Rehearsal Notes

Rehearsal Notes for Fall 2018

Rehearsal notes from 11/19/18:

Martini

  • Give  more attention to the pickup notes; e.g., ATB [altos tenors basses] in mm. 13, 14, 15
  • The sops lead and ATB respond in mm 12-16
  • The altos lead and STB respond in mm 29-32
  • Again, more emphasis on the pickup notes in mm 45-49
  • Mm 73-81 emphasize the word/phrase accents: sicut EH-rat, sicut erat in prin-CI-pio et nunc et SEMper
  • In the fugue, recognize when you’re part of a suspension and lean into it and then back off as it resolves. For example, in mm 84-85, tenors crescendo on the tied note, then relax a bit after the altos land on top of you – and then it starts over again as you crescendo on the tied B into m86. Then both parts relax, making way for the basses with the subject. Possibly soon I’ll mark up some pages and post them, but for now you have something to mull over.
  • Mark every entrance of the fugue subject (I use this: 「 ). So: m.83 A, m86 B, 89T, 92S, 99S, 102T, 106S, 109B, 110T, 113 A

Mozart

  • Please mark your measure numbers.
  • Grace, lightness, phrasing (e.g., regina COE-li).
  • Sops up high don’t try for many words – sing lightly (floatando, as Jim Marvin says) and enjoy (e.g., m.3-4).
  • Altos m5 get the syllables on the 4th
  • Sops m7 make the 4th beat eighth notes separated.
  • Sops lead in mm9-12 and we’ll crescendo to m.13.
  • Direction! Regina coeli lae-TA-re in mm8-9, and of course each single word has a swell and diminuendo: re-GI-na, lae-TA-re, al-le-LU-ia.
  • 24 S & A accent the quarter note
  • No breath from 25 to 26 and direction to the 2nd
  • Al-leh-lu-ia (not lay)
  • M 28 S & A accent the quarter note
  • No breath m.29 to 30 and direction to 2nd beat of 30 (always direction to –LU-ia)
  • Note to self: let’s learn mm41-42, and 46-48. And 52-57. And 84-85. And 100-102. And 135-145. J
  • 76 wait for the 2nd beat to sing even eighths on “Al-le”
  • Some sops need to review mm95-96.
  • We’ll try the breath in m.154 after the downbeat.

Rehearsal notes for 10/29/18:

Cooman:

II. Prologue:

  • m 11 (pg 1): Turn page early.
  • m 29 (pg 4): Soprano and Alto accent and get softer.
  • m 50 (pg 57): Translation is “out of your whole heart.”

V. The Blood from the Garland:

  • m 14-17 (pg 17): No breath.
  • m 42 (pg 20): Start of chorale tune. It’s a statement of faith.
  • m 64 (pg 23): The G on the 2nd beat should be softer.

VI. Prayer:

  • m 6-7 (pg 26): No breath.
  • m 7-8: Build to mf in m 8. Let go of rest in m 8 and recover.
  • m 13 (pg 27): Rounded tone.
  • m 13-14: Maybe no breath.
  • m 16: Lift at end of measure.

IX. The Middle of the Heart:

  • m 8 (pg 41): Quick breath. Soprano not too loud.
  • m 10: All arrive on “soul.”
  • m 11: Memorize and WTC.
  • m 40 (pg 44): No breath.
  • m 41: Memorize and WTC.

Martini:

  • m 51 (pg 3):Tenor note should be a B.
  • m 113 (pg 7): Tenor first two notes (B, A#) should be quarter notes.

