Spring 2018 Rehearsal Notes
Dear SCSO Chorus Members,
To help the SCSO maintain a professional level, we urge you to kindly add these notes to your scores. FEBRUARY 26 REHEARSAL NOTES
FORREST #5
Page 66 At D where it says second tenors, ALL tenors are to sing.
Forrest #6
Page 74 measure 39 Bass Clef: tenors only until Basses come in at measure 44
WHITBOURN
Don asks us to be particularly focused on the tempo and rhythms in this piece. It would be very difficult for the orchestra if the chorus were not to be in perfect time with Don.
Page 7and all following identical phrases: Women: please practice this so that all are the same. We are not getting it right until the 3rd or 4th repetition!
Pge18 and 19: alto’s and Basses In measures 140 to 143 you share the exact. Same rhythm but it doesn’t sound like it so far.Don went over the parts with usand would like us to get these measures perfect before next rehearsal.
Page 22Men: use an aspirant H sound Not a glottal to begin the “et” and remember tomake the “e” sound tall and dark.
LAURIDSEN
Page 30 at the MF: lightn the tone vocally on the final syllable of each phrase. Give the quarter notes their full value and release on the quarter rests.
Page 31Altos: more sound at the MF in measure 70.
Page 35
Basses: find a way to remember your entrance pitch that you can rely on
Page 47: Sopranos: more sound measures 111 and 112,3. Not too soft.
MOZART
Ran through the Mozart from beginning to end for the first time.
Reminder: Lips in trumpet position for the “eh” sound so that it is not spread.
On the fugues be sure to watch don so that we don’t get ahead of the beat.
Dies Irae
Strict Rhythm:we tend to lag a little in this section.
Rex Tremendae
ALL: more warmth in the sound
Alto’s page 27: the rhythm in the first measure should match the sopranos and tenors on “Tremendae”
Page 48
After O the altos double the tenors until their entrance and then the sopranos double the altos until their entrance.
At Q More detached vocally and with very clear diction.
Page 50 at R A/T/B all give the initial quarter note its full value
2 before S Sopranos: higher and more focused but quiet.
Page 57 at C A/T/B give the initial quarter note its full value.
Page 67 5 after the allegro sopranos double the altos till our entrance.
In the final fugue be careful not to let it run away. Stay in time with Don.
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FEBRUARY 19 REHEARSAL NOTES
DVORAK
We are using Roman Latin this time so if you learned it in German Latin please adjust your pronunciation.
Page 7 mEASURE 40 Basses the last two notes are 1/8 notes so erase the dot on the 8th note and the extra bar on the last note. Same in measure 41
Page 8 at the pp in bar 53 there will be a poco ritard. Bar 54 the “s” from deus is pronounced with the “s”s of “sabaoth”. NO ACCENT on the quarter note of “ba” and all the vowels in this word are the same “sah-bah-ahth”
Page 9 measure 76 Tenors: no accent on the 3rd beat
Page 16 Don will email us notes for section K
Measure 43-44 move the “s” to the dotted quarter and no breath.
Page 24 first note is on syllable “ter” =. Please write in.
Page 25 at pick up to “R” Tenors sing
FORREST
Page 33 to 34 Soprano 2 you jump from the C to the A at the page turn.
Page38 ALL: breathe after 1 in measure 37
WHITBOURN
Pay attention to the dynamics as written.
Page 4 measure 30 Basses: be sure you get to the C on pitch. Same in measure 38 and for Tenors the G in measure 39
Don went over the descending scale humming carefully. Use a lot of resonance on the hum.
Page 16 Don went over the notes for Basses and Tenors so be sure you have them
Page 17 measure 129: the “s” of tenebris is on count 1 in measure 130
Page 21 measures 155 and 156 write 1234 over the whole notes so you remember that they are whole notes.
Page 22 Meen: use an aspirant “H” to start the line NOT a glottal. Watch Don for Tempo here.
Page 23 measure 167 Tenors you have A, G# F natural. Men in measure 169 NO ACCENT on the last eighth note. This should be very quiet.
LAURIDSEN
Page 26 ALL cross out the first quarter note in measure 8 and breathe. Same with the terminal notes in measures 10 and 12.
At measure 52 and following ALL: lighten vocally the final syllable og each phrase.
Measure 56 Release the “eh” on count 1
Page 31 men: in measure 6 eliminate the final eighth note and breathe. Altos: more sound at the mf in measure 70 and following.
Page 32 Altos: no accent on “dum” measure 73, “dum” measure 75 and. “Um” measure 79,80.
