-Wherever the basses sing by themselves, the tenors should practice singing with them and then jumping up to their own part.

Transcription

1 Bonse Aba (arr. Victor C. Johnson) -Students should label the following sections in the music and should refer to them in rehearsal to help learn the overall structure, which will help in memorization: m. 13 Chorus 1 m. 21 Chorus 1 (repeat) m. 29 Verse 1 (first half) m. 37 Verse 1 (second half) m. 45 Chorus 2 m. 53 Chorus 2 (repeat) m. 61 Verse 2 (first half) m. 69 Verse 2 (second half) m. 77 Coda (a.k.a. the big ending ) -Wherever the basses sing by themselves, the tenors should practice singing with them and then jumping up to their own part. -All other markings in the score are good. -Avoid overly legato singing in this piece, articulation should be joyfully marcato. -Students should begin memorizing this piece as soon as possible.

2 The Glory of the Lord (Benedetto Marcello, arr. Don Razey) -Ignore any solo/tutti designations in this piece. - declare should be pronounced dih-clare, not dee-clare. -The overall articulation should be a bouyant almost staccato kind of marcato. All 8 th note pickups should be short. More specifically: m. 3 first two 8 th notes slurred together, then short m. 5 first two 8 th notes slurred together, mark mp dynamic before last 8 th note m. 6 first two 8 th notes slurred together m. 9 first two 8 th notes slurred together, then short m. 10 AB: first two 8 th notes slurred together, then short m. 10 SATB: last 8 th note short m. 11 STB: first two 8 th notes slurred together, then short m A: marcato long notes, short 8 th notes m. 12 S: first two 8 th notes slurred together, then short m. 12 TB: first two 8 th notes slurred together, then short; hold out last quarter note m. 13 S: first two 8 th notes slurred m. 13 ATB: de- is short; clare the slurred m. 14 hold out Lord until the rest m. 15 no solo; altos should practice singing with the tenors m. 15 T: hold out -bove until rest m. 16 B: first two 8 th notes slurred together, then short until last note m. 16 SA: hold out -claims until rest m. 17 no solo; basses should practice singing with the tenors; all pickup notes short m. 18 B: first two 8 th notes slurred together, then short until last note m. 18 SA: hold out -claims until rest m. 20 B: the short; heav n a- slurred together; -bove pro- short reminder: all pickup notes short! mm ignore tenutos; wonder- slurred together; -ful, how short; are all the works of short; right short; hand full value m. 26 B: Un- short; to the slurred together; uni- short mm ignore tenutos; wonder- slurred together; -ful, how short; are all the works of short; right short; hand full value mm : altos should practice singing with the tenors up until glo- which they should shorten and go to their own part mm : in all parts, de- short; -clare the slurred together; glory slurred together; the short m. 36 B: Un- short; to the slurred together; uni- short mm ignore tenutos; wonder- slurred together; -ful, how short; are all the works of short; right short; hand full value m. 41 TB: first two 8 th notes slurred together, then short m. 42 delete slight rit. to end m. 42 S: first two 8 th notes slurred together, then short m. 43 add slight rit.

3 If Ye Love Me (Thomas Tallis, arr. Russell Robinson) -Sopranos on Part I; Altos on Part II; Tenors & Basses on Part III. -Sing legato throughout. -m. 3 no breath -m. 7 TB: breath after b. 3 -m. 9 A: breath after b. 3 -m. 16 TB: breath after b. 3 -m. 17 A: breath after b. 3 -m. 19 TB: breath after b. 1 -m. 19 A: take breath on b. 2 (quarter-note rest) -m. 22 TB: take breath on b. 3 (quarter-note rest) -m. 22 S: take breath on b. 4 (quarter-note rest) -m. 23 A: breath after b. 1 -m. 24 S/TB: breath after b. 1 -m. 24 A: breath after b. 3 -m. 25 TB: breath after b. 1 -mm , 29 change dynamic to p -m. 29 TB: breath after b. 3 -m. 30 A: breath after b. 3 -m. 32 TB: breath after b. 1 -m. 32 A: take breath on b. 2 (quarter-note rest) -m. 35 TB: take breath on b. 3 (quarter-note rest) -m. 35 S: take breath on b. 4 (quarter-note rest) -m. 36 A: breath after b. 1 -m. 37 S/TB: breath after b. 1 -m. 37 A: breath after b. 3 -m. 38 TB: breath after b. 1 -m. 39 TB: change final note to F (not A) [m. 26 should remain A] -No repeat.