Rehearsal notes for 10/22/18:

Martini:

  • m 79 (pg 5): Alto notes are wrong in some copies. “prin-ci-pi-o et” should all be F#.
  • m 80: Alto notes are wrong in some copies. 1st beat “nunc” should be G. Then “et” on beat 2 1/2 should be G. Then “nunc et sem” should be F#.
  • m 81: Alto notes are wrong in some copies. “per” should be F#.
  • Beth wanted “et in” separated. Ask Anne. Examples are Alto in m 83 (pg 5), Bass in m 86, Tenor in m 89. Then Soprano in m 92 (pg 6).
  • m 87: Soprano get your starting B from Alto in m 86.
  • m 92 (pg 6): Soprano get your starting B from your B in m 90 or from Tenor B in m 91-92,
  • m 121 (last one): “Al-le-lu-ia” are all conducted notes. WTC.

Cooman:

II. Prologue:

  • m 8 (pg 1): Emphasis “Do-mi-no”.
  • m 11: Bass wait for eighth rest on 1st beat.
  • m 17 (pg 2): All wait for eighth rest on 1st beat.
  • m 50 (pg 7): This should be all legato. First syllable of each word should be more than the second syllable.

III. Invocation: Three Petitions:

  • m 27-37 (pg 10-11): Bass and Alto this should be chant-like. Very smooth.

XVIII. In the Wake of Making:

  • m 45 (pg 75): Do the cresc on beats 2-4. Then continue cresc though rest (but do the rest!) in m 46.
  • m 49: Tenor make sure your F# is high enough.

Rehearsal notes for 10/15/18:

Mozart:

  • Roll all Rs.
  • Have open vowels throughout.
  • m 8-9 (bottom pg 6): Alto, Tenor, Bass drive phrase through m 8 to ta in 1st beat of m 9.
  • m 22 and 23 (pg 9): Tenor make eighth note Al-le short.
  • m 26 and 27 (pg 10): Alto make eighth note Al-le short. Also want a bright tone.

Cooman:

II. Prologue:

  • m 9 (pg 1): No breath between 3rd and 4th beats.
  • m 12 (pg 2): Alto get your note from Tenors.

VII. God in All Things:

  • m 34 (pg 30): Don’t hold too long.

IX. The Middle of the Heart:

  • m 27 (pg 43): Watch for cutoff. Then don’t move. No rustle of pages.

XIV. Eternitie:

  • m 1 and 2 (pg 63): Soprano 1 use less vibrato.
  • m 1: No breath between Yeares & And.
  • m 2: Watch for Age cutoff. Put g on the rest.
  • m 18, 19: Bass need open vowels.
  • m 20, 21 (pg 63, 64): Alto and Tenor watch dynamics. Start mf in m 20, decresc to mp. Start mp in m 21, cresc to mf.
  • m 23 (pg 64): Lift at end of measure, WTC for downbeat of m 24.
  • m 28: Eb chord. Basses end m 27 on a D so Eb is a half step up.
  • m 35: Alto hard cutoff. Only hold “she” from m 34 into m 35 for a total of 6 beats.

Rehearsal notes for 10/8/18:

Martini:

  • starting m 12 (pg 1): Soprano has melody.
  • starting m 28 (pg 2) Alto has melody.
  • starting m 106 (pg 7): Soprano has subject.
  • starting m 109: Bass has subject.
  • starting m 110: Alto has false subject.
  • starting m 113: Also has subject.
  • m 120: Will not slow down. And no big break between Amen and Alleluia.
  • m 121: Watch Anne for each syllable.

Cooman:

III. Invocation: Three Petitions:

  • m 39-40 (pg 12): Unison.
  • m 54 (pg 13): Tenor and Bass need a very round O for God.

XI. All Shall Be Well:

  • (starts pg 51): Need to have a round sound. Sing the phrases.

XIII. The Path to Grace:

  • m 3-7 (pg 58): Starts unison.
  • m 32 (pg 61): Unison.

XVIII. In the Wake of Making:

  • m 17-20 (pg 72): All parts start on an A.

Rehearsal notes for 10/1/18:

Cooman:

II: Prologue:

  • m 10 (pg 1): Don’t hold over into m 11.
  • m 20,21,22 (pg 3): WTC (Watch the Conductor) for S cutoffs. No hissing.
  • m 38, 44 (pg 6): Don’t hold over into m 39 and m 45

III. Invocation: Three Petitions:

  • m 23 (pg 10): Don’t hold over into m 24.

