Rehearsal markings for Fall 2018

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Notes from Nov 13 rehearsal

Haydn

Some sit/stand changes:
- in Gloria, stand at downbeat of m 149 instead of before m 171
- Sit before Agnus Dei; stand before m 42.

Notes from Nov 12 rehearsal

Handel #11

m 12, S: rather than p, sing loudly enough to produce well.

Notes from Nov 5 rehearsal

Haydn Credo

m 16-18: separate “et” and “terrae” (two “t”s)
m 112: fz on downbeat (as in orchestra)

Haydn Sanctus

m 48-49: swell (cresc/decresc)
m 51-52: slight swell

Haydn Benedictus

m 155-156: swell (cresc/decresc)
m 158-159: inverse swell (decresc/cresc)

Handel #3

m 5-6, S: no breath
m 8, S: breathe on both tied 8ths (beats 1, 3)
m 19, S: take 8th out of “cry”

Handel #8

m 22: unaccent beat 2 (“-vers”)

Notes from Oct 29 rehearsal

Haydn Gloria

m 227-230, SAT: instead of messa di voce on halves & tied quarters, accent each one

Notes from Oct 22 rehearsal

Handel #4

m 5 & 12, B: align word underlay for “Seraphin” with other voices

Handel #6

m 54-55, SSA: dim on tied half

Handel #11

m 12, SS: p

Handel #12

m 3, SSAB: take eighth off dotted half

Handel #13

m 86, A: take quarter off first half
m 87, SS: take quarter off first half
m 89-91, SSA: messa di voce on dotted halves, tied halves

Handel #15

m 47: messa di voce on tied dotted halves

Notes from Oct 20 workshop

Haydn Kyrie

The Sep 10 note about the “i” of “e-lei-son” was reiterated.
m 157-8, S: Swell and diminish on long D

Haydn Gloria

m 33-36: fz happy, not angry (less abrupt, more of a swell)

Haydn Credo

m 128-130: “et se-pul-tus est”—all quarters are eighths (change from earlier marking)
m 132: second quarter is an eighth

Haydn Agnus

Take advantage of long rests to breathe, rather than suddenly before your entrance. General note, but specifically mm 99, 102, 112.

Notes from Oct 15 rehearsal

Haydn Gloria

m 192-223: bring out the main subject (the figure in m 192-193), and back off when you don’t have it.

Haydn Credo

m 213, SAB: f, dim

Haydn Agnus Dei

m 86-89: shape the phrase: cresc for 2 measures, decresc for 2.

Handel #6

m 54-55, SA: dim the half note & take off the tied 8th

Handel #11

m 7: breathe after “-ants” (and Sanford might possible add some time)
m 8, 16: first syllable of “redeemed” is “rɪ” (as in “rid”)

Handel #13

m 9-34: mf, but sing lightly. All quarter notes, especially “day by” should be shortened.
m 20-25, A: This section will (probably) not be solo.
m 36-83: In “And we worship”, treat the first two notes as upbeats (unaccented) leading to the stress on “wor-”.
m 36-107: In the phrase “without end”, separate “-out” and “end”, with a glottal on the latter.
m 102: Take quarter off “Name”

Handel #15

m 50-116: In the phrase “Lord, in...” separate the two words, with glottal on the latter.

Notes from Oct 8 rehearsal

Haydn Sanctus

m 6: dim the final beat (meaning m 7 is no longer subito); STB: delay your final “t” as long as possible to match up with the Altos
m 10: rit
m 12-13: swell over 2 measures (up then down)

Haydn Agnus Dei

m 54-55: swell (or messa di voce) on each half note (or tied quarter-quarter)
m 100: use a rich, stentorian tone

Handel #1

m 37-45, 47-48: shorten the last quarter note (“God”, or “thee”) of each phrase where applicable. (m 46 is full value)
m 72: “God”, not “Lord”

Handel #2

m 26 (beat 3)-28, AT: change your underlay to match SB (the words “doth wor-ship thee”)
m 69, STB: p
m 70, STB: mp
m 71, STB: mf
m 74, STB: take quarter off
m 74-80: this is an echo of the previous phrase, so do the same shape but one or two dynamic levels lower.

