Rehearsal markings for Winter 2019

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Notes from Feb 18 rehearsal

Schnittke #1

m 8: breathe at comma (that’s the general rule anyway, but he called this one out)
m 11: breathe before “iz”
m 69: take 8th rest out of “myot” (not “myod”) for the t
m 117: breathe after “Ty” (the thing that looks like a hyphen is actually a dash)

Schnittke #2

m 30: breathe at end of measure
m 46: breathe at end of measure to help with the dynamic contrast (ditto in the next measure, but we’re already breathing anyway for the punctuation)
m 63: take 8th rest out (or the dot off) of “Bokh”
m 66-95: breathe between repeated “Alilujah”s if you have time (i.e., shorten the final ¼ note or greater, keep going if they’re 8ths)
m 83 & 85, S: breathe on the tied 8th-note F and D respectively
m 97, A: take 8th rest out of “-je”

Schnittke #3

m 111: take 8th rest out of “vnof”
m 132: take ¼ rest out of “slof”

Schnittke #4

m 24: breathe after beat 3

Notes from Feb 11 rehearsal

Schnittke #3

m 44, TB: breathe at comma
m 60-67: Tenor has the melody, bring it out, other voices back off enough to hear them
m 119: treat downbeat as fp
m 120, T: take breath same as other parts
m 126-127: pulse each note so we hear the rhythmic cascade
m 169, A: those E’s should be flat like all the others
m 175, TB: take quarter rest out at the comma

Notes from Feb 9 workshop

Schnittke #2

m 67, TB: take quarter rest out
m 71, TB: take quarter rest out
m 75, TB: take quarter rest out
m 109: shorten beat 3 by an 8th note

Schnittke all

We learned that the transliteration is pretty terrible, with many outright errors, and many subtleties uncaptured. Too many to list here, but some highlights:
- Nearly every “e” should be preceded by an apostrophe, but our score fails to do that in many cases (exceptions: the cyrillic ч щ ш ж ц, transliterated as ch shch sh zh ts, never get palatalized).
- Unaccented cyrillic “o”, transliterated as “a” is more often than not a schwa instead (our transliteration never uses schwa).
- Multi-syllabic words ending in cyrillic “я”, transliterated “a” are always reduced to either a schwa or “ih”.
- Following sh and zh (ш and ж), the transliteration “i” should instead be “y” (the back vowel).
- Words whose first syllable is unaccented “n’e” are not pronounced with “e” but instead more of an “ih”. If the next syllable starts with a vowel, Eric thinks a glottal stop is appropriate.
- Words ending in “b”, “d”, and “v” are usually devoiced to “p”, “t”, and “f”, respectively, which our score only inconsistently does.

Notes from Feb 4 rehearsal

Schnittke #1

m 41, A₂: last note is D#, not D
m 73: cutoff on tied 8th
m 91: cutoff on tied 8th
m 109: cutoff on tied 8th

Rachmaninoff #4b

m 72-85: women divide HML. You could pick either staff thru m 83, as they’re the same, but it would make sense for H to do the top notes of the upper staff and ML the bottom notes of the lower, so that m 84-85 is easy.

Notes from Jan 28 rehearsal

Schnittke #3

m 32: breathe on the tied 8th
m 35-40: Altos bring out your part, everyone else is accompaniment
m 38, S₂A: breathe on the tied 8th
m 60-67: Tenor bring our your part, everyone else is accompaniment
m 86-87, T₃₄B₁: All T₃₄ sing the T₃ part while B₁ sing the T₄ part (return to normal parts at 88)

Schnittke #4

m 12, S: Sue & Rachel on solo

Rachmaninoff #12

m 12: Only unison breath this movement is here before beat 4. Sanford will take a little extra time.

Rachmaninoff #16

m 18-20, B: Divide ABC, with B taking the stems-up notes.

Rachmaninoff #19

First chorus is all SAB 1sts and T₁₂; second chorus is all SAB 2nds and T₃₄.
m 15: breathe on the tied 1/4 note
m 16-19: observe the accent marks

Notes from Jan 22 men’s sectional

Schnittke #3

m 23, T₂: first note is A-flat
m 49, B: take the dot off the half to match T

Notes from Jan 21 rehearsal

Schnittke #3

m 74, T₁: the high note is B-flat (in unison with Alto)

Notes from Jan 14 rehearsal

(no new markings)