V. The Blood from the Garland:

  • m 14 (pg 17): Get starting note from orchestra in m 13.
  • m 68 (pg 24): Same note as m 42 (pg 20).

XVIII. In the Wake of Making:

  • m 19 (pg 72): Tenor make sure we hear the sl of slow.
  • m 65 (pg 77): Note is longer than you think. Make sure to hold 4 beats.

Rehearsal notes for 9/24/18:

Cooman:

IX. The Middle of the Heart:

  • m 28-32 (pg 43): No rustle of pages.

XI. All Shall Be Well:

  • m 11-12 (pg 51): Notice dynamics. Start piano.

Mozart:

  • m 8-9 (1st two measures bottom of pg 6): Point of phrase is lae-TA-re.
  • m 12 (1st measure bottom of pg 7): Also emphasize COE-li.
  • m 57 (last measure top of pg 15): Flip the R. Notice it’s mf.
  • m 67-68 (1st measure top of pg 17): Bass dim.

Rehearsal notes for 9/17/18:

Cooman:

II. Prologue:

  • starting m 15 (pg 2): unison.
  • m 18 (pg 3): triplet starts on beat 4.
  • m 31 (pg 4): Soprano have same note on beats 1, 2, and 3.
  • m 32 (pg 5): Notice the accel.

III. Invocation: Three Petitions:

  • m 7 (pg 9): Starts unison.
  • m 12: Need to hear Tenor B-flat. Soprano, Alto, Bass listen for them.
  • m 15: Turn page here.
  • m 20 (pg 10): Starts unison. Listen for E-natural in m 18 for starting note.
  • m 41-42 (pg 12): Unison.

V. The Blood from the Garland:

  • starting m 14 (pg 17): Starts unison.

VI. Prayer:

  • m 19 (pg 27): Memorize to end. Turn page here.

VII. God in All Things:

  • m 32 (pg 30): Want a hard D on cutoff.

XIV. Eternitie:

  • m 25-27 (pg 64): Bass memorize.
  • starting m 28: This has a different feeling.

Mozart:

  • Number your measures.
  • Emphasis words coe-li, lae-ta-re, al-le-lu-ia
  • m 5 (last measure on pg 5): Alto lift after first eighth note and staccato on last 2 eighth notes. Soprano and Tenor turn early.
  • m 30-33 (bottom of pg 10 to top of pg 11): Memorize.

Rehearsal notes for 9/10/18:

Cooman:

VI. Prayer:

  • Tenor sing with Bass at least for now.
  • All, notice the dynamics, start at mp.
  • m 6 (pg 26): Emphasis good-ness.
  • m 15 (pg 27): Bass higher notes should be lighter and more round. Make sure you put “do” on the right note.

XIV. Eternitie:

  • m 5 (pg 63): Unison note on beat 4 1/2, “Where”.
  • m 11-12: Alto and Tenor eighth note on beat 4 is short.
  • m 26-27 (pg 64): Bass watch Anne for the rit.

XVIII. In the Wake of Making:

  • m 44-45 (pg 75): This is unison.
  • m 50: Make sure “the” is on beat 4.
  • m 51: Soprano, you are alone on the E, no orchestra part plays it.

Mozart:

  • m 41 (pg 12, 2 measures before D): This is Tutti for all parts.
  • m 46 (pg 13, 4 measures after D): This is Tutti for all parts.
  • m 88 (pg 21, top, 2nd measure): This is Tutti for all parts.
  • m 95 (pg 22, bottom): This is Tutti for all parts.
  • m 100 (pg 23, top, 3rd measure): This is Tutti for all parts.
  • m 101 (pg 23, bottom, 1st measure): Soprano and Tenor watch the syncopated rhythm.
  • m 132 (pg 28, bottom, last measure): All watch the syncopated rhythm.