Rudsamblog

Tonight we worked on two new pieces:

Other Plans by Lisa Young. A new raga style piece. 

We worked through from start to finish, making good progress. Already starting to take shape. 

Some tricky rhythms, need to subdivide at times. 

Note the very long first time bar through most of page 5. In the repeat you go straight form bar 33 to bar 43, so watch out for that big jump. 

Altos have a particularly tricky rhythm in bar 83 - need to subdivide into quavers. All notes the same length (3 beats) but becomes 4 beats in 3 (if that makes sense!)

The trick with the rhythm in bar 74 (for example - it pops up in other parts through the piece) is not to breath in the quaver rests, or it will be late!

We think the repeat right at the beginning is a typo, instead go from bar 20 back to bar 13. 

I'll forward on the pdf of the music for people to have a look at. Legally we have been allowed to print 20 copies, which Gordon has kindly printed already for us. So people can use it the attached copy to have a look at, but should probably take an 'official' numbered copy at the next rehearsal which I'll bring along. Also, the composer has sent me two mp3 files which will help with rhythms and pronunciation. I'll send these on too. 

A youtube recording of the piece is found here: https://www.youtube.com/watch?v=xhkUg_Kwj-o

I saw a peacock with a fiery tale - the final piece in the Thea Musgrave set. 

We did really well with this - definitely getting used to the strange harmonies and rhythms!

Counting hugely important in this piece. Need to take responsibility to come off ourselves, in the right place to keep the harmonies tidy. 

Careful not to go flat on downward chromatic scales!

When holding long notes (especially men), go quickly into a falsetto sound otherwise will be too heavy. 

Need to practice at home! Like we did with Subway Piranhas, this will be easier if it is nearly off by heart. 

We also listened to a set of pieces for upper voices; Rimas Tropicales by Tania Leon. 

Denise has given out the music, but no decision yet as to which one we will try. Worth having a look over if you have a copy of the music before next rehearsal, in order to make a headstart! Note - this divides into 8 parts at times!!

Here's the recording for a taste! https://www.youtube.com/watch?v=NEK7O599aNo 

MC

My Guardian Angel

Careful not to drop pitch between bar 8 and 9, think upwards for the octave drop.

When the tune comes in give it direction - think about the words, should have motion.

Crisp vowels! No scooping in Alleluia. 

The key element in this pieces is the percussion of the consonants - make sure words are finished properly.

Phrasing really important - not all notes should have the same stress. In particular at bar 33 where Sops and Altos have a different entry to tenors and basses - should be the men that come out of the texture.

Ave Regina

Watch! In the repeat the dynamics and tempo is unlikely to be the same!

Tenors - slightly less sound at valle last bar of page 5, to ensure balance with altos. 

- can come out of texture, page 7 in your run.

- careful tuning page 4 into page 5 - one to look at!

Men - lighter generally otherwise it will feel very heavy.

Dreams

Bass entry - piano!

The last hum should be quiet - too resonant at the moment.

Consonants and words in general really important. Accent 'h' in hurled - although not too violent!

Last chord - those on C should think up to keep the tuning. Sopranos to count themselves off. 

Subway Piranahs 

Keep tempo - quick!

Dynamics really important. Note weird elements like cres to pp. 

Bar 25 - basses listen to alto D for your entry note. 

Double check tricky intervals - best to memorise!

Non Nobis Domine

Altos - when you are singing the rhythmic sections (matching basses and tenors) blend back into accompaniment. 

Shape in male parts bar 41 - cres, decres rather than long held note.

Men should be strong at 56 to keep power and movement going. Also men to be powerful at 85. 

Keep tempo in section 59 to 80 we are hanging onto long notes - should be metronomic. 

Im Wald

Need to watch!! Tempo will be flexible! Therefore really practice words at home so you're not looking down. 

More dance like at poco piu presto. (Listen to second movement Mendellson's second symphony for inspiration!)

Crescesdo page 2 into 3. 

The feeling on the last page should be as if we are improvising on the spot. Soprano entries like a cadenza. Can all be overemphasised and fun!

Abendfier

Second verse - phrasing is different, and verse should have a different colour to it eg schemerz - dark, crescendo into this.

Specifically note bar 19, in verse 1 there is a break between beset and zu, but not between gebetes weiBsem in verse 2. 

Don't forget the rest in bar 34 in verse 2. 

Sops bar 27, look at intervals.

Through the House

Too nervous! Don't be scared of the high notes - use cresendos to get up to them. 

Piano sections too soft at the moment, making it sound like we're frightenened! Generally the piece is charicatured - not subtle!

Should have a swell to it, like an accordion. 

Envoi 

Need to be metronomic.

Be careful not to get ahead of the beat.

Don't worry about wrong consonants - rhythm takes precedence - just keep going even if words aren't right!

Daniel

Watch at the end - Derrick will beat in 4. 

E sharps must be brighter in chord at bar 59.

Top of page 8 - more diminuendos in ladies parts. 

Hums - more present, especially kick when rhythms and notes change in bar 42.

Dream Angus

Don't crash in at the end! Dynamic is mp.

Men still too heavy coming in at their first entry - should be very soft. 

Bar 30 - tenors and altos keep right through. 

Basses - check notes last 5 bars, going down to F, not Eb. 

Lower parts - careful not to be too loud if you have the tune.

Apologies for the delay, here are the rehearsal notes from Wednesday 29th May.