Good Morning, Valued Choristers-
I want to re-emphasize a few points, having to do with style and shaping. Please mark or highlight:
I Want to Die Easy:
– phrase-shaping: almost every 2- or 3-bar phrase needs more shape (slight crescendo – diminuendo). Please so mark mm. 1-2; 3-5, 7-9. Same throughout.
– highlight the dynamic markings in m. 17, 19, 30, 31, 35 and so on
– ignore the “Jedus” texting and use “Jesus”, as we decided
– no rit. in m. 48 (that makes the next few bars imprecise)
– bass I’s- place that downbeat in m. 49 (“die”) very precisely, with a little accent (put an accent mark over the E), but not too loud
– m. 52, slight rit. as marked, and a breath for sopranos and tenors only; watch for the downbeat in m. 53
– long tenuto (hold) on the last bar; breathe as needed (basses especially may need to).
Wata kom a mi eye:
– pronunciation: as I said last Thursday, adding a little “h” to the vowels will help round and soften them: “pon = pohn”, “wata = “wahtah”, “kom = kohm”, “gal = gahl” but don’t lengthen the “h”. And it’s “me-yiy”, elided, according to Glennor Shirley.
– Sherry talked with Glennor about the Jamaican diction (thanks!), and I’ve asked Glennor to come talk with us briefly at 7 on Thursday, if she’s available; some of you will remember when she worked with us in the past on Jamaican and calypso pieces- neat!
– clear diction, within the connected phrase; high and forward in the mouth
– remember that Jamaica was (for better and very much worse) a British colony; just a hint of stage-Brit is good
– please highlight all those many tempo changes; m. 9 stays in the faster tempo (but with less attack and more legato/espressivo feel); the poco rit in m. 10 is really important- otherwise it feels fussy.
– We are ignoring most of those fermatas (holds)- as in m. 4, 6, 16, 20- the rit. followed by lift is much better- but are observing those in mm. 13 and the last bar, and adding one in m. 24.
See y’all Thursday- So looking forward to Sunday too!