4 Quel Tristarel D Amore (Paolo Bellasio, ed. Jim Leininger) -Students should know the Italian pronunciation. (Standard Italian diction will be fine.) -Students should label the following sections in the music and should refer to them in rehearsal to help learn the overall structure. m. 1 Verse 1 m. 6 Refrain 1 m. 13 Verse 2 m. 18 Refrain 2 m. 25 Verse 3 m. 30 Refrain 3 -Sopranos on Part I; Altos on Part II; Tenors & Basses on Part III. -The overall articulation should be a bouyant almost staccato kind of marcato. -m. 1 dynamic p -m. 2 no breath -m. 5 A: change first note to quarter note followed by quarter rest; mark f dynamic before -m. 5 S/TB: change note to dotted-half followed by quarter rest -m. 6 1 st time f; 2 nd time p -mm. 6-7 all parts should take a breath after Tutta la notte -mm. 7-8 no breath here -m. 11 A: change first note to quarter note followed by quarter rest; mark p dynamic before -m. 11 S/TB: mark diminuendo; change note to dotted-half followed by quarter rest -m. 12 mark fermata over note, followed by breath mark -m. 13 dynamic mf -m. 14 no breath -m. 17 A: change first note to quarter note followed by quarter rest; mark f dynamic before -m. 17 S/TB: change note to dotted-half followed by quarter rest -m st time f; 2 nd time p -mm all parts should take a breath after Tutta la notte -mm no breath here -m. 23 A: change first note to quarter note followed by quarter rest; mark p dynamic before -m. 23 S/TB: mark diminuendo; change note to dotted-half followed by quarter rest -m. 24 mark fermata over note, followed by breath mark

5 -m. 25 dynamic f -m. 26 no breath -m. 29 A: change first note to quarter note followed by quarter rest; mark p dynamic before -m. 29 S/TB: mark diminuendo; change note to dotted-half followed by quarter rest -m st time p; 2 nd time f -mm all parts should take a breath after Tutta la notte -m. 35 A: change first note to quarter note followed by quarter rest; mark f dynamic before -m. 35 S/TB: change note to dotted-half followed by quarter rest

6 O Nata Lux (Tom Porter) -Sing mostly legato throughout. -m. 8 delete tied note, take breath instead -m. 18 any basses not comfortable singing this part lightly should sit out until m. 34 do not sing down the octave -m. 19 SA: delete tied note, take breath instead -m. 24 TB: work to make sure you find the correct starting pitch! -m. 25 TB: take a quick breath at the end of this measure -m. 31 delete tied note, take breath instead -m. 34 all TB join here if some basses were sitting out -m. 38 all parts say is (rhymes with geese ) on the down beat and take a breath (as if all were going to sing the alto part) -m. 43 B: no breath -m. 46 T: take a quick breath at the end of this measure -mm S: no breath -mm B: may add D an octave lower if the printed note is not comfortable

