Rudsamblog

There is no Rose

We're in Ab man. Know where the Ab is, it helps with pitching.

Yesu, not Jesu.

Take note of the dynamics, shape the lines.

Re-smiranda, connect the s and the m.

Bar 34, breathe at the end of this bar but don't take out a quarter note. And let the basses finish their line.

Bar 48 onwards, give it more life. Note the crescendo/diminuendo (basses, we need more from you). Aim for the third last bar.

Basses

Ab major, you come in on an Ab - don't overthink it. The women have an Ab as the last note of their opening section.

Lots of support needed especially in bars 16/17 where you have several Fs - they are sinking.

Resmiranda - aim for the Db in the crescendo, don't thud the C nat.

The 2nd note of the 2nd verse is an F not a Gb!

DO NOT take a breath between res- and -for bars 37/38.

Your last entry is awkward. Try to hear where the music is going and where you fit in. The pitching here is a bit muddy, think Three Blind Mice and don't sing with your chins down because you're singing low!

Also don't try to 'help' the descending notes, keep supported or you will go flat.

Tenors

Bar 20 - li-i-tle not li-te-ul, sing 2 notes on the 'li' not 3 on the 'tle'.

You are in 7ths and 2nds against the bass line in places. Do not be put off.

Awkward last entry. A major 3rd from the altos, if that helps.

Altos and Sops 1st section

Watch the intervals in the first section.

Don't plod. Don't land on the first beat of every bar eg 'is' 'such'. 

Quick consonants, don't get lazy and slur.

Don't sacrifice colour and tone for the pp.

Altos

Take care with the last two bars of the first page on 'Resmiranda', notes aren't necessarily what you'd expect.

Sopranos

2nd verse, last bar first system page 2 and first bar of second system - think about the octave Fs and less about the Eb between them.

Gloucestershire Wassail

In this piece every note has to sound but not every word is equally important.

Bar 20, the basses are the important ones here. Pipe down if you're not one.

Basses

Sing with a smile, it will help the tuning.

Bar 20. You have the tune, take it up and sing it out.

Get your last notes right or at least sing the same wrong notes. Very discordant at the moment. Drunkenness not an excuse!

Tenors

Seems you were perfect

Altos

Watch the rhythm of the da-das, especially where there is a tie. They are always slightly late. It will help to listen to the basses.

Don't sound bored.

Sopranos

You're doing fine, I imagine. Nothing for you either!

Noel Nouvelet

Know the difference between the various rythmes, they are blurring slightly.

Don't enjoy the bm bms so much because it turns into different music, don't sing 'bum', more 'bom' and think distant camels rather than Jaws.

Don't make 'doo doo's too pop-y.

Every note is important, the lengths are important. There are too many gaps at the moment, sing through.

Basses

Entry page 7, Ab Enat - tricky. Try singing the tenor line down an octave (in your head!); the Eb will be easy if you listen to tenor 2. Think about where you are going.

Basses and tenors - think about the balance between the parts on the 'bm bms' page 8.

Tenors

When you come in at 9 give it a bit more bounce. Sing as if you have the tune and don't blend into the texture.

Brighter D nat page 7, tenor 1.

Pay attention to A nats. They are not high enough.

Page 10 tenor 2s, watch the 'doo doo's. Sound like a Western at the moment!

Tenor 2 page 13, MORE!

Altos

Ping out your Noel Noel Noels.

Bar 37, this is a counter melody. Don't just 'oo' and 'ah', follow the shape of the soprano line.

At 64 you have the tune from the 1st beat not the 2nd. Sing it out.

Sopranos

Go gently with the 'No-No-No's.

From 29 give it more colour. Don't think so hard about the French, the music is more important, put the words on top of the music.

Quand Nascette Ninno 

Give it swing. Think waves lapping.

Dynamics, let the sun come out.

Winter tide

If this is to work it needs some tension. Sing as if you are walking through snow, give each note more resistance.

Connect rather than release after each melisma.

Find the line through the words when they are broken up. Remember there is a tune and take care of it.

Keep the flow.

Alto 1 and 2, basses and tenors - smooth out the broken lines, the crotchet rest is just a release.

Generally it needs to be more wistful.

Priestfield on Wednesday. See you there.

I think Susan said the lady with the fair trade goods will be there again so come prepared if there's anything you think you might 

need/want.

Apologies again for the disgraceful delay.

x