Good evening. Thank you for last night’s productive rehearsal. It was wonderful to have Kim Carver Palm back with us. We also send our sincere condolences to Carole Fleming on the death of her sister.
Here are some notes:
Mark your score- please look at/download the copy of the full score marked with phrasing, breath marks, etc.
Agnus Dei-, p. 68 crescendo through long notes into the next note. Ex. measure 3, cresc as you sing “De-) all the way into ms. 4 as you complete the word “i.” Don’t let the cresc. end on the downbeat of ms. 4.
NOTE: this applies to every movement
1. sopranos please work p. 69, 3rd line, 2nd and 3rd measures- there are two whole steps. Place a down arrow over the third beat of m. 2 on the syllable “ta” of “peccata”
2. p. 72- we worked letter O to letter P
-sopranos notice you have a beautiful, soaring phrase over the ATB parts.
3. p. 73 to the end we sang and we compared it to p. 9 -14 of the opening Requiem movement. The rhythms are slightly altered to match the Agnus Dei text but pitches are basically the same
Confutatis- p. 36
1. Sang through the movement
2.Pronunciation correction: p. 40, beginning letter F for basses and two measures later for soprano, alto, tenor
the word Gere is pronounced jeh’-re
3. opening bass/tenor duet.
– rhythmic, percussive consonants
– but, keep vowel open as long as possible: Co-nfu-ta-tis NOT CoN-fu-ta-tis
– notice p. 36 you sing same rhythm and text
4. Bass/tenor duet that begins 1 measure before letter B
-rhythm and text same as opening BUT the pitches are different than the opening
-last line of p. 37:eventually lines up rhythmically but you are singing independent text
-the last m. of p. 37 is a great place to turn the page early and/or pencil in the 1st note of pg. 38 in the margin of p. 37
5. Soprano and Alto duets- Letter A and Letter C need strong V of Voca
-though it initially sounds the same (but isn’t….different starting pitches) Letter C’s statement extends an additional 4 measures + than Letter A
-Letter D to the end
-note the dynamic is Piano, but we need bass to be a smidge louder on each of the change pitches (dotted half-notes)
-every voice part sings repeated (same) pitches- these will tend to go flat
-this ending section is also very chromatic- circle the added #, flat, natural signs
Lacrymosa- pp. 41-43
– introduced with exercises in the 12/8 meter. This means there are 4 big beats (dotted quarter notes) Each big beat is subdivided into 3 eighth notes)
-m. 3 through m. 6 note the importance of the rests
-when a word ends with a vowel you to stop the air to stop the sound
– 7 measures from the end bring out the entrance of each voice part, Especially tenors
Tuesday/Wednesday assignments
- Mark the opening movt. (pages 4-14) INCLUDING measure numbers.
- Work Requiem pp. 4- to p. 7, letter D
- Review Confutatis, p. 36
- Work Domine Jesu, p. 44 to p. 47 (stop where solo entrances are marked)
- Review p. 48 Letter O to the end AND pp. 55 to 58 of Hostias (note the repetition)
With a thankful and music-filled heart,
Leslie