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.