Handel #3

All Sopranos sing this (at least for now), not just Soprano I.

Handel #4

Sanford has confirmed the pronunciations of “cherubin” (“chair” not “care”) and “seraphin”, both with final syllables that rhyme with “tin”. In addition, the second “a” in “Sabaoth” is like “bay”.

Handel #5

m 6: mf

Notes from Oct 1 rehearsal

Haydn Kyrie

(Sanford explicitly shortened lots of “-son”s that were shortened by a general rule in the first rehearsal: m 21, 23, 25, etc. See notes for Sep 10.)
m 72-80: dim the end of the phrase in 72-73, then build back up from 74 and again dim the end of the phrase in 79-80.
m 83: mf
m 116: mf

Handel #1

m 25 & 30: take 8th off “thee”, glottal on “O”
m 50: fp, cresc (subtly, don’t punch it like a sfp).
m 53: mf
m 59-69: shorten the last note (“Lord”, “God”, or “thee”) of each phrase.
m 72: see m 50

Handel #5

m 10-25: lift on the tied 8th’s or the dot of dotted quarters in all the “praise” figures.

Handel #6

m 42: take 8th off “art”
m 49: take 8th off “-ther”
m 50-55: lift on the tied 8th’s or dot of dotted quarters (all of which precede 16th notes)

Handel #8

m 1: p

Handel #15

m 107, A: there’s a syllable missing here. Sing “-found-” starting on the downbeat

Notes from Sep 24 rehearsal

Haydn Gloria

m 176: take 8th off “-mus”
m 179: f
m 182: take 8th off “-mus”
m 192-230: take 8th off every quarter-note “-men” (note that m 231 is full value)
~~m 228-230: a little swell (messa di voce) on each half note (or tied quarter-quarter)~~
m 247-251: take 8th off every quarter-note “-men” (note that m 252 is full value)
m 247-248, S: lift on the tied 16th’s

Haydn Benedictus

m 38-39: staccato on “qui ve-nit”, effectively making them 16ths (which tells you where that final “t” goes)
m 43: take 16th off “-ne”
m 45: cresc for 2 measures, then dim m 47
m 72: f
m 96-97: see m 38-39
m 103-105, SAB: swell (messa di voce) each measure
m 117: f
m 122: full, resonant
m 136-155: all 8th-note “osanna in ex-” runs are staccato
m 139: (full value)
m 142, ST: take 8th off “-sis”
m 148: staccato on “in ex-”
m 150, ATB: take 8th off “-sis”
m 152, S: take 8th off “-sis”
m 152: staccato on “in ex-”
m 154, SB: take 8th off “-sis”
m 157: take 8th off “-sis”
m 160: (full value)

Haydn Agnus Dei

take 8th off every quarter-note “-cem” except for the final measure
m 47, A: take 8th off
m 62, SAB: messa di voce on each dotted quarter

Handel #2

The first vowel in “wor-ship”, just like in “Earth”, is pronounced ”ʌ” (or “uh” if you don’t care for IPA)
(The previous instruction to shorten every quarter-note “earth” to an 8th note was effectively reiterated.)
m 28: take 8th off the first (or only) note
m 52: take 8th off “thee”
m 54: take 8th off “earth”
m 88, SAT: shorten to a quarter
m 96: take a quarter off
m 98: take an 8th off

Handel #4

For now, pronounce “cherubin” (a la “chair”) and “seraphin” as written with short “i” (“fin”) and final “n”.
Final syllable of “cherubin” and “seraphin” always shortened
Light & detached
Every run of “continually”s starts softer and builds. Typically mp, cresc. Exception is m 30.
Make sure you have the markings from Sep 10, as many were reiterated tonight and I’m not going to here.
Refinement of note about placing “ba” of “-baoth” before beat: sing “ba” on the previous pitch if they differ
m 3: f
m 24 & 27, S: take 8th off “-baoth”
m 30: dim thru m 32
m 32: subito mf at “To”
m 47: mp
m 48: mf
m 49: f
m 52: take 8th off “-baoth”
m 61: mp, cresc at “of”
m 65: lift at comma
m 67: take quarter off
m 68: f

