Rehearsal markings for Winter 2017

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Notes from May 29 rehearsal

Arne

• This was originally a solo aria. ATB are accompaniment, so don't blast the sopranos away.

Webbe (men)

• m 18: fermata on each note, with breaks between them. Watch Sanford.

Wood

• Close to the “ng” of ding/dong quarter notes, roughly eighth note of vowel, eighth note of “ng”

Vaughan Williams #1

• p 6, bottom: Sanford will conduct the triplets in the first two measures.

Vaughan Williams #3

• Sanford wants to take this significantly faster than we've been doing. Be nimble.

Crabtree #2

• m 44, SA: mp (T have the tune).

Notes from May 22 rehearsal

Arne

• Sanford will conduct in 2

Hark, hark

• m 42: On the first time through, take an entire quarter rest out, not just an 8th, so it looks a lot like m 16.

Hand in hand

• m 79: take quarter rest out of “No” (previously was marked as a simple lift)

Wood

• m 35: big ritard (with a tempo in 36)

Vaughan Williams #1

• Observe the composer’s footnote on page 1. Apply it to the whole movement, including the last 2 measures.
• p 6, first measure: Sanford may give a little extra time before “But” to place the preceding consonant. Watch!

Harris #2

• m 18, B: take 8th rest out

Harris #3

• m 17-24, T: memorize these 8 measures so that you can deliver them effectively to the audience.

Lington

• m 61: take 8th rest out of “scythe” in order to place a good, voiced “th”.

McDowall #3

• m 1: The final “ha” is a happy one, not an angry one
• m 70-72: sing unpleasantly, so as to better paint the text.

Wertsch #3

• m 28: take 8th rest out of first quarter to place the “dg”

Notes from May 15 rehearsal

Harris #3

• Sanford wants to start this without a fresh pitch

Crabtree #2

• Sanford wants to start this without a fresh pitch

Crabtree #1

• m 33-38: articulate the 16th-note runs.

Lington

• m 1: cresc
• m 2: decresc
• m 3: cresc
• m 4: decresc
• m 6-7: cresc
• m 8-9: decresc
• m 11: cresc
• m 12: decresc
• m 25: cresc
• m 26: decresc
• m 27: cresc
• m 28: decresc

McDowall #2

• Sanford wants to start this without a fresh pitch

Wertsch #2 & #3

• Sanford wants to start these without a fresh pitch

Notes from May 8 rehearsal

Beach (women)

• Sanford gives F
• m 1 & 85, S₂: “the” not “this”
• m 7, A₁: “drow-”

Vaughan Williams #3

• p 14, S: take 8th rest out of “fire” in first measure and “where” at bottom of page
• p 16, S: take quarter rest out of “queen”; do not breathe after “orbs”
• p 17, S: take 8th rest out of “be” at bottom of page
• p 18: no breath between first two measures
• p 20, SA: at bottom of page make a terraced dim: the last beat of second measure softer than previous, and the last beat of third measure still softer.

Harris #3

• Go full country-western on this movement.

Notes from May 1 rehearsal

Crabtree #2

• m 17-18, TB: no breath
• m 21-22: tenuto on “gross-”, unaccent “-ly” (just so the word stresses are correct)
• m 36: take 8th rest out of “shame”

Lington

• m 74-75: all voices cresc as in B₁

McDowall #2

• Sanford gives A.

McDowall #3

• m 1: first “ha ha” is breathy, final “ha” is more fully voiced

Wertsch #3

• Sanford gives G.

Notes from April 29 workshop

Arne

• Sanford will give G (and you’re right that nobody sings this note)
• m 22: fermata on beat 3 (the quarter rest we previously took out of “rude”)
• m 24: no breath
• m 34: no breath
• m 36: all breathe after “not” (probably 8th rest)

Hark, hark

• m 15: kill the tied quarter (so duration is same as in m 16)

Webbe (men)

• m 18: very deliberate/clear/emphatic on all 3 notes

Hand in Hand

• m 14 & 15, SA: take 8th rest out of “hand” (B sing as written)
• m 16: take 8th rest out of “hand”
• m 79: lift after “No”
• m 108: full duration on “rest” (pretty much what chorus does before every solo entrance)
• m 110, SA: swap parts for just these 2 notes
• m 116: mp; this section conducted in 2
• m 120: mf
• m 123: f
• m 146: a little less, then cresc to end

Evans

• Sanford gives E-flat.
• m 18, T: take 8th rest out of last quarter for the “k”
• m 30, ATB: observe the dolce marking found only in S part
• m 34: SAT sing as written; B no breath and omit the “t” of “night”.
• m 52, B: take 8th rest out

Murray

• Sanford gives C.
• p 2: take 8th rest out of first note (“low”)
• p 4: final syllable is “dyur”.

