Second Soprano Rehearsal Notes

9/17/2025

Soprano 2 Notes

Note that starting m. 69 the editor took the easy way out and just wrote “staccato” for the rest of the piece.

If you haven't, mark where we sing on each page as it can get confusing. 

No vibrato in this piece – the cluster cords are way too close.

m. 1  Breathy, no beats.  Start “lux” cleanly (no swooping in). If you have trouble, leave off the “L” and start the “oo” with an “h”

m. 3.  You should note that the first sopranos and second altos change notes before we do.

m. 5  The D needs to be high

Be careful to keep a tight “oo” throughout the piece.

m. 30 – 32  Remember, we sing the F, F, A, A, with a quarter rest at the end. 
This complies with Jane's note that if there are 4 notes (m. 30) we sing the second from the bottom, and if there are 3 notes (m. 31 & 32), we sing the middle note.

m. 33  Sing F F D

m. 34  Sing E

m. 35  Sing E G sharp ( the firsts have dotted whole notes, we share the alto note and then move to the G sharp)

m. 89  After broadening in previous measure, Jane returns to a tempo here

m. 95  The D needs to be high 

m. 97  “kaw”

m. 101  Slight crescendo into the rest of the line

m. 104  Make the F a dotted quarter and eighth rest.

m. 105  Crescendo

m. 107  Decrescendo

This piece needs: 1. Dynamics; 2. clear lines, including using crescendos on the long lines to sustain the motion; 3. an open “aw” for “come”.

Pronounce “Emmanuel” as ” ih ” mmanuel

m. 47  Sing with altos

m. 51  Back on S2 line, don't be too notey and she wants a darker sound

m. 58  don't pop the “t”, could even be a dental “d”

m. 60  Don't drop the end of “God”, but lift it

m. 62  Again, no popped “t”

Pronunciation – Nyeh – nee – kwehn (pg 12 has the full pronunciation)

m. 69  Slight crescendo on “ham”

m. 73 (and elsewhere)  Back off on second syllable of “ham-ba”

m. 74  The “oh – oh” is great fun, but sing without any vibrato and no “h” preceding the D

Also, sing through the phrase from “oh” to “si-ya”

m. 81  No ritard, The A needs to be high

Mark your path so you know how far to turn for the repeat and the coda.

m. 68  Flip the “r” (Jane generally wants a flipped R, not rolled, but flipped)

m. 5 etc.  Don't let the “bum bum” staccato affect our line – ours should be smooth and connected, not too notey

m. 40  Make sure to observe the rest.  Flip the R

The biggest danger in this piece is 1. Rushing  2. Being too cute