WEEK of October 25, 2022

Dear Friends,

This is going to be a longer post because I've stored up notes from the last couple of weeks. Please read it all, mark your music, and practice with mindfulness.

PHOTO: We will be meeting on Sunday,  November 1 from 3:30-4:30 pm for roughly an hour. I will put the details in an email that announces this post. Please read it carefully. 

MINI-BOOT CAMP: Our mini-Boot Camp will be Saturday, November 14, from 9:30 am to 12:30 pm. This will be short, but intense. I really want you to be memorized on the things that must be memorized and focused on listening. John and Cyndi Kasten have graciously agreed to host. 

NOTES:

Ngothando - 

• You are officially off-score. Work on blend, balance, and diction. 
• There should be a quiet conviction as you sing this. 
• Be gently accurate with your syncopations.
• And continue to practice your clicks on sonqosa. Don't leave them up to others.

Patapan - 

• You need to be off score
• Trebles come in intensely in m. 11. 
• Men remember to swell and fade on all your patapans. And decrescendo in measure 14.
• Sing the chord intensely in m. 24 and immediately descrescendo so your subsequent crescendo makes sense. 
• On the call and response starting in m. 30, ALL make it crisply articulated--almost detached.
• Tenors/Bass make your parts in mm. 38-46 strong and clean. 
• Trebles practice you clap/stomp with hands clapping high and to the right (along side your face). Here's link but note they're clapping to the left. https://www.youtube.com/watch?v=PZ7Gcsktbb0&list=RDPZ7Gcsktbb0&start_radio=1 - STARTING at 1:30.
• Practice your movement in mm. 47-down beat of 63 while you sing. Try to lead with your shoulder. DO NOT turn the body sideways like they do in the video.
• ALL clap with hands up to the right on the ending beat.

Nino Dios

• Continue to sing musically with a rise and fall of the dynamic line like you did so beautiful in last week's rehearsal. 
• Remember to ease into cadences without necessarily slowing down unless I do.
• Practice transition from m. l5 to m. 16 and again m. 23 to m. 24.
• Remember the words have profound religous and theological meaning so instill the phrases with the necessary intensity. These words are particularly significant: enamorais (to fall in love), de amores llorais (heartbreak), nos mostrais bien el amar (you teach us well about love), y a penas habeis nacido (you are just a newborn).

Gabriel's Message

• It's full of mystical wonder. The arranger uses "tempo" markings like unfolding, mysteriously, tenderly, triumphantly, with optimism. The composer sees this carol as a scene: Mary sits in the dark when light gently breaks in the room as the angel Gabriel reveals himself and slowly unfolds his wing. (The opening phrase is meant to convey this.) The rest of the piece is essentially a quiet waltz of profound, inner joy betwen the angel and the maiden. Think of how each section reflects that.
• Again, transitions from section to section must be secure.
• Quartet, feel free to sing your sections as classical soloists with plenty resonance.

Awake, Arise!

• Notice the word Driving in the tempo marking at the beginning. That should flavor the whole piece. 
• In the beginning, there's a quiet intensity. Sing the dynamics.
• Note the sudden shift to mp in m. 101. Sing with a sense of awe and wonder.
• Make sure mm. 110-the end are absolutely and cofidently correct pitch-wise. No second guessing.

Silent Night

• This setting is about extended, legato lines. All with an ascending motif. 
• Really work at seamless staggering of breath in the phrases.
• STB listen for the alto melody in mm. 91-96. If you can't hear it, you're too loud.

Three Nativity Carols - The Holly and the Ivy

• Know where all the variations are in each verse in terms of rhythms, pitches. Again, don't guess. Know where and what they are.
• Sing the unison in mm. 42-49 very legato.
• As the arranger writes - sing with excitement and precision.
• Everytime you sing sweet singing in the choir make it especially smooth and rich.

Three Nativity Carols - This Endris Night

• Not too slowly. 
• Rather than languid feeling, make it a quiet intensity, like a shared secret.
• Keep energy in the VERY long chord at the end. Don't let it sag.

Three Nativity Carols - Wonder Tidings

• Internalilze the constant 1/8th note subdivision for accurate transitions between compound meter (6/8, 3/8) and simple meter (2/4, 3/4, 4/4). 
• Keep diction crisp and clear

The Darkest Midnight in December

• Sopranos be particularly mindful of lifting the pitch every time you move to the tonic (F)
• Don't delay pick-ups into phrases. Push the tempo through. 
• Make sure cut-offs on weak beats (and strong beats) are accurate. 
• Watch me in mm. 13, 25, 38 as I will conduct in 3/4 not 6/8. Also watch m. 44.