Wood

• m 3-9 & 37-42, TB: take off the tied quarter note at the end of “dong”; close to the “ng” two beats earlier (so a half-note’s worth of “ng”)
• m 6-7, SA: no breath, despite the commas
• m 11, TB: close to “ng” on downbeat
• m 13: no breath
• m 14, AT: take 8th rest out of “made”
• m 16: take quarter rest out of first note
• m 18 & 20: take 8th rest out of “eyes”
• m 23: take quarter rest out of “fade”
• m 26-27: no breath for SB, as written for AT
• m 29, S: take 8th rest out of “strange”
• m 30, AT: lift at “strange”
• m 35, SAT: delete the tied quarter on downbeat
• m 39, A: take 8th rest out of “nymphs”

Vaughan Williams #1

• Sanford gives F.
• p 5: fermata before the double bar

Vaughan Williams #2

• Sanford gives F#.
• p 11, ATB: no breath between “-solve” and “and”.

Vaughan Williams #3

• Sanford gives E.
• Cut off tied 8ths. This includes things like “hill”, “bush”, and “brier” on the first page. (Not a new marking but the scope of the old marking made clearer.)

Lindberg

• Sanford gives A.
• m 10, B: start your cresc at the beginning of measure, so that it’s already underway when you get to the interesting notes.

Harris #1

• Sanford gives A.
• m 22, SB: take 8th rest out of “-got”
• m 26, AT: take 8th rest out of “not”

Harris #2

• Sanford gives D.
• m 2: take 8th rest out of “not”
• m 12-13: no breath
• m 32-33, AB: carry thru if possible
• m 34-35, AT: carry thru if possible
• m 39: lift at end of measure

Harris #3

• m 17, 19, 21, 23, SAB: on the accent also scoop slightly, to give kind of a bagpipe feel to these notes

Crabtree #2

• Sanford gives D.

Crabtree #3

• Sanford gives E-flat.
• m 16, ATB: notice there’s a piu mosso here.

Lington

• m 18: take off the dot.

McDowall #1

• Sanford gives E.

Notes from April 24 rehearsal

Wertsch #1

• finish “spring” with a nice “nguh” (ŋə) on the cutoff every time (mm 33, 66, 99, 137)

Wertsch #3

• m 49: pronounce “aunts” to rhyme with “chants”

DiOrio

• m 125: glottal attack on “of”, and be sure to enunciate both the “v” of “of” and the “f” of “fear”.

McDowall #2

• m 2, AB: take 8th rest out of the first quarter
• m 7: breath previously marked at end of measure is now quantified as an 8th rest.
• m 14, S₁S₂: take 8th rest out of first note (for S₁ this means striking the tied 8th).
• m 24, TB: take 8th rest out of “child”
• m 43-47, AT: lift at the comma after each “sing”

Webbe (men)

• divide HML
• m 1: take 8th rest out at the comma
• m 16: lift at end of measure
• m 27: p
• m 30: f at “We’ll”
• m 33: mp
• m 35: first time f, second time p but cresc last measure

Notes from April 17 rehearsal

Evans

• m 31: messa di voce (hairpins) over this measure
• m 32: make the first 8th into 16th+16th rest in order to place the “t”, but do not breathe
• m 33: messa di voce over this measure
• m 34: make the first 8th into 16th+16th rest
• m 39: take 16th rest out of “sit”.

