Second Soprano Rehearsal Notes

Most everything is in Jane Fisher's email, check it out. We will be sitting in the chancel, either in the choir stalls or on added chairs. The acoustics are best there. You will not need a stool (I assume people who can't stand will sit on a chair to sing.) Be prepared for Jane to tell us where to sit when we get there.

Parking details should be coming – but if you have mobility issues, you can park close by on the street.

Singing at the Concord tree lighting was discussed, but it is the day after our concert, so it's our snow day alternate. I'm guessing the issue will be revisited. 

Also, security was discussed. If you see someone suspicious go ahead and interrupt Jane so that can be addressed. Also, there will not be the usual lockbox for our Christmas concert, so don't bring valuables with you. They cannot be locked up.

Our energy flags on page 10. This could be because it's in a lower range, which requires more energy and breath support. It's also forte here, but we may get caught up in the beauty of singing this page (one of my favorites in the concert), and forget that.

m. 98  Put a good pitched “D” at the end, with Jane, on the same note (don't let it drop). No dipthong.

The tempo keeps changing – we have to watch and follow Jane or it will get messy and we'll get lost on the long notes. The measure markings change, and the tempo – it's like a slinky. The half note is always the unit of measure, but it's not metronomic.

m. 59  “moving forward”. It's in 3

m. 71  “moving forward” again = it gets faster. “Law”, no dipthong.

m. 77  Lean on “Christ” and “Sav”

m. 88  higher B flat 

m. 111  3 fermatas

m. 112  higher G

Next week from m. 46 – don't forget we sing the bottom line

m. 15  In 6

m. 24  Tutti.  “Loox fool jay beet  O dee ay” (but no dipthongs)

m. 28  “naws”

m. 31  “Naw”

m. 34  high D

m. 68-71  Jane will play with the tempo, Watch her for the cutoff “x”

Practice for Sunday!  Still needs work.

Look up. The drum is relentless so we need to follow Jane.

This is a march, beating with the fire of activism. But not notey. You can move, but don't be sexy 😉  And don't lean physically into the “ham” of “hamba”.

m. 11 (for example)  On the leading long notes, start softer and do a big crescendo into the next note/syllable. Do this every time – m. 15, 22, 31, 42, etc.

m. 13-14  The tied eighth notes dropping to the dotted quarter need to be exact. With the cutoff on beat 3

m. 47  mezzo piano

m. 51  Still mezzo piano. Also – “w” is a hard sound, sing “ooee” and come at it from above.

m. 55 Crescendo

m. 74 & 78  Crescendo on the “oh” G to D

This is still tentative. Look it over, watch always. There was a comment that the words could be clearer, part of that is watching Jane and singing together. Another is knowing what comes next. Keep the vowels pure, don't let the ending consonant muddy the vowel. 

Keep the G sharps high. This is hard as they are right on a woman's break.

This needs to feel in the 2 that Jane is beating (don't think in 4).

m. 5  higher G sharp

m. 6 “rest” is late – flip the “R” to get past is quickly

m. 27 – 29  This is a duet with the altos.  

m. 29  “mahnd”

m. 43  This is a B, not a G sharp.

m. 64  Ritard = watch

Turn to page 4 (second page) to start so you are ready for it.

When this is tentative we sound like a grade school chorus. This wants to be fun and powerful, not frothy.

m. 6 “hoo”

m. 51  Ritard = watch

m. 60 Accelerando.  Turn early so you are ready for the complete change.

See you Sunday!

Linde