The Everlasting Flame

• The minor mode doesn't make it sad, it makes it emotionally intense.
• The myriad dynamic shifts are quick and crucial. Be Aware.
• SECTION F needs to be tuned carefully.

FOR TUESDAY, NOVEMBER 3

A Choral Christmas Overture

The Angel Gabriel

Awake, Arise!

Silent Night

Week of September 29, 2026

Hello friends,

Thank you for continuing to work on your music during the week. It helps us put things together in rehearsals. We're coming up on our 1st Book Camp and I would like to really heighten the ensemble work of blend, balance, and unified expressiveness when we're together then.

In regard to expressiveness, please don't wait for me to instruct it or conduct it. It's written in your music. Highlight and sing dynamic shifts, slurs, and articulation. Express the words. That's why we sing.

REMEMBER to keep energy in your singing so the intonation doesn't suffer, particularly in descending lines/intervals and arriving at cadences. We were having some issues in rehearsal. 

Silent Night

• Keep the energy going through the long, extended lines. 
• Don't be afraid to exaggerate the dynamic changes. 
• Listen to the harmonies and make your part fit the chord, not as an independent line.
• Soprano II, please sing the alto line in mm. 91-96.

Wonder Tidings (Three Nativity Carols)

• Clean up the rather angular melodic lines.
• Keep diction (articulation) clean, particularly when you have 16th-notes.
• Trebles make sure to make the 16th-note pick-ups in mm. 24 and 26 clean and sharp.
• Practice the fp in m. 76, and mark mp at the end of the measure and mf in m. 77.

Awake, Arise!

• Both CHOIRS start with an intense piano. CHOIR I, really observe the rising and falling of the dynamics through page 5.
• In mm. 43 and on, make syncopation accurate, but not accented.
• CHOIR I please listen to the audio clip that Chuck as put on the Resources Site with the rhythm in mm. 87-98. Practice it with the words in your score until you're confident of your rhythmic accuracy.
• EVERYONE practice your parts on pp. 28-32 to make 100% sure of your pitches in those very crunchy chords.

A Choral Christmas Overture

• Review this for varying harmonies and counter melodies.
• Sing it like a choir, not a congregation.

For TUESDAY, October 6, 2026

Patapan

Nino Dios

The Darkest Midnight in December

The Everlasting Flame

Ngothando

Week of September 22, 2026

Hello friends,

Just a reminder that we have Bel Canto BOOT CAMP coming up on October 10th. For you who are new, this is a chance to run through everything and get a sense of where we are and where we need to go in terms of the music. It's also a chance to make music and make connections with one another. Our social team will be in touch to talk more about the latter. I would like to have our notes and rhythms solid by that point, so if you're still uncertain, really make the effort to iron that out. It will be in the clubhouse at Rancho de Calistoga. 2412 Foothill Blvd. in Calistoga. 

Nino Dios

• Keep running this with a attention to a) dynamically arched phrases; b) Spanish pronunciation--remember dental consonants (d, n, t, l); c) practice transitions at mm. 15/16 and 22/23.
• If you have 16th-notes, articulate those lightly.
• Remember this is based on a dance. Keep it buoyant.

Three Nativity Carols

1.    The Holly and the Ivy

• Please note the differences in rhythms of each verse.
• SOP I, pay attention to the different pitches on playing of the organ.
• I'd like this to have an overall detached articulation and crisp diction rather than smooth.

2.    This Endris Night

• Beautiful phrasing on this, Trebles, keep it up. Continue to do the same thing Tenor/Bass.
• Be 100% confident of you pitches so you're not thrown off by dissonant chords--when perhaps you are a 1/2-step different than another part, ex: mm. 47 where BII sing an E-natural along with Alto I E-flat.
• If you have a comfortable E, Basses and Altos can enter a m. 60 on Why art to make the entrance easier.

The Everlasting Flame

• In m. 9 move from mm to oo, then in m. 10 to oh, then in m. 11 to ah. Create dimuendo by closing lips on ah.
• Highlight and sing your slurred notes accordingly.
• NOTE all dynamics. There are many and they are quickly changing, even almost abrupt.

The Work of Christmas

• If you don't have a copy, please go to the Resources Site and print it out. 
• Altos really make the most of the slurs in mm. 39-44.
• Sing the [zIk] of music moving closer to [zik] - translated closer to a gentle closed ee placement rather than a broad ihk sound.
• Make sure you have more than enough breath on the last line so we can sustain the fermata without vibrato.

