Rehearsal markings for Spring 2018

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Notes from June 4 rehearsal

Purcell

m 54-56, STB: back off so we can hear the Alto

Elgar

m 11, S₁: take 8th out of “grass”

Howells #6

m 13: no breath

Notes from May 14 rehearsal

Byrd Agnus Dei

m 1-18: one-on-a-part. Starting at m 18 T₂ we return to the ”normal” 3-voice-on-a-part Soli.

Weelkes

m 1-23: all half notes should be shortened and/or faded out so that they are not so prominent.
m 26-32: take quarter rest out of any half-note “sound” or “ground”; lift on the dot of any dotted quarter
m 44, SAB: take quarter rest out of “sing”
m 54: take quarter rest out of “la”

Wilbye

use straight tone (non vibrato) as much as possible, especially at the end
m 35: take quarter rest out.

Bennett

use straight tone as much as possible

Tomkins

m 80-81: p at “Fa”

Notes from May 7 rehearsal

Howells #1

m 14, B: the last note is a dotted half (the dot seems to have faded to nothing in the most recent scores).

Howells #6

m 56, SA: take 8th rest out of “-rit”

Leighton

m 9, AT: take 8th rest out of “-sic”
m 10, TB: take 8th rest out of “-sic”
m 14: take 8th rest out of “-cord”
m 16, S: take 8th rest out of “-ther”
m 17, S: take 8th rest out of “Son”
m 21, S: take quarter rest out of “Lord”
m 42: drop the tied 8th
m 54: take quarter rest out of "was"

Notes from May 5 workshop

Purcell

m 47-56: legato

Byrd Agnus Dei

m 1-32: This has returned to being Soli, not tutti SATB

Farmer (Fair Phyllis)

m 1: first time f, second time p
m 8: mf
m 17: p at “Up and down”; dim for SAB on “hied”
m 32: fermata on second half of measure the second time
m 40: f at “Up and down”

Bennett (Weep)

m 1: p
m 3-10: take 8th rest out of “eyes” or “not” whenever they’re a half note or longer
m 14, A: quarter rest out of “not”
m 14, B: eighth rest out of “not”
m 14 onward: cresc at “Alas”
m 19, A: eighth rest out of “tides”
m 20, SA: quarter rest out
m 23-25: 8th rest out of “eyes” or “not”
m 24: dim on second half thru end of line
m 29: first time mf, second time p
m 31: quarter rest out
m 35-36: cresc at “to swell”
m 39: quarter rest out of “you”
m 40: dim thru end of line

Tomkins (See, see)

Sing all quarters detached in the “fa la la” sections
m 1: mf
m 4: change tied quarter to quarter rest (i.e., cutoff on downbeat)
m 6: mp at “fa la”; TB dim “green”
m 12: quarter rest out
m 13: f
m 16: change tied quarter to quarter rest
m 18: mf at “fa la”; TB dim “green”
m 24: mp at “The”
m 38: f at “The”
m 51-52: dim
m 53: mp
m 55: mf at “And”
m 58: p at “fa la”; ATB dim “go”
m 74: quarter rest out
m 75: f
m 55: mf at “And”
m 92: cresc to f at end

McDowall

m 88: we decided there must be a dim in this measure just like all the other places like it.

Elgar

m 39, SA: breathe on the tied 8th
m 43, SA: no breath

Howells #2

m 20: only mf, not f

Notes from Apr 30 rehearsal

Wilbye (Draw On, Sweet Night)

m 1: p
m 32: mp
m 39: mf from “that unto”
m 51: sub p at “Sweet”
m 65: mp
m 71: mf
m 77-78: dim
m 79: mp
m 92: dim
m 92: p at “And while”
m 109: mf at “I then”
m 110-129: pronounce both t’s in “best time”
m 121-122: dim
m 122, S₁₂T₂B: mp
m 124, A: mf
m 125-126: dim to p
m 128: dim to pp

Gibbons

m 21, S₂: take 8th rest out of “Lord”
m 37, S₁₂A₂: take 8th rest out of “Lord”

Byrd Credo

m 157: short fermata on first half

Byrd Sanctus

m11, ST₁B: change to dotted half + quarter rest

Byrd Agnus Dei

m 51: fermata on first half of measure, than beat in 4 starting in second half

Notes from Apr 23 rehearsal

Weelkes (Sing We at Pleasure)

First part: f first time, mp second time; second part: mf first time, mp second time
m 32: f at “All”
m 44: p at “Fa”
m 46, S₁B: mp at “Fa”
m 47, S₂AT: mp at “Fa”
m 49: cresc to mf by 50, f by 54

Howells #4

m 13: take 8th rest out of “hand”

Howells #5

m 39, S: eighth off of “-is”, so all breathe together

Purcell

m 4, SSAT: “d” of “glad” on beat two
m 12 onward: strongly articulate (almost staccato) repeated notes of “thither the”, same for “e’en the tribes”
m 41: take 8th rest out of “-ment”
m 104, T: second C (beat 3½) is natural, not sharp

Tallis

m 26, T: take quarter rest out of “truth”

Byrd Gloria

m 82 onward: in “tu solus Dominus” and “tu solus altissimus”, tenuto on accented syllables “so-”, “Do-”, “so-”, “-tis-”

Notes from Apr 16 rehearsal

Byrd Credo

m 84: this section will be slower. Back to original tempo at m 95
m 92-93: tenuto on “-pul-” (especially the off-beat one in T₂)
m 96-97: tenuto on “ter-” (especially the off-beat ones in ST₂)

