Alto Rehearsal Notes




m 5 – mark a crescendo

m 26-8 – accents on “-au”

pronunciation: m 31 veniet = VEH-NEE-ET (not VAY)

m 41 – mark a decrescendo into m 42

m 44-45 – accents on “pe-“

m 45 – ritard into fermata over rest in m 46


Hit every K sound in “Christus” and “Kyrie”


m 29 – mark a decrescendo into m 31

m 52 – crescendo into m 53 then decrescendo




m 28 – fermata on rest next phrase is p

pronunciation: m 32 cum = KOOM



m 47-48 mark hairpins accent 2nd “sae-“

m 58 and m 60 breathe early – no need to gasp the entrance

m 72 - mark a decrescendo

pronunciation: m 93 gentiam = JEN-TSEE-AHM

m 166 – entrance is piano crescendo in m 167

m 171 – accent on “pa-“

m 176 – mark hairpins

m 210 – diminuendo starts

ritard in last 3 measures


pronunciation m 13 in = EEN (make sure you don’t swallow the vowel sound)

m 19 mark a decrescendo




Domine Jesu Christe (p 43)

m 23-25                Don’t land hard on the low notes – keep entire phrase in same “voice”

pronunciation:  obscurum = ohb-skoo-room  (not “awb”)

m 48-end             lots of K sound on “quam”

Hostias (p 51)

m 23-24, m 27-28, m 31-32 m 34-35          all these passages start forte as marked  then diminuendo so   

                the marked pianos are *not* subito

m 43      decrescendo into m 44

m 46      pronunciation:  fac = fahk

m 86-end             mark the dynamics and ritard as at the end of the previous movement (p 50)


Confitebor (p 13)

m 14-15 pronunciation:  magna = mah-nyah

m 15      the crescendo begins at the end of this measure, not the beginning of m 16

m 18-23 pronunciation:  the “qui” in exquisite – kwee  (not kee)

                also in those measures, crescendo slightly into “si-“ then back off

m 29-31 crescendo into “-tates“ then back off

m 40-41 crescendo into “e-“ then back off

m 47-48 crescendo into m 48 then back off

m 61      little stress on “se-“

m 64-65 little stress on “ju-“ each time

m 68 and m 70   little stress on “men-“

Magnificat (p 52)

m 23      pronunciation: magna – mah-nyah

m 26-28 mark dynamics as written

m 29      mark a decrescendo at the end of the measure into m 30

m 36      pronunciation:  ti-  = tsee    and chi-  = kee

m 41-42 little stress on “po” each time

m 43-44 crescendo into “se-“ then back off

m 53      aim way high on the B

last measure   watch John – the final note is a full quarter





Kyrie (p8)

We sang through once on “ta” and then again with words.

p. 8, m. 2: Don’t be flat! - and breathe early (I hate to say this, but John was looking                                 toward altos after one unfortunate start).  John wants this and other crucial                                  phrases In both pieces memorized so we can watch him closely.

p. 11, m. 32: That C entrance is against a soprano B flat.  We need to nail it.

Dies Irae (p. 14)

p. 17, m. 31: Back off a bit - this isn’t quite as loud as the beginning.

p. 18, m. 42ff: The entrance is mp.  Slight crescendo on each “Dies” to the “i”                              of “irae” and “illa,” and then decrescendo on “raes” and “lla.”

p. 19, m. 50: Let’er rip: this is quite loud.

Offertorium (p. 43)

P. 45, mm. 23-24: Try not to switch between a squeal and a growl; despite the jumps,                  work on keeping all these notes in the same voice quality.



We began reading through this. Please work on it for next week.                                                   

Laudate Pueri (p 38)

This is conducted in 4, with the half note getting the pulse.  The entire movement should have a gentle, linear texture.

John went through dynamics.  Here’s what I could catch:                                                    p. 38, m. 11: decrescendo                                                                                                           p. 39, m. 16: decrescendo; m. 17: crescendo; m. 20: decrescendo;                                    m. 22: crescendo; m. 23: decrescendo                                                                p. 40, m. 27: decrescendo                                                                                                p. 41, m 40: decrescendo; mm. 41-42: crescendo (i.e., a “little blossom” on                                               collocet)                                                     

            p. 42, m. 51: decrescendo                                                                                                                  p. 43, mm. 58-60: decrescendo                                                                                        p. 45, m. 80: decrescendo; mm. 85-87: slow, steady crescendo

Now back up for other instructions:                                                                                                               p. 40, m. 31: breathe after “habitat”                                                                                                  m. 34: accent - but don’t punch - “ter”                                                                           p. 41, m. 37: breathe after “opem”                                                                                                   p. 42, m. 53: slight accent on “ta”                                                                                                      p. 43, mm. 57-58: watch the rhythm: these two measure aren’t the same.                                                 Also, please practice the A - G# - A - G lick.                                                                           p. 44, m. 71: breathe after “o”

Magnificat (p 52)

Reminder: do pronounce the hard g in “Magnificat”. Remember that “Ma” is very                                   short.

p. 52, mm. 3 and 5:  Watch John for the sudden dynamic change.

P. 52, m. 7: To this point John has been beating in 8, with an 8th note for each beat.                                 In the middle of this measure he switches to 4 but the pulse stays the same -                              i.e., each beat is now a quarter note. It makes sense if you watch him.                                

Please memorize pp. 52 & 53.

p. 55, m. 25: ritard leading into the fermata.

p. 63, mm. 89 & 90: as John says, we have “a delightful string of ornaments.”                                           Lucky us!

p. 64, m. 98: these are 8th notes; don’t be a diva.