For TUESDAY, September 29

Wonder Tidings (Three Nativity Carols)

Awake, Arise

Silent Night

A Choral Christmas Overture

Week of September 15, 2026

Friends,

My apologies for the delinquent post. This was an intense week. Helping produce a private Fashion Show makes putting on concerts feel like a breeze. 

Please Remember: We will be meeting at Frist Presbyterian at 6:30 pm this coming Tuesday. Park at Napa Methodist and walk over. It hopefully will only take a few minutes to organize and then we'll move back to NM for rehearsal. Please be prompt!

Ngothando 

• Despite it's slower tempo, please keep an energetic drive when singing.
• Rehearse you IsiZulu pronunciation, especially the click consonant on Sonqoba. I want everyone to master that.
• Keep syncopated rhythms accurate, but not accented.
• Please observe dynamics as you memorize. 

Awake, Arise

• CHOIR I: Sing with a litte more presence (volume) in the first section mm. 3-18. 
• ALL: Sing the unified section in mm. 19-25 which fullness, like a heroic hymn.
• In mm. 43-72 when you're underscoring the soloists, please keep it energetically light and accurate. 
• CHOIR I: Articulate your words and rhythm in mm. 87-98.
• ALL really secure the pitches in the harmonies in mm. 110-122, especially the inner parts (SII and AI)

Patapan

• Tenors/Basses: Energize the extended Patapans as a unit with rising and falling dynamics. The shorter patapans and turelurelus should be more percussively detached and articulated. 
• Accurately unify your triplets.
• Think of this as an energetic dance throughout.

The Darkest Midnight in December

• This should have a sweet but haunting feel to it as it moves back and forth between major and minor. Use warm, rich tone throughout.
• Highlight and perform all the dynamics. Don't wait for me!

FOR TUESDAY, September 22, 2026

The Everlasting Flame - practice with the Hebrew

Nino Dios - practice with Spanish

Three Nativity Carols

The Work of Christmas

Week of September 8, 2026

Friends,

I think we have run through all the pieces in our Fall repertoire. Now comes the time when we need to focus on really securing our respective parts (pitches, rhythms, and text) through independent and cooperative rehearsal. A few reminders:

1. Practice with attention to tone and intonation. Always sing it as in a performance.
2. Pay attention to the foreign language requirements--sounds not familiar to you. For example, the click in the isiZulu language of Ngothando, the dentalized consonants in Latin and Spanish (Adeste fideles in Choral Christmas Overture and Nino Dios); and the "throat clearing" ch in baruch and Chanukah in The Everlasting Flame.
3. Practice subtle staggered breathing on songs with particularly long phrases, i.e., breathing and coming in gently.
4. Work on expressive singing and phrasing, highlighting and paying particular attention to all tempi, dynamics, and slurs. Also, when in doubt energize the verbs.

PLEASE NOTE: On Tuesday, 9/22, we will meet at First Presbyterian Church at 6:30 to briefly get an idea about the space. Or standing formation will be more limited on the chancel because of a large Christmas tree for our concert there. Consequently, we cannot use risers. We will use the steps and will be constructing smaller, adjustable platforms for a few people in the back row to stand on. The builders need dimensions. I'll remind you next week as well.

Three Nativity Carols - mark the following breaths (b) and luftpauses (lp). Breath is more expansive, luftpause is briefer and more for phrasing. No other unison breaths except where printed or in rests.

• The Holly and the Ivy: mm. 12, 16 (b), 23 (lp), 29 (b), 34 (b), 38 (lp), 42 (b), 49 (lp), 55 (b), 60 (b), 64 (lp), 75 (b), 81 (b), 92 (lp), 96 (b), 107 (b), 115 (b), 121 (b), 127 (b).
•  This Endris Night: Trebles - mm: 10 (b), 27 (b) Tenor/Bass stagger mm. 22-34, All 46 (lp), 64 (lp), Tenor/Bass 84 (lp), All 97 (b), Treble 104 (lp), 108 (lp), 112 (lp), Tenor/Bass 106 (lp), 110 (lp), All 114 (b).
• Wonder Tidings: mm. 4 (lp), 8 (lp), 14 (lp), 20 (lp), Tenor/Bass 25 (lp), 27 (lp), 33 (lp), All 36 (lp), 39 (lp), 42 (lp), 48 (lp), 50 (lp), 52 (lp), 54 (b), 59 (lp), 65 (b), 71 (lp).

Gabriel's Message - this arrangement is like a musical tableau. The texture and emotional shifts reflect  the speaker and message - creating the mystical and magical quality portrayed in this setting of the annunciation. 

