Rehearsal Notes - November 13, 2016

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Rehearsal Notes - November 6, 2016

# 9 – O Thou that Tellest

·        Beginning and ending consonants!!

·        Tall vowels


#12 – For Unto Us a Child Is Born

·        Very light; dance

·        Stress the strong syllable and then pull back

o   GIV-en

o   UN-to

o   WON-der-ful

o   COUN-se-lor

o   FA-ther

o   EV-er-las-ting

·        Dotted eight-sixteenth figures – treat the dot as a sixteenth rest so there is space between the eighth and sixteenth

·        Melismas – practice on “doo” in groups of 8 notes – graudually pick up the tempo and go to the given word “born” – “ah” vowel

·        Keep a steady tempo – try doing a single finger lightly tapping on your chest

·        Open vowels (“government”)


#24 – Surely He Hath Borne Our Griefs

·        No breath, but an articulation between “griefs, and” and “sorrows, surely”

·        “Surely” – clean rhythm


#46 – Since By Man Came Death

·        “th” on death

·        “Christ” – beginning and ending consonants. Beginning consonants always come just before the beat.

·        “v” on alive

·        Sopranos really bring out “resurrection”


For November 13:



Choir will continue to rehearse 6-8pm; orchestra will move to 7-9pm. This will allow for more sectional work and time for Randen to spend with the choir.


If ordering poinsettias, Heather will begin collecting money on the 13th (cash or check only - payable to the City of Saratoga Springs).

Rehearsal Notes - October 30, 2016

For November 6, practice #9, O Thou That Tellest and #12, For Unto Us a Child Is Born. Be comfortable singing the melismas (extended sixteenth note passages) on the given vowel or on “dah dah dah dah……”.  

BASS – in #9, m. 110 – Schirmer edition should be “tah-ah-dings to- Je” (eighth eighth eighth quarter eighth)

SATB - #12 – treat the dotted eighth sixteenth figures as an eighth sixteenth rest sixteenth note

#40, Since By Man Came Death
no vibrato
soft but intense

Tenors – m. 13, 14, up arrow on the high “f”
Soprano – m. 14-15, crescendo “resurrection
SATB – ending consonants on “Christ”

#24, Surely He Hath Borne Our Griefs
Bass – m. 7, up arrows on each note
Bass – m. 8, up arrows on “our sorrows”
Bass – m. 9, check pitch on “he hath”
Bass – m. 11, up arrows on “-ried our sorrows”
Soprano – m. 11, up arrows on “sorrows”
SATB – m. 7, connect “griefs and”
SATB – m. 8, no breath after “sorrows”
SATB – m. 10, connect “griefs and”
Soprano – m. 13, pitch on “was”
Bass – m. 16, pitches
Tenor – m. 24, Schirmer edition change from 2 quarter notes to a dotted quarter and an eighth

#4, And the Glory of the Lord
“And the” is 3 syllables – ahn/deh/thah
No “r” in “glory” – flip the “r” or do a soft “d” (glody)
Very light – dancelike
Don’t hold the dotted quarter note too long
“together” – take the “r” off the end of the word
Adagio – softer, prayerful

Rehearsal Notes - October 23, 2016

#24 Surely he hath borne our griefs
“Sur-e-ly” – space between first 2 syllables and hold the 3rd syllable for full value
Song reflects dark vs light
Ponder the music and word painting

#46 Since by man came death
Grave sections should be soft and intense
“Death” emphasis – a small sforzando (sfz)
NO vibrato, watch intonation
Keep phrasing connected
BASSES: if using the Schirmer edition – p.212, last measure through p. 213, measures 1 & 2 – “shall all------------- be made alive” (stay on “all” and take out “so in Christ shall”
Grave sections: connected, somber
Allegro sections: think of jazz – loose and lighter – suddenly loud and joyous

#44 Hallelujah
Watch accent on “hallelujah” – stress on 1st and 3rd syllables - no emphasis on last syllable
Pronounced – ha-leh-loo-yah
Keep it light
Tempo changes happen with the change in note values; maintain a steady beat throughout

Vowels long and narrow, NOT wide and bright
Lots of space inside the mouth – soft palate up