Notes from Sep 17 rehearsal

Haydn Credo

All written dynamics as indicated except where noted
m 104: swell (cresc then decresc)
m 105: no breath
m 107: take 8th off “-ne”
m 109: take 8th off “est”
m 112: take 16th off “-xus”
m 114: take 8th off “-bis”; mf at “sub”
m 115: dim at “-ti-o”
m 116: take 8th off “-to”; p at “sub”
m 118: take 8th off “-to”
m 122: f; T beware that the 8th note is misaligned
m 123: take 16th off 2nd beat (“-xus” or “-tus”)
m 123, SAB: take 16th off last note
m 124, AB: take 8th off “-sus”
m 128-130: these 5 quarter notes are “light”: begin firmly but immediately dim so that by the end of the quarter you’re almost at nothing, but place the final consonant (if any) normally on the next beat (except for the last note of 129, where you need to separate “-tus” from “est” with a glottal).
m 130-133, B: swell to “Pon-” and back down (both times)
m 131-134, S: swell to “-fi-” and back down (both times)
m 134: take 8th off “-bis”
m 136: separate “-tus” from “est”
m 138, T (only): cresc first two beats
m 138-139: flip the “r”s in “resurrexit”
m 141: take 8th off “-ras”
m 145: take 8th off “-tris”
m 147: take 8th off “-a” and unaccent it
m 149: take 8th off “-vos”
m 150: take 8th off “-vos” and “et”
m 151: (full value)
m 153: take ¼ off “-os”
m 154: take 8th off “-vos”
m 156: take 8th off “-os”
m 161: take 8th off “-rit” and “non” (twice) with clear “nə” on release
m 162: take 8th off first “non”; (second is full value)
m 164: (full value)
m 166: mp, light and detached
m 169: take 8th off “-tem”
m 171: take 8th off “-o”
m 172: T cresc thru the quarters
m 174-178: gradual dim
m 175, SAT: take 8th off “-tur”, B take 16th off
m 178: take 8th off “-tas”
m 184: mf
m 185: mp, cresc
m 187: dim; take 8th off “-cam”; mp, cresc at “et”
m 189: dim; take 8th off “-am”
m 193: take 8th off “-nem”
m 195: take 8th off “-rum”
m 197: take 8th off “-nem”
m 199: take 8th off “-rum”
m 213, SAB: f
m 213, T: mf, cresc to f on “vi-”
m 216, T: cresc “et”
m 221-245: take 8th off every quarter-note “-men”
m 233, TB: sing “-men” on the quarter note, matching m 224

Haydn Sanctus

m 1-10: conducted in 8
m 5-6: strong on beat 1 and 3 (tenuto?)
m 25: swell
m 26: take 8th off “-ra”
m 27: swell
m 28: take 8th off “-a”
m 29-48: all 8th-note “osanna in ex-” runs are staccato
m 32: (full value)
m 35, ST: take 8th off “-sis”
m 36-38: strong on each downbeat then dim thru the measure
m 39: full value but dim (“light”)
m 43, ATB: take 8th off “-sis”
m 45, S: take 8th off “-sis”
m 47, SB: take 8th off “-sis”
m 50: take 8th off “-sis”
m 53: (full value)
Sanford said the Osanna markings will transfer to the recap in Benedictus, but rehearsal plan for Monday suggests he will cover it explicitly then.

Handel #6

m 57, S₁₂: change rhythm on first beat to match Alto.