• There is a lot of non-verbal (mm, oo, oh, etc) singing. Keep it dynamically appropriate and absolutely energized.
• Note that the sections are described not with tempo or dynamic indicators, but with moods, ex. Unfolding, Mysteriously, Tenderly, Triumphantly, With optimism, Brightly, etc. What does that mean? Please give it thought.
• Listen to the recording so you understand how the sections meld into each other.
• I would like Lindsay, Susan, Chuck, and Matthew to sing the solo quartet section. The Basque pronunciation is detailed in the back. 

Awake, Arise

• Because of the divisi and because we are a smaller group, sections like Choir I in the beginning need to be a bit fuller and stronger than the p indicates. 
• Articulate all the syncopation cleanly and accurately without undue emphasis. Ex. pp. 12-17.
• The soloists in mm. 45-71 will be Brittany and Cyndi. Please make sure the divisi in those sections is balanced.
• Choir II in the beginning, make sure not to short the duration of is. 
• We'll work on Choir I's rhythms on page 20-24. They're tricky.
• When the choirs are together on the chorale, make the tone full and "church hymn-like."

FOR TUESDAY, September 15, 2026

Patapan - remember to begin the memorization process early

The Everlasting Flame

Awake, Arise

Ngothando - remember to begin memorizing as you learn

The Darkest Midnight in December

Week of September 1, 2026

Hello friends,

REMINDER: The Bel Canto social event has been postponed. It has been rescheduled to occur concurrently with the October 10 Boot Camp, in hopes of having most of you there. More to follow on that as we near that date.

Patapan

• The setting is rife with percussion and rhythm. Please think of your vocal parts as having that same rhythmic energy and life. 
• A few technical considerations: A) when you have a vocal slide, begin after Beat 2. Basses take your lead from the tenors who precede you; B)  Don't rush the triplets and the subsequent Beat 4; C) Sing it with an unflagging sense of rhythmic drive and energy--your parts are often instrumental imitations; Sing with a broader "a" in the word patapan and make the consonants crisp with sharp releases of the "n's".
• Begin memorizing as you practice. 

 A Choral Christmas Overture

• Sing Adeste Fidels/O Come All Ye Faithful with rich tone and forward moving energy.
• It Came Upon the Midnight Clear should be softer and smoother. Make the transition in mm. 58 and 59 gently rocking in the Tenor/Bass parts.
• What Child is This should be softer yet. Tenor/Bass sing the verse like a lullaby then gently swell into the chorus as trebles join. 
• Angels We Have Heard on High should be sung somewhat detached as noted. Even though it says legato in m. 95, make sure there's clarity on moving 16th notes. Bass sing the upper pitches (E4/F4) without strain. If it's too high to do so, please drop out.
• The First Noel should be smooth but keep it moving. 
• Keep the last page energized without over-singing. Keep it smooth with "full-bow" articulation.

The Everlasting Flame

• Listen to the Hebrew pronunciation guide if needed to begin using the text in your practice. Sing with open, warm vowels. 
• The composer has used lots of expression markings (dynamics, tempo, slurs). Please highlight and observe when singing. 
• There's a warmth and a certain sensuality in the melodic and harmonic devices used in this piece--a little like Eric Whitacre's Five Hebew Love Songs. Capture that essence.

Silent Night 

• This setting is focused on beautiful, blended tone and LONG ascending lines (whether in the instruments or in the voices.) 
• My impression is that Dan Forrest wants singers to breathe together only where the breath marks are indicated creating ever unfolding lines, so practice that way with staggered breathing. (I may insert a few quick luftpauses later). Tenor/Bass please note the breath mark in m. 67, changing the way I've ever heard it phrased.

For TUESDAY, September 8

The Three Nativity Carols

• This Endris Night 
• Wonder Tidings)

Gabriel's Message

Awake, Arise

• Choir I - Melody, Carissa, Lisa, Joanna, Brittany, Susan, Jean, Chuck, Dana, Thom, Larry, Jack
• Choir II - Lindsay, Hunter, Vania, Anna, Cassi, Toni, Cyndi, Michele, James, Daria, Dan, David, John, Matthew

WEEK of August 25, 2026

Dear friends,

NOTE: You should have received an invite for the Bel Canto mixer/party on Sunday, September 6 4:30-6:30. There is a "what to bring" list of foods. Some that might allow you to do some experimental cooking/preparation. Please make sure and RSvP to either Hunter or Vania.

For some unknown reason, the scores for The Work of Christmas are delayed another month. Consequently, I cancelled the order. For those who need it, please download it from the Bel Canto Resources Page and print it out. 