Page 34 ALL: the “m” of exitum is on count 1 of measure 95
Agnus Dei
Opening pitches have to be very firmly in your mind and body. Please study.
Page 42 last. Half note measure 61 is too loud. Do NOT accent.
Page 46 measure 100 Altos double the Tenors. Measure 105 Soprano 2’s double the Altos for 4 bars.
Page 47 Tenor’s back off on the high notes.
Bar 122-113 not too soft
Page 48 bar 119 ALL: mark a breath just before the forte. Observe the forte.
MOZART
ALL: watch the pace on the fugues, we are getting ahead of Don sometimes.
Page 11 Tenors: learn the notes in the last measure
Page 13 Basses: get off the eighth note on 1 in measure 4 after L and get onto the “K” of Kyrie.
Page 37 Altos and Tenors: put a flag on the last quarter note in measure 2 after B and take a breath. Be on time for The entry on Flammis!
Page 48 2 after O Altos double the Tenors and 5 after O sopranos double the Altos
Page 50 Sopranos in the first measure lower system: on the E natural sing it higher and more focused.
Page 55 second measure Altos double the Tenors.
Second measure of the middle system sopranos double the Altos.
Page 58 sopranos: mark Forte over the tied half notes in the second and third measure of the bottom system.
Page. 59 Basses louder at F.
ALL: flag the second quarter in the last measure and take a breath.
Breathe again at the comma at the top of page 60.
Tenors double the Basses at the allegro. Sopranos double the Altos at the entrance in the 6th measure of the middle system.
Agnus Dei
Page 68 <> over “DE” “tol” and “mun”every time you sing this phrase.
Page 69 Tenors you have a whole step from C to D in the second measure of the middle system.
Page 72 Basses: Watch the rhythm in the first measure of the bottom system.
Page 74 Altos, Tenors and Basses give the quarter note at Q it’s full value and release on the quarter rest.
Page 79 Basses: first measure middle system make the first quarter an eighth and be on time for the second beat. Altos:same in the second measure of the bottom system for you.
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FEBRUARY 12 REHEARSAL NOTES
FORREST JUBILATE DEO
There is a free website danforrest.com for pronunciation and rehearsal tracks (Parts)
JUBILATE DEO
6/8 will be conducted in 2 and nine eight as 3 3 2. Don had us imitating the conducting.
A - S div, T div
Measure 15 S div, S div, B div
After C the kids will join us.
Measure 50 is marcato and with separation
Measure 51 altos have their own line and are MP
Measure 79 Alto div. measure 80 Tenor div. Measure 81 Sop div.
Measure 105 Alto div.
Measure 116 to 118 Alto div. Measure 119 and 120 Sop div. Measure 121. Alto div
After “I” sopranos b
Put some eyeglasses for the page turn entry at 132
Page 18 measure 175 Sop div. and 183 sop div.
Page 19 at measure 190 p/u to 191 Basses enterAfter “O” sop div
Page 21 Kids will join in at 212
Page 22 measure 222 sop div. next measure is 2/4! Measure 225 sop div
Page 23 measure 236 Alto div
#2
Page 26 measure 45 sop div and alto enter.
Page 31 measure 101 sing OOH not OH, sop div. At 103 SOp 1 on the G, SOP 2 ROW 1,2,3 ON THE E, SOP 2 ROW 4,5,6 ON THE F. ALTO DIV.
Page32 measure 111 Alto div;tenor div.
Page 33 measure 115 Alto div
Page 34 first measure sop div; alto div
Page 33 No Breath measure 116 and 117
#3
PAge 38 take a breath after the tie in measure 37
Page 38 breath just before the mp for altos and tenors.
Page 40 measure 65 Bass div. 66 Tenor div; 67 Bass and tenor div
Page 42 measure 85 sop 1 stay in the top notes through 88; sio 2 Start on the G and stay with the upward staff; altos stay on the downward staff until measure. 91 when you divide and sopranos all on the C.
#4
We skipped
#5 in spanish
Page 64 measure 28 quick breath at the end of the measure
Page 65 please note key change - now there are no sharps!
#6
Page 74
Basses enter at measure 44 while the tenors have a rest
Page 75 measure 52 Tenor div., measure 55 Alto div
We sang through #7 without notes.