Please work on the middle of this movement, attending to the alternation between solo and tutti sections.




Kyrie (p8)

We ran the movement 3 times: once w/ Bridget, once a cappella (!) and once w/ Bridget at (close to?) tempo

m 2-4 LOTS of H…same applies pretty much everywhere we have running 16ths

m 23 the A flat tends to be…a flat A flat. Think high (mark an up arrow?)

m 49 John will start subdividing and broadening the tempo going into the Adagio

Offertorium (p43)

pronunciation notes:

m 24 cadant = KAH in = EEN

m 49 and thereafterpromisisti = MEE-SEE-STEE

other notes:

throughout: mark and observe dynamics

m 4 mark a crescendo/decrescendo into/out of “animas”

m 5 ditto on “fidelium”

m 6 ditto on “defunctorum”

m 12/13 crescendo from “-do” into “la-“ and back off

m 23-25 don’t slide or slur into pitches - make each one clean

m 24 the A natural tends to be flat. Think high (mark an up arrow?)

m 31 mark a crescendo/decrescendo into/out of “obscurum”

m 60-61 make a slight decrescendo – next phrase should be mf

m 63 phrase is mp

m 64-65 decrescendo starting after the eighth note– the “et” phrase should be p as marked

m 75 mark the “et” phrase mf and decrescendo from there

John will take a ritard starting in m 76

We should work on this movement for 2/1



Dixit (p 1)

We reviewed this movement near the end of rehearsal

Be sure to breathe early – no entrance gasps to spoil the surprise!

Laudate Pueri (p 38)

pronunciation notes:

m 17 exchelsus = CHEL (rather than “shel”)

m 32 respicit = SPEE-CHEET

other notes:

When we are practicing this movement for next week (hint hint), John wants us to watch for places where all 4 parts have the same text and the same rhythm (ex: m 51-54) – those really need to be precise.

m 2 a “nice, luscious L” on “Laudate”

m 3 the A on “-te” needs to be really high

m 16 watch rhythm – the G on “-mi” is only an eighth note (and we’re in cut time)

m 17 crescendo into “super”

m 23 make a small decrescendo into m 24

m 24 change the whole note to a half and add a half note rest

m 28 add in a missing tie over “al-“ into the next measure

m 30 mark no breath between “-tat” and “in”

m 31 mark YES breath between “-tat” and “in”

m 37 mark a breath at the comma

m 40 mark a slight decrescendo into m 41

m 41 change the whole note on “-rem” to a half and add a half note rest

m 46 change the whole note to a half and add a half note rest

m 52 same change as above

m 80-81 make a decrescendo starting at the “Amen”; the “Amen” in m 81 should be piano

m 85 crescendo as marked

Magnificat (p 52)

We did the first few measures at the end of rehearsal as a “sample.” John wants us to work on this movement for 2/1.

pronunciation note:

For “magnificat” John prefers MAHG-NEE (rather than MAH-NYEE)

other notes:

John will conduct up to the allegro in measure 7 in 8, then go into 4 (with the same pulse)

Mark the dynamics in m 2-7







Kyrie (p 8)


m 15 – make sure not to punch the high note D


Generally, watch for placement of the “-i” in “eleison” (for example, m 35-41)


m 50 – at the adagio John will conduct in 8


Hostias (p 51)


m 3 - make a “real” H on “hodie” – same in m 23


m 9 – make a “really luscious” L on “laudis”


Please mark and observe all the dynamics – there are frequent shifts between forte and piano


For next week, please prepare the fugue m 55-end




Dixit (p3)


We worked through m 58 and should prepare the rest of the movement for next week


pronunciation notes


m 33- juravit = YOU


m 36 – poeni = PAE


m 38 – sacerdos = CHAIR


m 40-41- Melchisedek = KEY DECK


m 43 – confregit = JEET


m 46 – reges = JESS


other notes


m 15 – think really high on the A


m 22 – make a gradual crescendo to m 23


m 43 and m 51 – don’t close on the n in “con-“ too soon – keep the vowel open – same for the m in




m 43 – don’t punch the A on “re-“


m 55 and 56 – mark a breath at the comma


m 56-after that comma breath, mark no breath from there through m 58


m 58 – mark a ritard into the fermata


Laudate Pueri p 38


Note that we are in cut time


The last 2 measures are double whole notes


I had no other group notes for this movement




January 11, 2018


Last night's rehearsal was primarily sight reading and beginning to get the feel of the Mozart. But there are a few notes, which I've attached.


Welcome Cynthia and Lisa, and welcome back Ann Marie, Joyce and Pam!  


Next week's rehearsal is at the Franco.  See you then.



We'll be singing everything in ecclesiastical (Italianate ) Latin.

Vesperae solennes



Tempo: ca. 116

"When in doubt, sing G."  - S. R.

p. 8, m. 46:  Abandon that G and make sure the A is high enough.



p. 25, m. 216: Quarter note!  Let the sound float down the Franco.

Laudate pueri


This is in cut time, with the half note getting the pulse.



The day before Mozart died he gathered three friends to sing this with him.  Mozart sang the alto part.  No pressure.


I. Introitus


p. 7, mm. 46-48: No breath.

II. Kyrie


Mozart seems to have taken the opening theme from Handel (''And with his stripes").  Bach used the same melody in the Well-Tempered Clavier.

III. 6. Lacrimosa


Honor all the rests.

VII. Communio


p. 72, mm. 3-5: This is a quote of p. 4, mm. 21-23.