Monday, August 05, 2019
Weds 31st
Sorry these are so tardy but have been rather busy since last Wednesday. At least you will have them before this week's rehearsal which is, please remember, at Priestfield.
Other Plans
Basses - think about what you are doing before you come in at the beginning. Look at the accents.
Bar 31, note the diminuendo.
At C check your notes and aim for the zo, the ve and the beh, there are accents. 'B' is a great consonant for accenting.
Page turn - think ahead, there should be no gap between beh and tha.
At D - tha ka tha should be lighter; have fun with za-ah.
At E come in as delicately as possible.
Had a good look at bars 59 onwards which was much better fro the effort but keep revising.
Bar 101 - don't labour it.
Tenors - when you come in the basses have a D, you have an E. Know your note.
Centre on your G naturals.
There should be no gap between tha thi na and thom.
Bar 31, note the diminuendo.
At C (bar 46), oh-ve should be louder and there is a crescendo.
Altos - tidy up ka tha, the ka is always a bit early.
At B - the ya should be a punch in the face. Feel the accents more.
Have a look at ung go go bar 56. Rhythm not right.
Page 7, seconds go to tenor line bars 59 to 80. Firsts join tenors page 8 up to bar 80.
Altos lead the crescendo from E. In charge through pages 8-10 up to section G.
Sopranos - lots of breath in for bars 30 to 35. No time to breathe during rests.
Bar 32 b deh is regular, open out on ve in bar 33.
Bar 101 looks odd but it isn't!
All - Note repeat bottom of page two. First time round do not sing the last bar, straight back to bar 13.
Go with 'j' sound not 'y' on juna.
Pay much more attention to dynamics.
Repeat at G bar 104 back to 102 once only. Same at 106 to 108.
Don't use short rests to breathe, there isn't time.
Don't rush.
Dynamics - from sectio E to the end is a crescendo. Besoins with the building voices. Altos lead the way - S,T,B should always be quieter but follow what they do.
f by bar 89/90. There is a diminuendo at G so follow the altos.
Last note should fall off at the end.
This piece should have lots of detail or it will sound naff. Go through and mark dynamics clearly.
Don't drift away. Keep thinking about the beat. Each section sounds separate at the moment. Need to come together. So keep checking in with Derrick.
Se del tuo corpo
Basses - page 3 bar35/36 there is an echo of the tenors in the quavers, we need to hear it.
Tenors - a quiet, gentle entry, please.
Second bar of page 2 there should be a small crescendo.
Page 3 bars 35/36 need to hear the quavers as the basses have an echo.
Page 4, miss out the lower G in the last bar unless you can sing it clearly. It sounds like a mistake if not sung well.
Don't swallow 'salute' bars 44/45. It should sound triumphant. Organise your breathing amongst yourselves.
Bars 69/70 the quaver run is the important bit. Notes beforehand not so much.
Altos - brighter F#s.
Co-me page 4 is not off the beat. Smooth the gap.
Sopranos - pages 3-4 all one line. Don't breathe before the quavers. The D to C nat a bit too bright.
Mis-print top of page 6. Should read va'e not ve'e.
All - care less about the beat in this one. Connect the notes, give the words shape and meaning. It should sound like one thread.
Page 2 bar 23 onwards - al tormento - smooth it out, sounds a bit sea-sick.
One big crescendo.
Get out of the way when singing semi-breves.
Be confident in entries. Have plenty of breath ready.
The subito lento page 5 bar 64 WILL happen.
Know what is happening at page turn 5-6 piu vivo.
WORDS.
All quavers should be more separated and more jovial.
Don't open out the last note.
Much more to come. Have to go out now.
# posted by rudsambass @ 1:35 pm 