DVORAK - We sightread just for a taste of the work
MOZART
Page39 measure1 basses use a glottal attack
Page 40 basses and-all use a dg for entry on gere to make it more crisp
Page43. No breath at system 2between measures 2 and 3
Page 45 ALL pronounce eas with a double glottal “e” “as”
Page 48 and following on “quam” use a very crisp KW sound
If you have any corrections of these notes please email them to Jim McCormick to post:
scso2005@gmail.com
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MOZART
Kyrie/Introit
Kyrie is pronounced with a long E KE RE EH and et is pronounced EHT with the lips in trumpet position. Keep lips forward to make more resonance throughout the piece.
Dies Irae
Use more T in the D of Dies
All A sounds are EH not AEE!
Make the music tremble when singing Quantus tremor est futurus.
Rex Tremendae
Pulse the eighth notes throughout to keep the rhythms tight. Don will conduct this in 8.
Roll the R in Rex.
Page 27 Altos watch the second note of the first measure. You enter just before the Sops and Tenors.
Salva Me is Salva Meh
“Last 3 measures Don will slow down and get softer so watch don.
Domine Jesu
ALL: observe dynamics carefully
Page 48 Tenors double the basses at O. Altos double the tenors just after that and Sopranos double the Altos second measure bottom system
Sanctus
Page 59 at F Basses a little louder here.
ALL:<> over each dotted 1/2 note.
LAURIDSEN
Agnus Dei
Page 42 ALL: the first quarter note in the second measure of the upper system should be given its full value. Take emphasis OFF the last syllables.
Page 43 Use a tall covered U in Quia pius
Page 47 and 48 count carefully before the entrance at 116. And again before entrance at 125.
Page 51 plase note 3/2 and 2/2 measures at K and following before entrance at 147
WHITBOURN
Women, Don wants more volume and faster delivery at the pp measure 58-60 and for each repeat of this form
Page 22 measure 162 Men: use an aspirant H not a glottal on “et” and page 23 on the syllable der of comprehenderunt do NOT accent.
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JANUARY 29 REHEARSAL NOTES
LAURIDSEN
Agnus Dei
First sung note of the piece: ALL listen to the recording and make sure you can find your starting note.
Page 37: 1 before C: roll the R in requiem here and wherever it is in this piece.
Page 39 one after D breathe at the mark
Measure 39 no breath, breathe before 42 at the mark.
Throughout: make vowels tall and covered.
Page 43
Measure 70 no breath and 72 no breath. Breaths are marked in 71 and 73
Measure 75 put a flag on the first quarter and make it an eighth with an eighth rest and breathe. Then begin quia with a tall covered “u”.
Page 44 altos double the tenors at the mp mesure 79 until your entry at 91
Sopranos in measure 88 don’t rush the “cum sancto”
Page 46 sopranos hold the whole not to the end of the measure.
Altos double the tenors at 100 til our entrance at 101
Soprano 2’s double the altos at 105 “et lux...” then jump back up in measure 107.
Page 47 sopranos observe the tie from 110 to 111
Page 48 Men: breathe after the last syllable of “alleluia each time”
Page 9 all watch the count in these measures at they change from 5/4 to 3/4 to 4/4
Page 51 ALL diminuendo at the lunga measure 135
MOZART
Agnus Dei
Above each dotted half note put <>
Page 6 Tenors: ai measure 2 after K you have a whole step change in pitch form C to D
Page 70 sopranos: breathe after the first “dona” also emphasoze the first syllable and deemphasize the second. Same with all voice parts for this word.
Page 71 sopranos 3 after N there is a grace note and a quarter but please sing it like 2 eighth notes
All please observe the crescendo 7 after N
Page 72 Basses: be careful of the rhythm on ‘Domine” 2 after O
Page 74 altos, tenors and basses hold the quarter note at Q until the quarter rest and no breath 3 after Q. Breathe on the eighth rest 4 after Q
Page 79
Basses: at 1 before X put a flag on the first quarter note anbd an eighth rest and breathe. Altos: do the same in 4 after X on the 3rd quarter note and emphasize “cum”
Sanctus
Page 50 Basses: At F a little louder.
ALL 3 after F flag the second quarter and add an eighth rest and breathe
Page 60 ALL;breath after the first gloria
Altos at your entrance slight glottal on the “O”
Page 61 Altos 4th measure, second system the half note is a G
Hostias
Page 52
ALL: emphasize the first syllable of Hostias.
