Dear Singers
We did some great work on Tuesday. There were many details that we were able to resolve. Thank you so much for your energy and commitment.
Some notes…
Notes
Chichester 1
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Take a good look at this again. Many repetitions will pay dividends throughout the movement
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Tenors and Basses: I had also intended to work on 14 – 21, but, ya know, things don’t always work out. Take a look at that too. We will circle back.
Vivaldi 7
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Continue to maintain the integrity of the dotted eighth-sixteenth throughout this movement. It is easy to get lazy on it and fall into triplets. Don’t let yourself do it!
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“Jesu” = “Yeh-zoo”
Vivaldi 2
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Don’t forget dynamics on each of those different themes.
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cresc. 61 – 66 with decresc. following
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Tenors: The first note of 67 should be A nat
Vivaldi 4
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“propter magnum” = “prop-ter ma – nyam”
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“gratias” = “gra – tsee – as”
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Again notice that the top line on the second page is alto
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Sopranos: m 16 starts with four b’s
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Altos: The notes in m 19 should be: A# F# G# G G# E F# G nat
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Altos: Your last note has been changed to G nat
Boogie Fever
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Please memorize
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The tone quality should be brighter for many pop tunes–this is one of them. Achieve that by keeping your tonal focus above the roof of your mouth and spreading a bit. Also, “t’s” and “d’s” should be stopped (do not complete them). This is natural West Coast speech.
Blackbird
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Tenors: continue your diligence in getting the correct rhythms. It might help to discover where each of the repeated patterns are.
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Altos: Take a good look at the rhythms 32 – 35
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Tenor 1: Don’t forget that you have the melody at 38 (sorry, you have to change pitches)
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Sopranos, Tenor 1: Examine the last page carefully. Each of the repetitions of “you were only waiting…” is different.
Mark