Also, please double check your music. I'm missing a copy of Gabriel's Message. If you by chance picked up two, please let me know. Lisa vS is in need of it.

We will continue working on listening and blending for beautiful tone. Please rehearse independently with that in mind.

Ngothando - there is a pronuncation guide on the Resources site. Please practice the song with IsiZulu language. The click is on the 2nd syllable of Son*qoba. 

Nino Dios - practice the Spanish rhythmically, independent of the pitches until you are comfortable putting them together. Start slowly for accuracy and then gradually speed up. Remember to make the "d" consonant by slightly tapping the aveleor ridge (behind upper front teeth) with the tongue. Also ll is not a very soft "j" sound rather than "y."

The Holly and the Ivy - we worked through the notes and rhythms with words on this. Please not the rhythm on sweet singing in the choir. Sweet is 2 beats.

The Darkest Midnight - we worked through the notes and rhythms up to page 9. Please look finish going through your pitches and rhythms to the end. At the end of each verse, I will conduct mm. 13, 25, 38 in 3/4 rather than the 6/8.

For TUESDAY, September 1

• A Choral Christmas Overture
• Patapan
• The Everlasting Flame (practice on oo) - there will be a Hebrew pronunciation guide shortly
• Silent Night

Week of August 18, 2026

Dear friends,

It was great to gather and begin Bel Canto's 12th Season. We welcomed Lindsay Stark and Jack James and look forward to welcoming Daria Adams. We talked about how we all can participate in making Bel Canto's sound which should be energized, resonant, and unified, and how that will take everyone's commitment and concentration. In your weekly rehearsing, practice your notes, but also practice with that tone in mind.

It was also stressed that we listen more. The best choirs have the best ears. Listen for intonation, listen for vowel color, and listen for syncronicity. We'll continue with exercises that build your listening skills.

NOTE: As we come together this season, we're planning a Kick-off event on Saturday, September 5. This will be an opportunity to meet new singers and get better acquainted with one another. Please put it on your calendar.

This week, I will finish getting the part recordings to Chuck so he can upload them. Please use them to help you learn your parts during the week. We want to use our rehearsals to rehearse with one another, not to hammer out notes and rhythms.

FOR Tuesday, August 25 Rehearsal

Three Nativity Carols: The Holly and the Ivy

• Work through parts on these. 
• The middle treble part will be Lisa vS, Vania, Brittany, Joanna, Cassi. 
• Remember to highlight every expressive marking (dyanmics and tempo)

The Darkest Midnight in December

• Work through parts on this

Ngothando

• Sing through on a neutral syllable (doh) to become sure of parts and rhythms
• This will be memorized.

Ninos Dios

• Work through the notes and rhythms on doo
• NOTE: the meter marking at the top of measure 12 should be 3 quarter beats, and measure 25 should be 4 quarter beats.

The Work of Christmas

• For those for whom this is new, this will be our encore and you can lean on your neighbors who know it. This will be memorized. 

See You Soon!

 Friends,

Here is Ted's concert blurb for this season:

Celebrate the season with Bel Canto Napa Valley's holiday concert, Beyond All Mortal Dreams. This year's program features music spanning six centuries, from cherished carols to contemporary choral works inspired by the themes of Advent, Christmas, and Hanukkah.

Known for its artistic excellence and expressive performances, Bel Canto will be joined by professional instrumentalists including harp, oboe, celesta, percussion, and strings. Join us for an inspiring program of music that reflects the hope, peace, joy, and wonder of the holiday season.

Tickets for all concerts are now available on our website so you can start telling your friends.

Reference recordings and some part recordings are posted on the Resources Site.

Looking forward to seeing you all next Tuesday.

Chuck

NOTES for BC Boot Camp (Saturday, 3/21)

Dear friends,

A few announcements regarding this weekend's Boot Camp rehearsal.

1.       Time is 9:30 am to 3:30 pm. 

2.        There is a change of venue. 

• It will be held at the Club House at Rancho de Calistoga. The address is 2412 Foothill Boulevard, Calistoga, CA. You can use your GPS, but if you're familiar with Calistoga, you proceed on Hwy. 29 past the main street sturn off and proceed to the light, which if you turn left will take you to Santa Rosa. Instead, turn right and proceed a few yards, and it will be on the left.
• Parking is in front, but is somewhat limited, so carpooling is better (saves gas too.)

3.        Bring a lunch and plenty of water. Coffee, tea, etc., is fine as well

4.        Dress comfortably for the weather. The morning will be cool, but should warm up by lunch time,            so layers are good.

