Rudsamblog

All - think about what you are singing. Think about the words and where the stresses should go.

Take care with the first chord. Prepare properly and listen to everyone else.

Don't cut words off short and put the last consonant in the wrong place esp. when we're all singing the same thing eg 'et admirabile', the t should be attached to the a.

At bar 18 everyone needs to be careful with the tuning of '-mentum'; all a bit flat at the moment. Also get the '-cra-' in the right place.

Don't EVER breathe between the '-lu-' and '-ia' of alleluia. Stagger if necessary. The '-ia' can be a bit shorter if you need to take a breath but don't separate the syllables.

Basses

Your first note should be light. Don't push it or snatch at it. Breathe early enough.

Bar 5 sing an open 'O', more like the 'awe-' in awful, awesome etc.

Don't scoop - ever.

Control the final note.

Tenors

Tenor 2, as much A nat as possible at the beginning of bar 14, please.

Watch the tuning of the C# in bar 46 but then don't fiddle about with the tuning of 'mysterium' if it's OK - listen!

Bar 63, you have the tune. Sing it out.

There is a presumption you can switch off at bar 65. You can't. Keep going until the end of the alleluia.

Bar 69 D-G nat is a fourth - tuning.

Do not put an accent on the final '-ia'.

Altos

Bar 65, your line doesn't end until the 'alleluia' is finished. Stagger breathing if necessary.

Sopranos

Bars 13-14 connect the words.

Don't do anything on the tied G bars 14-15.

Bar 46 2nds give it more, you have the tune, ignore the mf and sing f.

Bar 50 1sts don't worry about singing '-lu-' on the G. Go for an easier open vowel sound instead.

Bar 66, your line doesn't end until the 'alleluia' is sung through. Stagger breathing if necessary.

O Magnum Mysterium - Poulenc 

We spent time on the section from 3 bars after 4 (page 3) to the end. The first few bars here are the most difficult in the piece.

All

Don't sing 'oh-w' on eg 'virgo' and 'praesepio' - should be more like the 'o-' in, say, 'octave'.

The final chord is MAJOR! 

Basses

Don't rush, the tenors have a lot to fit in. We need to hear the pulse behind 'Beata'. Subdivide the notes eg beh-eh-eh-eh ah-ah-ah-ah ta-ta-ta-ta in your head which will hold you back.

Tenors

You need to subdivide your notes too, as above. The more subdivisions the less likely you are to lose the tempo.

Keep a D nat in your head for the 'Beata' after your humming section - Eb C D nat.

Much more tenor needed at the end esp. the A nat.

Altos

There is really no time at all between the end of the humming and 'portare'. Be ready.

Stresses on 'porTAre DOMinum CHRISTum'.

3/4 bar B nat not Bb.

Sopranos

S2s jump to the alto line for 3/4 bar 'Beata virgo...' B nat C B nat.

If you don't have the high F# for the beginning of your 'bouche fermée' line don't worry, you can help with the tricky jump down to the G#.

4th bar from where we started the top G needs to be higher. Don't think about the fact that it is a Gb.

Last page, the C of '-mentum' needs to be higher. Sing 'mairntourm' (?!) not 'mentoom'. 

SATURDAY - for those singing, 4.20pm at Priestfield, please.

Programme (with introductions which have been sorted, I believe):

Daniel

Dream Angus

My Guardian Angel

Non Nobis Domine

Oro

Nor necessarily in that order.

Note for Daniel - 'servant of the Lord' should always be quieter, it is a focus point.

That's all, Folks.