Notes from Jan 7 rehearsal

Schnittke #1

In general, lift at commas & don’t breathe when there’s no punctuation
m 30-37, TB: T₁B₁ sing the upper B staff, T₂B₂ sing the lower B staff
m 34-37, SA: S₁A₁ sing the upper A staff, S₂A₂ sing the lower A staff
m 82-85, A: All A₂’s sing the solo (tutti A₁₂ at m 86)
m 86-89, S: All S₁’s sing the solo (S₂ enter last beat of m 89)
m 129, T: solo by Steve
m 133, S: solo by Sue
m 137, S: solo by Vai
m 152-160, B: soli by Locke, Brian, Otak (top to bottom)
m 160 beat 4 – m 166, B: divide ABC
m 167-175, S: soli by Loretta, Deborah, Janet
m 175 beat 4 – m 179, S: ignore the top staff, which duplicates S₂ on the lower staff
m 183-190: note that there is no collective breath anywhere here, per the rule above
m 196-203, S: solo by Vai, Sue, Rachel
m 197-198, T: soli by Steve, Bob A, Mike
m 199-203, T: divide ABC (A on the very top note, BC on the other two, which are same in both staves)
m 212-213, A: the confusing lines here are trying to indicate that the voices that switched on the previous note (observe the stems!) go back to their normal A₁ on top and A₂ below.

Rachmaninoff

We worked on #2 & #3, but see the full notes below for the whole work.

Lots of Notes for Rachmaninoff (most from 2007 performance)

Divide as written on your own staff unless indicated differently here. For “TTBBB” divisi, basses use the “ABC” divisi from Schnittke.

#2 Bless the Lord, O My Soul

m19 beat 4 – m 22: men divide TTBBB

#3 Glory to the Father

m 4: no breath
m 12-14: women divide HML
m 12-18: men divide HML
m 22 beat 4 – m 24 beat 3: all divide HML

#4b In Thy Kingdom

m 6-9: men divide TTBBB
m 43, SAT: take 8th out of “-dut”
m 47, SAT: take 8th out of “-zriat”
m 56: take off the dot
m 61, A: take beat 3 off to match tenors
m 83: breath before “Amin”

#5 Come, Let us Worship

m 2 beat 3: mp
m 3 beat 2 – m 10 beat 3: all divide HML
m 4: mf
m 5 beat 2: f
m 11: f
m 11 beat 3: mf
m 12 beat 4: mp
m 14: breath before Alliluya

#6 O Lord, Save

m 4: there is a chant between this measure and next
m 13: caesura at the double bar
m 23-26: men divide HML
m 33-34, T: ignore the top notes when it divides 3 ways, as these are duplicated by Alto.

#8 The Cherubic Hymn

m 1-2: Only S₁ & A₁ sing in m 1; S₂ joins in m2, A₂ joins in m3
m 7 (only): men divide TTBB, with B₁ on the lowest T note
m 23-26, B: if you don’t have the low D you can double at the octave
m 46-47: omit
m 52-58 beat 3: men divide HML; when H further divides on the last 8th of m 52-54, divide T₁T₂
m 61-63: men divide HML
m 64-65, T: ignore the stem-down notes, which are duplicated by B₁

#10 The Creed

m 1-17.5: men divide HML
m 24-29: men divide HML
m 30-31.5: men divide TTBB
m 83: no breath
m 84 beat 4 – m 88 beat 1: men divide HML
m 93: take 8th out of the first quarter
m 107-109: men divide TTBBB

#12 We Hymn Thee

Stagger breathe the entire movement. The only unison breath is at m 12 beat 4.

#13 It is Truly Fitting

m 33-36: women divide SSAA
m 44: the movement ends here (cross out the next line)

#16 Praise the Lord

m 25-26: no breath
m 32-36: no breath
m 37: mf
m 39: mp
m 41: p
m 44: breath after beat 1

#19 Blessed Be the Name

All 1’s on Chorus 1, all 2’s on Chorus 2 [Tenors divide, but Sanford hasn't said how yet. Might use Schnittke 12 on Chorus 1 and 34 on Chorus 2]
m 7, Chorus 2: breath after beat 1
m 9, Chorus 1: breath after beat 1

Notes from Dec 10 rehearsal

Schnittke #2

Note that tempo markings (rall, etc) only appear above top staff, so lower voices will want to copy to their own part.
m 3-6, S: only parts 3 & 4 sing here.
m 7-10, S: 4-part divide
m 11-15, S: ignore the top staff (soli), all sing the “altri” second staff
m 16, S: Normal 2-part divisi from here
m 32: brief fermata on beat 4, with a breath for A before resuming
m 59, S₁: the A should be natural
m 59, A: the B should be natural
m 63, S₁: the A should be natural
m 87, T: the tie to m 88 is spurious
m 103, TB: cut off on the downbeat

Schnittke #3

m 42, S: ignore the solo designations and divide ABC here.
m 77, AT: ignore the solo designations and divide 1234 here.
m 83, A: divide ABC
m 92, T: this chord for 34 (12 stopped on previous measure)
m 94, T: return to normal 2-part divisi here
m 122, T: ignore the E-flat (it’s covered by S)

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