ALL: throughout this piece <> over all half notes
Second system 3rd measure NO BREATH
Page 55 Altos double the tenors on their entrance till your own and Sopranos double the Altos at their entrance until your own
Page 57 Altos,Tenors and Basses: dim on the first quarter note of 2 before D
Page 58 Sopranos Forte on your half notes in measures 2 and 3 of the bottom system
Domine Jesu
Page 46 Altos double the Tenors in 3rd measure top system until your entrance
Page 48 Tenors double the Basses at O till your entrance Altos double the Tenors at 2 after O till your entrance and Sopranos double the Altos at meassure 2 bottom system
Confutatis
Page 37 2 after B last Quarter note, place a flag adn an eighth rest and breathe; BE ON TIME with the dotted quarter in the first measure of the bottom system
Page 37 2 after B last Quarter note, place a flag adn an eighth rest and breathe; BE ON TIME with the dotted quarter in the first measure of the bottom system
At C women use a covered sound and in measure 4 after C place a flag on the first quarter and add an eighth rest.
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JANUARY 22 REHEARSAL NOTES
WHITBOURN
Page 1:Bass 2 lower line, Baritones upper line
Page 4 Basses: watch the pitch on the sustained C#
Page 5 Basses watch the C# again and Tenors the high G
Page 17 ALL: at the end of the third measure place the S on the quarter rest of the next measure
Page 18 Altos, Tenors and Basses the last word of the line is IN not ET
Page 20 Tenors use a light falsetto on this line.
Page 21:ALL: quiet page turn after the final whole note
Page 22 Soprano I and II and Alto I all split rows 456 on top notes and rows 123 on the lower notes. Men: at the mezzo forte use a slight aspirant H on the “et”. Do NOT use a glottal attack.
Page 3 MEN NO ACCENT ON THE FINAL SYLLABLE
LAURIDSEN
Everywhere you encounter the “e” vowel make it an “eh”
At letter B Don had us speaking the text with accent on O, tis, re, in, Tu, de, Si, nu, Ni, ho, Ni, nox. Release the eh sound in measure 55 on the rest in measure 56.
Lighten vocally the final syllable of each phrase.
At letter C we again spoke the phrases with accents on La, sor, Ri, a, Sa, Flec, ri, Fo, fri, Re, de. Just follow the syllables through the text and it will be obvious.
Same exercise at D.
Page 34 pronounce the m of exitum on the first count of measure 95
Page 35 ALL: take a big breath before the first sung note
At letter D breathe at the comma in measure 38, no breath again until the mark at measure 41.
At letter E please count and again in measures 50 and 51.
Page 44 Altodouble the Tenorsuntilmeasure 89.
Measure 100 double the tenors again for 100 and 101.
Page 46 soprano 2 double the altos at measure 105 until the pick up to 108
Page 47 all observe the tie from 110 to 111
Page 48 ALL: breathe at the mark in measure 119
Page 51 diminuendo at measure 135
MOZART
Sanctus
Page 59measure 4 to 5 mark a tie and eliminate the s of deus. Sabaoth is to be pronounced SAH BAH AHT
3rd measure after F put a flag on the second quarter note and take a breath on the new eighth rest.
Hostias
Once again we spoke the text and marked accented syllables: Ho, ti, Do, ti, Do, lau, fe, sus, ma, il, ho, ho, mo, fa,
Page 53 last syllable is peh not pay.
Observe the piano at the top of 54
Page 55 Altos double the Tenors. For their first three measures. Sopranos double the Altos until your entrance
JANUARY 15 REHEARSAL NOTES
MOZART
Introit
Luceat. Is pronounced Lu Cheh aht Eh ees.
On 16th notes overdo the stress on the first of each 4 throughout
Page 9 top system at the “p” watch don he will take this a little slower
Kyrie
At the allegro Basses BIG K to begin.
KyriEH and ChreestEH do not use the dipthongs in eleiZon unless they are assigned definite notes.
Sop’s /and Alto’s page 10 one measure after F: make a small lift after the dotted quarter
Page 11 Tenors: last measure review those notes to be sure your pitches are correct.
Altos page 13 3 after L separate the low A and the middle A and be on pitch. And last measure on the page crescendo on the dotted quarter.
Basses page 13 Make a separation at 4th measure after L between zon/ and Kyrie and stress the K
Page 14 alto’s do the same as the basses from zon to Kyrie in the first measure.
4 after N Altos and Tenors separate the two Kyrie’s and just before the eliezon as well.
ALL/at the adagio on Page. 14 a BIG K.
Dies Irae
ALL use more T in the D to make it crisper. Saeclum is “seh clum” in fact treat all the “e”s like this whenever the are normally pronounced as a long A.
Page 16 Tenors 3rd measure change the last half note to a quarter with a quarter rest and be on time with Quando.
At letter R Tenors joint the Basses then skip bak up for your entrance. And again 4 after letter R the same.
