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