,434: soprano 1 gets to soar for Geist (the spirit).

Rehearsal notes from 9/12/2016

Bach:

  • Movement numbers by page
  1.  pg 1
  2. pg 2, m 20
  3. pg 7, m 104
  4. pg 8, m 123
  5. pg 9, m 147
  6. pg 13, m 210
  7. pg 18, m 258
  8. pg 19, m 277
  9. pg 21, m 300
  10. pg 25, m 406
  11. pg 28, m 447
  • #2: tenors start a theme at m 36, alto take it up at m 38, soprano 1 at 40, soprano 2 at m 43, bass at 46
  • #5: unison at m 150, 154, 166, 170
  • #6: start of theme most important then back off – tenor at 210, alto at 212, soprano 1 at 215, bass at 217, soprano 2 at 222. Then soprano 1 starts over at 230

Gjeilo:

  • #2 Sunrise: There will be a fermata at m 224, letter M (pg 34) so watch Anne
  • #3 The City: There is a Amen half note scale starting with bass at m 210 (pg 55), then hands off to tenor at m 211, hands off to alto at m 213, hands off to soprano at m 215

Rehearsal notes from 8/29/2016

Bach Jesu, meine Freude:

  • Anne showed us the pyramid of how the piece is constructed. First and last movements are similar. Second and next to last are similar, etc. In the middle is a fugue.
  • #9, starts pg 21: Altos have the melody.

Gjeilo Sunrise Mass:

  • pg 11, letter E: all sing, not just choir 1.