Page 20 sopranos measure 2 do not guess at the itches of the G and C#
ALL page 21 second measure make the first quarter an eighth and put an eighth rest in.
Rex Tremendae
ALL: pulse the eighth notes throughout. Roll the R on Rex every time.
Page 26 Alto’s drop down to. The Tenor line in the middle system for Rex tremen- and then back up
Page 27 ALL: slower and softer at measure 3 after Watch Don!
Confutatis
Alto’s double the Tenors until the top of 38, in addition to the alto line.
Page 38 Sops and Altos in middle system measure 2 make the 3rd count an eighth note and quiet the “s”.
Lacrimosa
Page. 41 ALL: make a little life after the dotted quarter in the first measure of the second system. Begin the crescendo at the first measure of the 3rd system. Then sotto voce at G
Page 42 forte at the second measure.Basses bow through this line.
Tenors middle system: no breath until the eighth rest before H.
ALL: small crescendo over Jesu in the bottom system measure 3and Domine is DAW meeneh.
Page 43 bottom system all crescendo to te quarter rest.
LAURIDSEN
Veni
Four bar phrases.
Page 28 second sopranos check your pitch on the A at the forte.
Sops I have a marking one measure after B after the first quarter note but I can’t read it. Maybe one of you has a better note for this.
Page 30 All: lighten vocally the final syllable of each word.
Work on the language for this piece.
Agnus Dei
Begin piano piano, Dei becomes Deh-ee. Breaths are marked in the music.
Page 39 measure 39 make a separation between tollis and peccata
Page 44 Alto’s double the tenors until the top of 45 at the eighth rest.
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JANUARY 8, 2018 REHEARSAL NOTES
Lux in Tenebris (Light shines in Darkness - Whitbourn
Page 1
Tenor II - sing tenor line open phrase. Tenor I come in on Bar 12 (P2)
Tenor II - sing tenor line open phrase. Tenor I come in on Bar 12 (P2)
Bass I - Rows 1,2,3 sing upper notes (A). On page 2 jump up to sing at bar 12.
Bass II - Sing lower notes (D). Any basses that can sing the lower note (D) please do so.
It continues to page 15 then stop in the last 2 bars.
Bar 58 – Women Mark the first note which should start a little louder then gradually taper off. Lips should be slightly apart.
Bar 139
Alto I, Tenors and Bass I - the word "et" should be "in".
Bar 146 - 150
Tenors use a light falsetto.
Tenors use a light falsetto.
Bar 159
Soprano I - Rows 6,5,4 always sing the top notes, Rows 3,2,1 sing the lower notes on the upper staff.
Soprano II - Rows 6,5,4 always sing the top notes, Rows 3,2,1 sing the lower notes on the second staff.Soprano I - Rows 6,5,4 always sing the top notes, Rows 3,2,1 sing the lower notes on the upper staff.
Tenors and basses - watch your pitch from Bar 165.
Lux Aeterna - Veni Sancti Spiritu (Come Holy Spirit)
Sing Four bar phrases.
Page 30 - Bar 52 – Always lighten vocally the final syllable of each phrase.
Tenors and Basses crescendo P 31 Bar 71.
Page 35 - "dei", the emphasis is on the "de" not he "i".
Homework: Spend time this week looking at the language.
Agnus Dei (Lamb of God)
Enter quietly on the first note after taking a big breath.
Put in a breath in bar 5 after the third note.
Mozart Requiem
We are using the Peters edition. If you have the Kalmus score it would be helpful to number your bars every 5 bars. Always start from 1 at the beginning of each movement. The Schirmer edition is identical to the Peters edition.
We are using Roman Latin, not German Latin.
Opening movement please sing Ky-ri-eh E-le-I-zon.
Always open your mouth faster and wider on the "aa" vowels. During the long eighth note patterns, please accent only the first note of each grouping of 4.
Second movement - Dies Irae is in "2". Separate the notes I - RAE, I - LA.
Page 19 - Bar 2 and 3 after "R" place <> marks over the DI - ES to give the words emphasis.
Fourth movement, Rex Tremendae
Don is in eight, conducting the eighth notes.
Roll the "R" - Rrrrrex
At letter "V" - Alto's sing the 1st two notes then drop down to sing the tenor line for two notes (rex tee-men) then jump back up to sing “qui salvandos" in the alto line again.
3 bars after the letter "W", Salve me fons pietatis - slow down, women's voices softer.
Page 21- Put a flag on the half note to make it a quarter note and add a quarter note rest in bar 5 after the "T".
Ninth movement - Hostias