5.        Of course, remember you music and a couple of pencils.

6.        We will be singing primarily in the round, somethimes in sections and sometimes in mixed                   formation. Make sure your know you music so you're not dependent on your neighbor of the                   same part. 

7.        We will be going through all the repertoire over the course of the day.

I look forward to seeing you all.

WEEK of March 15, 2026

Hello friends,

I would like everyone to be moving to the point of mastery of the pitches and rhythms and begin the process of singing musically.

• Double check all pitches and rhythms
• Highlight and sing observant of all expression marks
• Pay attention to the words and express them as well

Enfold Us

• Work on singing phrases rather than counting beats, especially in the mixed meter sections.
• Sopranos, be ready to breathe (when appropriate) and move on in the phrases following my direction.
• Sopranos and Altos practice the key change transition in m. 29 and 30, respectively
• Tenor stagger from mm. 33-37, being rhythmically stead on the quarter notes in m. 34.
• ALL stagger from mm. 37-41.
• Sopranos no breat in m. 58.

Dumela

• Make the dim section more consonant than vowel.
• ALL soften when the soloist comes in. Larry, if you can give us more volume, that would be great. I'd rather not mic you.
• Memorize.

Meet Me in the Afterglow

• I'd like this sung with a light, breathy, non-vibrato jazz tone--not pop.
• Listen for the melody which is predominantly in the alto part. 
• Keep the syncopation accurate but don't accent.

Evocation

• Energize all sustained pitches. Be careful not to drop on pitches. Keep intonation up.
• Don't oversing ff at m. 46. Sing with fullness, not loudness.
• There will be rubato at a cappella section starting m. 61. Watch me.
• Tenors be careful to balance other voices at m. 68. You're medium high in your range and they're all low.
• Keep repeated B-flats in mm. 71-72 high.

All of Us

• pp. 6-10 should be sung with energy and liveliness. Round, clear tone.
• Starting at the chorale on p. 11, work on a rich, full tone and though slow, keep flow to it. 
• Breathe together at rests and breath marks, otherwise, stagger.
• NOTE: Dynamics at mm. 71-74 are piano. Then crescendo to mp.
• Choir II, make sure of your parts and sing with vigor.

For TUESDAY, March 17

• Rutter: #'s 1, 2, 3, and 5
• My Soul's Been Anchored
• City Called Heaven

WEEK of February 22, 2026

Hello friends,

Requiem Aeternam

• Cut-offs need to be precise. Some are still holding onto the tied 1/8th-notes. 
• Make sure dynamics are demonstrably observed.
• E needs to be clean and fluid in SAT voices. Tenors keep it light.

Out of the Deep

• Sing the rhythms with flowing intensity. 
• Sing the text. Let it inform your rhythms.

Lux Aeterna

• Should sound like a blessing (words of comfort) - so tone needs to be warm.

All of Us

• Clean up any pitches and rhythms between pp. 6-13.

City Called Heaven

• Highlight and memorize all dynamics.
• Write in mezza di voce (< >) in mm. 10, 15, 32. Note tenuto marks and sing them throughout.
• Sing last home with exaggerated "h."  
• Close to "m" on cue in penultimate and last measures.

Evocation

• Write phonetic pronunciations of each word throughout the score even when repeated. Oh is an open o as in Latin glo-ri-a. 

For TUESDAY, February 24 Rehearsal

Evocation to the end with Korean

All of Us p. 14 to the end

Dumela

Enfold Us

My Soul's Been Anchored

Meet Me in the Afterglow

WEEK of February 15, 2025

Dear friends,

We had our bi-annual Bel Canto board meeting yesterday and talked over many things. Joanna will be providing a brief update on some of the things we discussed during our next rehearsal.

I will also be addressing you in person on Tuesday about something that I feel is important as we continue to strive to do our absolute best in rehearsal and performance. It has to do with how I approach issues of pitch and rhythm accuracy, intonation, tonal matching, vowel formation and uniformity, and vibrato in the rehearsal setting. I was made aware that I tend to direct comments towards the group or a section, rather than towards the specific person who may need to adjust, and that isn't always helpful. I hope you know me well enough (at least most of you) that the last thing I want to do is embarrass or diminish anyone. That being said, I will begin to correct individuals when the need arises. If there are specific issues that a singer consistently deals with, I will personally communicate with them in note or email, rather than in rehearsal. This is to benefit the group. 

My Soul's Been Anchored

• Mark and observe all dynamics when rehearsing and let that be part of your memorization process.
• Make sure you know exactly when entrances are syncopated and when they're not.
• The sfp in the penultimate measure is achieved by strongly singing the word in and then immediately closing to the 'n'. After doing so, begain the crescendo.