7 Oh! Susanna (Stephen C. Foster, arr. Ken Berg) -Boisterous and marcato, but with good tone. -Men should be divided into two equal groups (tenor/bass) for some sections; and three parts (high/middle/low) for others, as noted below: mm TWO-PART mm THREE-PART mm TWO-PART mm THREE-PART mm (b. 2) TWO-PART mm. 57(b. 3)-58 THREE-PART mm TWO-PART mm THREE-PART -mm all B sing -mm T/B as written -mm no breath -mm HIGH on top part, MIDDLE on bottom part, LOW on small notes. (I know it s weird, but it works out best with ranges this way.) -mm no breath -mm all B sing -mm all T sing -mm T/B as written -mm no breath -mm HIGH on top part, MIDDLE on bottom part, LOW on small notes -mm no breath -mm T/B as written -mm watch rhythms here! -mm HIGH/MIDDLE/LOW on don t you cry -mm T/B as written -m. 59 change B part in this measure to all C s -mm no breath -mm HIGH on top part, MIDDLE on bottom part, LOW on small notes -mm no breath -mm no breath -m. 71 delete low D in small notes; sing -jo of banjo in TWO-PART -m. 72 switch parts: HIGH on top part, MIDDLE on small notes, LOW on bottom part -m. 72 on my add a low D, most LOW part singers should take this bottom note, but a few for whom it s comfortable should remain on the high D -mm singers should divide into four parts, following the note they sang on my

8 The Linden Tree (Sherri Porterfield) -Sing mostly legato throughout. -Divide as written (S1, S2, A) for most of the song. -For mm , students should be prepared to sing any part. (They re all the same; they just enter at different times.) Assignment will be made in the combined rehearsal. -m. 5 no breath -m. 13 take a quick breath before it but after the altos move -m. 15 take a quick breath after spot -mm : -between seems and since no breath -on sat delete tied note, put t there -m. 34 (pickup) change dynamic to f -m. 35 take a quick breath after flowers -m. 35, b. 4 mark dynamic subito mp -m. 36 mark diminuendo -m. 40 replace first note with a half note followed by a quarter rest

9 America the Beautful (Samuel Ward, arr. Rob Landes) -m. 6 breath after skies -m. 8 breath on b. 3 (say nuh ) -m. 10 no breath -m. 12 breath after plain but after the tenors move -m breath after each America -m. 16 all parts take breath after thee but after the altos/basses move -m. 17 no breath -m. 18 no breath -m. 25 breath after feet -m. 29 no breath -m. 31 breath after wilderness but after the altos move -m breath after each America -m. 35 all parts take breath after flaw but after the altos/basses move -m. 36 no breath -m. 37 breath after control -m. 43 no breath -m. 44 no breath -m. 46 breath on b. 2 (say zuh ) -m. 47 no breath -m. 48 no breath -m. 50 breath on b. 3 (say zuh ) -m breath after each America -m. 54 all parts take breath after thee but after the altos/basses move -m. 55 no breath -m. 56 no breath

10 Poor Wayfarin Stranger (arr. David Eddleman) -All students should learn solo parts (mm. 1-9 and mm ). It may be sung by all, a section, a small group, or a soloist. -Sopranos on Part 1; Altos on Part 2; Tenors & Basses on Part 3. -m. 20 SA: no breath -m. 23 SA: breath on b. 3 -mm SA: no breath -m. 31 SA: breath on b. 3 -m. 35 SA: quick breath after mother -m. 36 TB: breath on b. 3 -m. 39 SA: quick breath after roam but after the altos move -m. 40 watch tenutos this measure will be slightly slower! -m. 40 TB: breath on b. 3 -m. 43 SA: quick breath after Jordan -mm ATB: quick breath after round me -mm ATB: breath on b. 3 after steep -mm ATB: no breath -mm. 65 A: breath on b. 3 -mm. 66 TB: breath on b. 3 -m. 69 SA: breath on b. 3 -m. 70 TB: breath at end of measure -m. 73 SA: breath on b. 3 -m. 77 SA: quick breath after Jordan -m. 85 cesura ( railroad tracks ) should be in all parts

11 Let The Music Ring! (Cynthia Gray) -All students should learn the solo (mm. 4-20) and the solo/small group part (mm and mm ). It may be sung by all, a section, a small group, or a soloist. From m. 98-end everyone should sing their SATB parts and ignore the solo/small group part. -This piece will be sung SATB. (Basses should always sing the small-sized notes when they occur.) -m. 26 no breath -m. 34 breath after harmony -mm SATB: no breath after power -m. 50 SATB: accent on just -Beware the D.S. al Coda! -m Don t rush!!! -Students should begin memorizing this piece as soon as possible.