[New_csc_newsline] rehearsal notes/things to practice

[Nathan Leaf]

Concert Singers - great rehearsal on Monday. A lot of hard work was done
and much was accomplished. We have another one of those coming up this
Monday. In preparation for that, please look over the following spots in
your music before rehearsal. Additionally, please look over those spots
that you know you have difficulty with. I've listed several things, and
then below there are some additional notes for the basses from Wes.

Basses and tenors, I will be making the recording tomorrow to help you with
the first section of the Sanctus.

Have a great rest of the week everyone!

Nathan

REHEARSAL NOTES/THINGS TO PRACTICE



SHALL WE GATHER AT THE RIVER

-Must sing absolutely legato

-m. 17 entrance is no basses, just SAT

-tenors and basses, transition from m. 32-33 (key change)

-sopranos, m. 45, 4th note is F#, not G#, this is different from the other
verses



WEEPING MARY

-we will not do the claps

-please look over your own part



UNCLOUDED DAY

-look over pages 6-7

-pages 6-7 start soft



BLUEGRASS MASS

GENERAL

Latin diction:  Sabao*th* is pronounced [sah-bah-oat]; c*oe*li is
pronounced {cheh-lee}, hosanna is pronounced {o-sah-nah] with no initial h
sound; et terra, need to pronounce both t ‘s both t’s; R should always be
flipped

II. KYRIE

-m. 1-25, speak your part in rhythm to be confident of rhythm

-look over measures 104-121 for rhythm/meter. There are many ¾ measures



IV. GLORIA

-m. 59, entrance comes directly on beat 2



V.

-soprano and alto, just remember this little movement is here, and you
start singing in m. 20



VI. CREDO

-basses, note changes in m. 4 and 8

-m. 52-55, notes and rhythm, practice the rhythm in these measures
especially

-sopranos, m. 77-end remember that all sopranos sing the stems up, Pattie
sings the solo



VII. SANCTUS

-basses, m. 9-42, the melodic lines, practice speaking the text in rhythm,
and being sure to cut off the final note in time. Hold it only as long as
written

-tenors, m 29-42, melodic line

-sopranos, rhythmic difference between m. 50-52, 54-56, and the normal
rhythm

-page turn to page 56, remember the Hosanna is here, and tenors have the
different rhythm in m. 90-91

-m. 95-96, subito piano, then build the dynamic

-tenors, rhythm offset in m. 113-115



VIII.

-tenors and bass, listen and sing along with the open here. We know it, but
need to remember it.

-m. 19:  the ch should go with the second syllable (Mar-ching)



-m. 90 to the end is fine (if we sing it) but be sure to remember that we
sing the last 2 measures as a lead in to the next movement.



IX. AGNUS DEI

-this is quite lovely, remember it is very legato and different in
character than the other movements

-must watch like a hawk on the last page – no early consonants



XI. BENEDICTION

-if you get lost in m. 57-end, just keep swimming until you find your way
back on.







NOTES FROM WES FOR THE BASSES

*Generally*

a.      Some men consistently hum along when the women are singing—this
isn’t just finding a pitch. Could be picked-up when we’re on stage.



*Shall We Gather at the River*

a.      Reminder that it’s TB divisi at m. 33…some B1s are sticking with
the lowest note (B2)

b.      need a bit more attention to dynamics.



*The World Beloved*

*Overall*

Cutoffs are consistently late

*Kyrie*

a.      Check your markings for rests, breath marks and carryovers

b.      Cutoffs



*Gloria*

a.      Cutoffs and markings as above

b.      Notes m. 12

c.       Notes mm. 15-20

d.      Notes mm. 39-55

e.      Mm. 146-147: not sure all B1s are getting the B-natural (I don’t
hear a lot of it, but I’ve got tenors in my ear too J)



*Credo*

a.      Counting throughout for entrances and pitch changes

b.      Mm. 31-38 – B1s watch divisi (tricky b/c it doubles the tenors,
then the B2, then neither)

c.       Cut-offs and carryovers mm. 57-72



*Sanctus*

a.      M. 9 entrance

b.      Latin diction:  Sabao*th* is pronounced [sah-bah-oat]; c*oe*li is
pronounced {cheh-lee}, hosanna is pronounced {o-sah-nah] with no initial h
sound; et terra, need to pronounce both t ‘s both t’s

c.       Mm. 107 not sure B1s are moving to the A in time



*Ballad: Third and Forth Verses*

a.      Cutoffs throughout

b.      Notes and rhythms mm. 9-22



*Agnus Dei*

a.      B1 part seems uncertain…some may be dropping to B2

b.      Notes mm. 20-23

c.       B1 notes mm. 47 (not getting A-flat to C)



*Benediction*

a.      Mm. 6 is should be tenors only

b.      Mm. 28-30 rhythms

-- 



*Dr. Nathan Leaf, D.M.A.Director of Choral ActivitiesAssociate Teaching
Professor   North Carolina State University*
*Artistic Director*
*   Concert Singers of Cary*




*214 Price Music CenterCampus Box 7311Raleigh, NC 27695*

*Phone:  919.515.8280**music.arts.ncsu.edu <http://music.arts.ncsu.edu>*