Meet Me in the Afterglow

• This should have a gentle, rhythmic feel to it. Be precise with all the syncopated rhythms while avoiding accenting them. Altos and Tenors need to unify your rhythms as a section and then with the other part.
• Sing with a gentle, fairly non-vibrato tone.

Enfold Us

• Work in a dynamic level one level lower than written for anything above mf and strive for a clean, non-vibrato tone.
• Vowels should be pure and rounded.
• Mark and observe all dynamics. Especially on the word lean.

All of Us

• Practice slowly with broad vowels and clear consonants
• On slower, hymnlike sections, ex: pp. 11-12, 14-19, make sure to stretch the vowels and bite the consonants. Diction is very important.

Evocation

• Write this phonetic pronunciation of the Korean by the words in your score, each time they appear. What's there is meant to be close to it, but there are some variances based on what I heard listening to it carefully.

Mon-nee-joh            [as written]

Saeng-ga-ghee         [seng-kah-ghee]

Gh-ruhn-dae-ro       [koo-rohn-teh-roh]  - koo as in "book", rohn as in "bon vivant"

Han-sae-sang          [hahn-seh-sahng]

Ghee-naesi-gu-ryo  [chee-neh-shee-koo-ryoh]

Sa-noh-ra-myum     [sah-noh-rah-myuhm]

Eeh-tsil-nal             [Ee-chil-nahl]

Eeh-ssuh-ree-da      [Ee-suh-'ree-dah]

Sae-whol-mahn       [Say-wohl-mahn]

Ga-ra-see-guh-ryo  [Kah-rah-shee-hoo-ree-oh]

Mon-nee-joh-do      [Moh-nee-joh-doh]

Duh-ruh-nuhn         [Tuh-'ruh-nuhn] - tuh is more "ah" than "uh"

Eeh-chee-oh-ri-da   [Ee'-'chee'oh-ree-dah]

Guh-ruh-na              [Kuh-noh-nah]

Tto-han-goot            [Too-hahn-goot] - double Tt in Tto is dentalized like Latin/Italian.

Eeh-ruh tsee yo        [Ee-root chee oh]

Guh-rhee-woh          [Koo-ree-woh]

Sal-ttul-hee               [Sahl-tuhl-ee]

Moht-eet-nun-dae     [Moht-ee-nuhn-deh]

Uh-zhuh-myun          [Oht-chuh-myuhn]

Ttuh-ghee-na-yo       [Toht-chee-nI-yoh] the nI is like nigh

For TUESDAY, February 17

Evocation (Mon-Nee-Joh) - to page 8 (top) with the Korean

Requiem - Movements 1, 2, 6

All of Us - pp. 6-13

City Called Heaven

WEEK of February 8, 2026

Friends,

I'm not sure I can spend the time playing out the parts of All of Us due to the fact the voices are constantly jumping from one part to another. I'd have to make about 15 tracks just for this song. Below are the assignments and notes for this song. It's a doosy. Pencils for arrows as well as highlighters are paramount.

Soloists are #1 = Anna, #2 = Brittany, #3 = Susan throughout. Jump to regular parts when possible.

Divisi pp. 6-10
Soprano I         Melody, Suzanne, Carissa, Hunter
Soprano II        Joanna, Cassi, Vania, Lisa, (Brittany and Anna)
Alto                  Cyndi, Michele, Yuko, Toni (Susan)
Tenor                Jean, Chuck, James, Dan
Baritone           Thom, Dana, David, Frank
Bass                  John, Matthew, Larry, Gregory

Pp. 11-12 - There needs to be equal balance and some pitches are repeated in other voices, so I'm omitting some and having the mezzos and bari-tenors shift.

M. 34-35         as noted

M. 36              Cassi, Joanna, and Brittany go up and join seconds: Anna, Vania, and Lisa

                        Tenors sing the baritone A on beat 4 (altos will sing the D)

                        Basses will sing G, D, E-flat F

M. 37              Baritones will sing the G's on beats 1&2, the A on beat 4 is sung by the Tenors

M. 39              Baritones cross out the F# and G (they're sung by the Tenors). Only the F-natural is a                                Baritone note.

M. 40              Baritones cross out the 1st B-flat and the C (doubled by tenors)

M. 41-42         Baritones cross out the pitches on And know we (doubled)

M. 44              Baritones cross out the B-flat on beat 4

M. 48              Baritones cross out the notes on beats 3&4

P. 13                M. 50 Tenors (not Baritones) will sing the baritone pitches on Loe that lifts us up!. Jean                         sing the tenor part. 

