Rudsamblog

We warmed up with Thuma mina

• Twice through each verse.
• Straight on - no fermata - from the end of the line back to the beginning every time until the very last.
• As suggested on the printed music, tenors and basses can do "rhythmic improvisations" instead of singing their lines as written.
• During the last minim of the second time through each verse, Sebastian will give us a lead with the first word of the next verse.

We then had an extended notebashing session.

Akanamandla

• We are going to move from Thuma mina straight into Akanamandla, and to simplify things we will probably sing Akanamandla in F (same as Thuma mina) rather than A.
• Twice through each verse.
• At the end of each repetition except the very last, no fermata, and definitely no use of the coda bar marked with the segno. Observe the repeat marking back to the beginning every time. The coda bar is for the very end of the whole piece.
• Stick to the rhythm as written, with all its syncopations. Resist the temptation to sing the syllables of "Haleluya" on the beat.
  

Sfogava con le stelle

We notebashed as far as bar 35. There's not much more to say, except that Ollie is taking full advantage of the freedom granted by the parlante markings to sing those bars with natural speech rhythms.

Sopranos and altos then worked on another Tormis piece, Kiigel kartlik
I have nothing to report, except that it sounded great when they came back and sang it to us.

In the mean time, tenors and basses did some more work on Sfogava, and then sang a few times through their lines of Holy Thursday.

We also had a hand-out of music for Douglas' daughter's wedding: three hymns, for which I think we are required to sing the melody line in unison

• I watch the sunrise
• Abide with me
• Take our bread

and what is described as a responsorial psalm

• Love is his word