Lindberg:

• m 6: take 8th rest out of “May”
• m 11: do not pronounce the “t” in “often”
• m 14: take 8th rest out of “-clines”
• m 18: dim is to p
• m 22: take 8th rest out of “shade”
• m 24: take 8th rest out of “grow’st”
• m 29: breath after “thee” (will be conducted)

Hand in Hand:

• mostly conducted in 2
• m 39-48: pronounce “fortunate” to rhyme with “create”
• m 43, 48: full value for “-nate” (i.e., “t” goes on downbeat)
• m 61, S: “nor” is F#, not natural.
• m 83-85: in 4, much slower
• m 112, AB: take quarter rest out of “blest”
• m 114, AB: full value on each “blest”, no breath.
• m 116-151: SA divide HML. Return to SSA on the second half of m 151.

Notes from April 3 rehearsal

Crabtree #1

• m 2 ff: the simile extends thru m 16 (i.e., sfp on every note)
• m 55-56: each voice has one of the 4 possible arrangements of the words vade/fade + my/by. This is deliberate, so sing what’s written.

Crabtree #2

• m 4: take 8th rest out of “chide”

Crabtree #3

• m 29, TB: p
• m 31: Sanford will beat each note

Lington

• m 72-77: T₁ & T₂ swap parts (return to your own part on the final bar)

McDowall #1

• Women divide HML (applies to all 3 movements)
• m 2: take 8th rest out of “music”
• m 43: take dotted quarter rest (i.e., half measure) out of “suit”

McDowall #2

• m 3-4, ST: no breath (but do sing the “k” of “mark”)
• m 7: breath at end of measure (Sanford will conduct, maybe extra time)
• m 12: take 8th rest out of “mark”
• m 14-16: take 8th rest out of “each” wherever you have it
• m 16, TB: take 8th rest out of “-ing”
• m 25-26: take 8th rest out of “child”
• m 33, SA: take 8th rest out of “child”

McDowall #3

• m 23-86: the simile applies only to the dynamics (p, dim); the grace notes are sung only where written
• m 110, S₂: sing “the” as if the next word were “top” (i.e., don’t sing “thee”)

Notes from Mar 27 rehearsal

Hark, hark

• m 29, 33, 38, 39, 42: take 8th rest out of “-rise” (for m 42 only the first time).
• m 31-32, 35: no breath at the comma

Arne

• m 2, 4: take 8th rest out of “wind” and “-kind”
• m 8, SAT: take quarter rest out of “-tude” (pronounced “-tyud”)
• m 8, B: take 8th rest out of “-tude”
• m 20: lift at the comma
• m 22: take quarter rest out of “-rude”
• m 30, SAT: take quarter rest out of “-got”
• m 30, B: take 8th rest out of “-got”
• m 42: lift at the comma (and S should have a comma like everyone else)

Vaughan Williams #1

• per the 20th century English tradition, whenever a longer note is tied to an 8th note, you cut off the 8th exactly on the beat (usually the downbeat or beat 3 of a 4/4). This occurs p 5 bottom, p 7 top, p 9 last note for STB.

Vaughan Williams #2

• p 10 bottom, first measure, first beat: SA take 8th rest out; TB sing as written (do not cut off this tied 8th).
• Do cut off the other tied 8ths (top of p 10 for T then S, top of 12 for everyone).

Vaughan Williams #3

• Cut off lots of tied 8ths, most of which are written as dotted quarter + 8th.

Notes from Mar 13-20 rehearsals

Beach

• m 78, S₁: “sing”

Lington

• first two pages, all SAT sing the S₂A₂T₂ parts
• m 45-46, S₂T₂: sing “-found, con-found”

DiOrio

• m 19, ST: “of”, not “on”

Wertsch #3

• m 49: take 8th rest out of “aunts”

Crabtree #1

• m 50, T: missing “t” on “sweet-est”
• m 55-56: each voice has one of the 4 possible arrangements of the words vade/fade + my/by. It’s possible this is deliberate, reflecting the original text vs. the usual modern spellings of same. We have not received a definitive ruling; stay tuned.

Crabtree #2

• There are a lot of mis-aligned notes. Generally the voice parts are closer to the truth than the piano reduction.
• m 39, A: “des-pair”

Crabtree #3

• m 36, S: sing the last beat (the ornamented note) as 16th + dotted 8th.

Harris #2

• m 16: take 8th rest out of “-gain”

Harris #3

• m 28, T: Change half note to two quarters to accommodate the words and match the basses.

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