last night and ongoing
Good morning, hard-working Choristers-
Thanks for last night– you worked hard and got a lot done. You’re beginning already to get a sense of how the Bach feels!- athletic and muscular but not heavy, and with lots of forward momentum. The German will actually help our attacks and rhythm. I’m going to do transliterations for you soon- those are tricky, but lots of folks, in my experience, find them helpful. Please do use Inge’s fine German recordings on the website– and we’ll continue to call on Deborah, Wendy and other Germanophones in rehearsal- thanks, vielen Dank, liebe Saengerinen.
I’ll also be sending you some more soprano II ossias (optional lower notes), and a few useful YouTube singing lessons (especially for Bach-style).
– Hope to see y’all at the Chalice Concert this Saturday; a great oboist and Michael! 7 PM.
– Please come Sunday if you can, to hear our great ministers, some fun jazz, and help with the hymn singing. The hymns are: From Age to Age (#105) and Be That Guide (#124), if you have a hymnal at home.
– For next rehearsal, please nail Amazing Grace, We Will Be a Shelter, and those two Bach movements: “Jauchzet, frohlocket” and “Fallt mit Danken.” German if you can- otherwise “doo” is fine. Lots of learning to do- but you always rise wonderfully to a challenge!
Thanks for all you bring to UUCC and its Music Ministry!
FOR THE SECOND SOPRANOS- OSSIA BACH NOTES FOR HIGH PASSAGES
Dear Second Sopranos-
I don’t want you doing any damage to the cords! It will help if you warm up in the car driving to rehearsal– gradually increasing your upper range; and do bring water to rehearsals and Sundays. As always, never sing sustained passages above your comfy range, and never, ever sing as loud as you can!
So, for those passages in the Bach that lie up around G and A, I have some suggestions for you. If these verbal descriptions aren’t clear, please come extra-early to rehearsal, or stay after, and copy these from my score. Please get these into your score before October 4!
p. 5- Jauchzet, frohlocket:
m. 39: F# and D
mm. 43-50: sing alto line
p. 9, m. 95: F# and D
mm. 99-126: sing alto line
p. 11- on last note of m. 126, go back to soprano line
m. 135: notes are A, B, C#; m. 136- D
p. 14, m. 192, notes are A, D, E
Chorales: we don’t need to make any adjustments; we won’t be singing #23 (“Wir singen dir”).
p. 27- Herrscher des Himmels:
come in with altos, mm. 25-33
m. 33- change last note to A, then sing soprano line in mm. 34-44.
m. 44 (end) – 48, sing alto line
m. 69 to the end, sing soprano line
p. 31- Fallt mit Danken:
you already have all your soprano line changes; if you have any questions, please email me right way.
p. 40- Ehre sei dir Gott
m. 18- last note is D; m. 19, first note is C#
m. 20- starts E, E, C#, A
m. 30- first note is C#
no other changes should be needed.
Hope that makes life easier- Enjoy the process!
Good Morning, dear Chalice Singers-
Again, you really did wonderfully well on the Barnwell- thanks for all your work on a tricky and effective piece!
Please go ahead now and learn Innsbruck (German transliteration below) and Sweet Day– we’ll start working on them this week, probably. Love to have both off-book soon. Gorgeous music.
Please be sure your markings are in for both pieces. Any questions on either? Good sound files and YouTube performances for both, of course.
Transliteration: INNSbruck Ich mus dich LAH-s’n (not “sehn”), Ich fah(r) da-hihn mine SHTRAH-s’n, in FRREHM-duh lahnt da-Hihn; mine frroit ist mih(r) guh-NUH-m’n, dee Ich nit vice buh-KUH-m’n, vo Ich ihm Elent bin. General: very elided (see markings) and expressive; usual forward-placed and slightly rolled in “fremde” and “Freud”) and not sounded at endings (“mir” and “fahr”); usual phonation of “ch” (neither “k” nor “sh”, but air passing over cords).