Elgar

pronounce “grass” with the vowel “ah”

Howells #1

m 5, SA: 8th off “world”
m 23, S₁A₁: 16th off “help”
m 23, A₂: cut off tied 8th

Howells #3

m 17-18: no breath

Howells #5

m 4, S: cut off tied 8th
m 17: 8th off “-is”
m 18: lift after “-is” (probably 8th)
m 25, B: cut off tied 8th.
m 30, ATB: notice there’s a dim in the sky, which you should copy to your part, so we’ll come down gradually from the previous f to the p in m 34

Leighton

cut off any 8th tied to a note longer than a quarter (before a rest, of course): m 16 ATB, 18 ATB, 22 T, 24 AB, 25 AT, 47 all, 48 S, 62 all
m 19: no breath
m 27: strong “K” on “King” “-tris”

Notes from Apr 9 rehearsal

Gibbons

First word: Ho-zan-na (pronounce the H, voice the s)
m 37, A₁TB: dim

Byrd Gloria

m 107: take quarter rest out of “-tris”
m 109, T₂: should have a cresc like everyone else.

Byrd Credo

m 46, S: last week Sanford “corrected” the first note. He has now retracted that correction. Sing as originally written.
m 197: In 4

Byrd Agnus

m 1-32: This is marked Soli, but Sanford now plans to do it Tutti, divided SATB. In m 18, Tenor jumps from T1 to T2. At m 33, all return to the H-M-L/T₁-LT₂-B voicing that we are now using everywhere else.
m 41: the dim continues thru “-di”.
m 51: In 4

Tomkins

Light, detached. Most quarters become 8th + 8th rest .
m 53, 75: “dance” pronounced with an “ah” vowel, as British do. Doesn’t apply to “chant”.

Howells #2

m 15, ATB: breathe on the tied-over triplet 8th of “oil”
m 20: take 8th rest out of “life”; take the f marking with a grain of salt

Leighton

m 3: cut off tied 8th
m 8: cut off tied 8th (this is probably true of most tied-over 8ths in this piece, but we only marked these first two)
m 9, 63: the tempo change is only indicated above the top line, so you may want to copy to your own.

Notes from Apr 2 rehearsal

Stanford

p 8, m5, Ch1: take 8th rest out of “-mo”

Howells #1

m 14, SAT: no breath
m 14, B: take 8th rest out of “Blood”
m 26, Ch1: cut off tied 8th

Howells #3

m 5: take 8th rest out of “-is”
m 21, S₂: last note is A, not G (as in piano reduction)
m 38: lift at comma, with probably a little extra time added

Howells #5

m 16, A: first note is dotted half (dot very faint or missing in many scores)

Howells #6

m 54: “saith” pronounced as “seth”

Byrd Gloria

m 68: dim (instance of general Renaissance rule to dim the ends of phrases)
m 76, S: take 8th out of “-bis”
m 79: lift after “-bis”, extra time added
m 107: Sanford starts conducting in 4 here

Notes from Mar 26 rehearsal

Howells #4 (Psalm 121)

Behold, he that keepeth Is-RAY-el shall NI-ther ...
m 4, SAT: cut off tied 8th

Elgar

In general, sing as written, don’t cut off tied 8ths like in Vaughan Williams’ era

Stanford

p 12, 5th measure before end, 4th quarter: swap B1 and B2 parts

McDowall

Sing standard Church Latin, not something British (no “re-JAI-na”)

Notes that we will use from previous performance in 2003

Stanford

p 5, m 4: take dot off “-ia”
p 8, m 3: take dot off “-ia”
p 9, m 4: unaccent “ia”
p 12, m 2: take dot off “-ia”; then mf cresc

Howells #1 (Salvator)

Pronounce second syllable of “Sa-viour” with schwa
Pronounce first syllable of “re-deem” and “be-seech” with short “i”
m 24, S₂ T₂ B₂: cut off tied 8th
m 27, T₂: lift at comma
m 28, S₁ A₁₂ B₁₂: lift after “thee” (however, T₁ no breath)

Howells #2 (Psalm 23)

m 10: take 8th rest out of “death”; 2nd syllable of “e-vil” is short “i” (not schwa); no breath after “e-vil”
m 11: schwa on 2nd syllable of “com-fort”
m 12, SAT: cut off on downbeat; first syllable of “pre-pare” is short “i”

Howells #3 (Requiem 1)

m 20: top of cresc is mp
m 27: take 8th out of “-is” for the breath
m 33, T₂: cut off tied 8th
m 35-36, Ch2: no breath
m 38: lift at comma

Howells #4 (Psalm 121)

m 4, SAT: cut off tied 8th
m 8, SAT: cut off tied 8th
m 11: 8th off “sleep”
m 12: 8th off “-er”
m 17: grouping is “The Lord shall pre-” + “-serve thee from” + “all e-vil”, conducted as pairs of 8ths except for “-serve thee from”
m 19: 8th off “soul”
m 20: conducted as 3/8 + 4/4; take 16th off “out” to place the “t”
m 21: conducted as 4/4 + 2/4

Howells #5 (Requiem 2)

m 2: cut off tied 8th
m 7, T: take ¼ rest out of “-nam”
m 7, B₂: cut off tied 8th
m 35, T: cut off tied 8th
m 43: lift at comma

Howells #6 (I heard)

m 3: as written
m 6: no breath
m 8: as written
m 17: cut off tied 8th
m 29, T: cut off tied 8th
m 48 etc: schwa on 2nd syllable of “la-bours”
m 53: cut off tied 8th
m 56, TB: as written

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