                        M. 52 - same thing as m. 50.

Pp. 14-15        Baritones cross out pitches on ev-er - (m. 54) and this and Now (m. 55)

P. 17                Baritones cross out pitches on to be (m. 59)

Pp. 19-22        SI=Melody, Carissa, SII=Suzanne, Hunter, SIII=Lisa, Vania

                        AI=Cassi, Joanna, AII=Toni, Yuko, AIII=Cyndi, Michele

                        TI=James, Jean, TII=Dan, Chuck, TIII=Frank, Dana

                        BI=David, Thom, BII=John, Gregory, BIII=Matthew, Larry

Pp. 23-end     CHOIR I

                        SI=Suzanne, Hunter, SII=Lisa, Vania

                        Al=Joanna, Toni, AII=Yuko, Michele

                        TI=Chuck, Jean, TII=Dana, Frank

                        BI=Gregory, Thom, BII=Matthew, John

                        CHOIR II

                        S=Melody, Carissa (II)

                        A=Cassi, Cyndi (II)

                        T=James, Dan (II)

                        B=David, Larry (II)

For TUESDAY, February 10

All of Us

My Soul's Been Anchored

Meet Me in the Afterglow

Enfold Us

Week of February 1, 2026

Dear Friends,

Sorry this is late. I'm still playing catch up from vacation and two weeks with a cold/flu. 

• I appreciate the work that you're doing so far. Continue thinking about ensemble: blend and intonation. 
• For those of you who weren't there on Tuesday evening, we are rehearsing in a classroom in the hall adjacent to the church building, upstairs and to the left.

Requiem

• Throughout the score (English publishing) there are notes tied to an 1/8th note. That's an indication to cut on that beat, i.e., the 1/8th note doesn't sound. For ease in recognition and precision, please mark out all tied 1/8th notes. 
• Highlight and observe all expression markings (ex. pp, crescendo marks) and articulation marks (accents > and tenuto - marks) and words (Slow and solemn, dolce e legato). NOTE: Curious that Rutter mixes languages when using expression terms.
• Please mark your music so that you clearly see which pitches/rhythms are assigned to the Latin text as opposed to the English.

Evocation

• Pp. 4-5, Trebles no breath in mm. 14 or 22. T/B no breath in mm. 23 and 29.
• P. 7, All luftpause in m. 42 before Duh-ruh-nuhn
• P. 9, All no breath in mm. 48 and 50 (after -joh)
• P. 10, All no breath in m. 55
• Highlight all expression marks and breath marks.

Dumela

• Dim is pronounced deem
• There will be no part recording made for this. 
• Begin Memorization

City Called Heaven

• Highlight expression and articulation marks.
• There will be no part recording made for this.
• We will Memorize this. Very simple and repetitive.

For TUESDAY, February 3 - Rehearsal

Requiem

• Review #1 Requiem Aeternam and work to the end of the movement.
• #3 Pie Jesu - p. 21
• #7 Lux Aeterna

Meet Me in the Afterglow

Enfold Us

Dumelo

• Review and work to the end 

Week of January 25, 2026

Dear Friends,

It was great to reconnect after a month and a half at our 1st rehearsal. Also great to welcome new singers, David Irvine and Frank Stevens, as well as returning singers, Lisa van Stuijvenberg and James Ball.

A couple of things about rehearsals: 

1) We're looking into seeing if we can move into one of the classrooms in Adams Hall, the adjacent building. There is concern that the choir room is too small and too acoustically live to best serve our needs. Hopefully we can work that out by Tuesday's rehearsal.

2) Because the doors are locked during the rehearsal time, everyone needs to be there no later than 6:30 to insure no one is locked out. 

FOR TUESDAY, January 27 Rehearsal please review:

Dumela - I won't be making parts recordings of this. The parts are simple and can be learned by rote in rehearsal. Before Tuesday, look at the words and the repetitive rhythm. Once you have that, the notes are a breeze. 

• Tenor/Bass On 3-part divisi section shift on the 5-part chords to TI: Chuck and Jean, TII: Dan and James, Aux Pitch: Dana and Frank. Basses will sing the main pitches as BI: David and Thom; and BII: Matthew, Gregory, and John.

Evocation (Mon-Nee--Joh) Work on pitches and rhythm on "doo". Listen to the pronunciation of the words to begin getting a handle on the diction.

REQUIEM: 1. Requiem Aeternam and 4. Sanctus: Listen to the recording and then work on your parts.

City Called Heaven - you'll get the music on Tuesday.