Rehearsal Notes for 10/18/2017

Carmina Burana - Primo vere p. 19

• Tenors and Basses sing together on all men's parts as do Sopranos and Altos on women's
• This is quite simple, done in a flowing chant style
• Note that there are some slight variations in pronunciation - please mark the phonetic pronunciation in your scores. Because we are singing songs in Latin, you will be confused. Marking it will instantly remind you.
• All c's followed by i or e are pronounced with a ts instead of ch. 
• All h's are pronounced
• All qu's are pronounced qv
• All y's are pronounced like an u-umlaut in German
• All z's are pronounced ts as in Mozart

For parts, go to www.cyberbass.com and look under Orff: Carminia Burana.

For pronunciation, go to http://online.sfsu.edu/uchorus/pronounce/pronounce.html

Alleluia

• Please highlight all the dynamic marks and tempo marks in your scores, especially subito piano in margin a bottom of pg. 7
• Note pg. 7 poco rall. (slight slowing) in bass part then a tempo in next measure
• At top of pg. 8, mark measure 48 p, measure 49 mp
• Start to move it at top of 9 and continue increasing speed at the bottom of pg. 9
• Circle the rall. (slowing) at measure 62, and Largamente means slowly and it will continue to slow to the end.
• Altos, I will conduct each note of your final alleluia

Allon, Gay Bergeres

• We worked through all of it with French at moderate pace. 
• I will record the pronunciation slowly

Al Hanissim

• We reviewed the first chorus. Please look at the parts and I will record the pronunciation this week. In general, the vowels are like Latin. The apostrophe following a consonant denotes a syllable with the schwa--unaccented sound as the French e. So for example v' would be pronounced as the e in de in French. Ch is a hard gutteral as in Bach.

NEXT WEEK:

Ya Viene la Vieja

Hodie Christus Natus Est

Benedictus - Print out and review

Glory, Glory, Glory to the Newborn King

Carmina Burana #'s 8 and 9 - where it says coro piccolo

Rehearsal Notes for 10/4/2017

Gaudete

• Tenor I and II please review your words in the solo lines and practice getting them up to tempo
• First chorus (p. 3) should be piano
• Verse III (p. 7) should be lightly detached in the non solo voices then remember it's piano at top of p. 8
• I would like this piece memorized

In the Bleak Midwinter

• Focus on stretching the vowels and shortening the consonants particularly m's, n's, l's
• If you're not singing the melody or the harmony in the same rhythm, back off in volume
• No breath at end of measure 58 man,--I
• poco rit. at Measure 63, then more so in last two measures

Hodie Chrsitus Natus Est

• Review all notes and rhythms so you are comfortable with parts
• Next time, I want to be able to work through the meter changes - not only are there meter changes, but they coincide with going from homophonic sections (singing same rhythms together as in the response of the hodie and laetantur) and the polyphonic sections when your lines are weaving seemingly independently.
• Pay little attention to the dynamic markings. They are an editors suggestion and the implications may be unsuitable. I don't want any of it to be truly forte

O Magnum Mysterium

• Review your notes and counting on the the Allegro section starting on p. 10 at measure 66.
• Baritones you have the variances of pitch progression and coming in on inconsistent beats
• I'd like to hear Eileen and Lisa on the soprano solo; and Chuck on the tenor solo

FOR NEXT WEEK

Alleluia - with attention to full, fluid tone supported on the breath, and attention to dynamics/articulation

Allon, Gay Bergeres - with attention to language/diction and sections of rhythmic complexity

Al Hanissim - introduce (or re-introduce) this with explanation of Hebrew diction

Carmina Burana - #3 (p. 19-25) #7 and #8 (p. 43-56) #9c Chume, chum, gesselle min (p. 60-62)

Benedictus - introduce