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First Soprano rehearsal notes

November 18 Rehearsal Notes
Please note for next rehearsal: first sopranos sit in front. Also, the next rehearsal is this Thursday (November 20).
Here are notes from today's rehearsal:
Forrest IV: Gloria in Excelsis (whole piece)
  • Universal: Get the “gl” of “gloria” out of the way so you can land the vowel (aw) on the beat
  • Measure 20: No weight or vibrato on the B and C, and the vowel is “aw”
  • Measure 34: Back off the unison
  • Mm. 51-52: Legato phrase, and keep the ABC high
  • Measure 60: Take a relaxing, regrouping breath at the end of the measure so tutti can come in solidly in measure 61
  • Universal (starting measure 61): Everything is staccato except “De-o”–stress the “De(h)-” syllable and keep it legato
  • Universal: Keep the “in excelsis deo” phrase supported and in the body
  • Top of page 8: Be aware of what's coming up
  • Starting measure 61: This is what the movement is all about–sing with joy that you can't contain and blow the top off (but avoid being “yell-y”; keep it in the body)
  • Measure 81: A1s join us on the top line
  • Measure 82: Join the A1s on the top line
  • Measure 83: Back to our regular part/clef
  • Letter G (pages 12-13): Note the little differences in text underlay and rhythm–“be clear”
  • Measure 84 into 85: Absolutely no breath
  • Measure 96: Check that you're getting the pitch of the G
  • Measure 97: Check that you're getting the pitch of the A
Forrest I: Illuminare (whole piece)
  • First entrance: Enter as softly as possible, in the center of the pitch, and leave off the “l” of “Lux” unless your name is Amanda
  • Whole first phrase: Know when to move–not everyone moves at the same time, and think less in terms of fermatas and more in 4 beats to the measure
  • Measure 3: Beat 3 is conducted
  • Measure 4: Keep the pitch of the C# high and remember it is a whole step higher than the previous note
  • Mm. 4-10: No wobble/vibrato
  • Mm. 8-9: Teeny crescendo
  • Mm. 13-35: No vibrato in this section, either
  • Measure 30 (3/2 bar): The quarter note remains constant
  • Measure 33: I have been asked to ask the lower S1s to check your pitches
  • Mm. 30 & 61: The chorus emerges as the star in these sections, rather than back-up/harmonic support to the soloists; be conscious of the difference; remember: big and in the body
  • Page 8 (Simon's moment): Don't follow the score; look up and beatific; trust Jane to bring us in
  • Measure 70: Jane is in 4
  • Measure 71: Drop the “l” of “Lux” (not you, Amanda), and keep the A high
  • Measure 76: Watch Jane
  • Alleluia section (beginning measure 82): Catch breath between “Alleluias” where there is a comma; watch Jane–no line is dynamically static
  • Measure 82: “H” before “(H)Alle-“; “le” is “leh” (not “lay”)
  • Mm. 92 & 94: Firm entrances
  • Measure 99: Watch Jane
  • Measure 102: Be secure on the pitch of the F
  • Measure 121: Watch Jane
  • Measure 156: Only Amanda sings the “l” of “Lux”
  • Last 7 measures: Keep the pitch high; no vibrato
  • Mm. 165-167: Jane cues the altos, holds the fermata, and cues the S2s before we sing the final chord; no “l” on “Lux”
  • General: The whole movement builds, with more on page 11, more on page 13, more on page 14, and finally a true forte at the bottom of page 15; the movement should end with incredible passion

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