Handel #8

m 1-4: conducted in 8
m 3: accent on beat 1, dim beat 3-4
On every dotted 8th + 16th, lift on the dot (e.g., m 6)
The first syllable of “believers” is short “i” (like “billy”)
m 20: take 8th off last note
m 22: take 8th off “-vers”
m 28: (full value)
m 30 beat 3 thru m 33: take 8th off every quarter-note or longer “all”
m 36: this will be slower

Handel #12

m 1: f
m 6-7: dim
m 8: mp, cresc
m 11: take 8th off “-tage”
m 12, 13: take 8th off “them”
m 15, ATB: take 8th off
m 17, STB: take 8th off
m 19, ATB: take 8th off first note
m 21, SAT: take 8th off first note

Notes from Sep 10 rehearsal

Haydn Kyrie

Every “-son” longer than an 8th note and not under a fermata is to be shortened by an 8th rest unless otherwise indicated (e.g., mm 21, 25, 55B, 57TB, etc.). Exceptions: m 36, 153, 155, 159 are full value.
The “i” of “e-lei-son” is generally to be placed on the last 8th-note value of whatever note “-lei-” is on (e.g., on the and of 3 in m 20). Sometimes there’s already an 8th note available to place it on (e.g., m 25).
m 22-23: strong on “Ky-”, then dim thru the measure, then strong again on “-lei-” in the next measure. Do this same phrasing wherever this figure occurs (which happens a lot, e.g. m 24, 26, 53, ..., 144).

Haydn Gloria

Again, many final quarters are shortened to eighths, but no simple rule. I’ll just say “shorten” to mean “take an eighth rest out of the last note in the measure or the indicated word”.
m 4: shorten
m 6: lift at comma
m 10: shorten
m 11: lift at comma
m 12: shorten
m 13-15: start mp, cresc thru middle of m 14, then dim. This pattern appears several places.
m 15: shorten
m 34, 35, 37, 42: shorten “te”; dim after each fz
m 40, SA: shorten “-mus”
m 42: shorten “te”
m 43, 44, 45: shorten “-mus”
m 44, B: change the rhythm in the first beat to match SAT.
m 46, SAB: mp, cresc (and presumably T catch up in the next measure).
m 46, T: shorten “-mus”
m 48, A: shorten “-mus”
m 72, 74, 77: shorten
m 75-77: see marking for m 13; also, lift at comma
m 99: shorten “-us”
m 100: shorten “-i”
m 103: shorten “-tris”
m 104: full value
m 106-170: nothing gets shortened in this section
m 179: f
m 183-185: see m 75-77
m 192, SAT: shorten
m 227, SAT: shorten “-men”
m 231: full value
m 250-251: shorten “-men”
m 252: full value

Haydn Credo

m 8-76: This is a two-voice canon (ST, AB). Phrase your own part appropriately.
m 52-53: take quarter rest ouf of “-ctum”.
m 55-57: no breath at colon
m 81: take quarter off “-lis”.

Handel #1

m 39-45: In all the 8th+16th+16th figures on “praise”, lift after the 8th (making it effectively 16th note + 16th rest + ...)
m 55: take 8th off “Lord”
m 71: take 8th off “thee”
m 81: take 8th off “Lord”

Handel #2

“Earth” is pronounced ”ʌθ” (or “uhth” if you don’t care for IPA)
Shorten every quarter-note “earth” to an 8th note unless told otherwise
m 38-44, T: this is a solo
m 56: take a quarter reset out of “earth”
m 56, B: mp at “the”
m 63, SAT: mf
m 67-77: shorten every isolated “all” by an 8th.
m 88-91, B: turn every pair of 8ths into dotted 8th + 16th.

Handel #4

m 3: f
m 5: mp, cresc at “con-”
m 15-44: every place you have the 4-quarter note figure “holy, holy,” take 8th off each “-ly”
m 24-52: every place “-baoth” appears on a single note, sing “ba” before the note (sort of like a modern grace note) so that “oth” is on the note.
m 31, SB: dim
m 50: take 8th off “-baoth”

Handel #5

m 49: Underlay change: shorten “Com-” to 1½ beats (dotted quarter for S₁AB, quarter + 8th for S₂), sing “-fort” as 8th note on beat 2½, and “-er” as a half note on beat 3.

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