VOICE PARTS AND SPLITS
use the 6-Part split to determine your 3-part assignment
SEATING CHART (coming soon)
LINK TO REHEARSAL VIDEOS - now a link to the YouTube playlist of videos.
MUSIC, NOTES, AND PERFORMANCE RECORDINGS IN CONCERT ORDER
Õhtul (Pärt Uusberg)
NOTES: All splits as written
Transition: Tenors drone on Eb3
Te Lucis Ante Terminum (Thomas Tallis)
Performance Recording - this resource has a recording, the original music, and translation.
Verse 1: Basses over tenor drone
Verse 2: Tenors and basses over alto drone on Eb4
Verse 3: All parts (sopranos singing in same range as altos)
Verse 4: All parts (sopranos in higher octave)
Transition: /n/ hum on C4 in alto/tenor
Evening Prayer (Ola Gjielo)
NOTES: All splits as marked
Hanerot Halal (Sarah Riskind)
Performance Recording (one possible layering of the melody)
NOTES: We will be improvising on this melody using the scale it's built on, canon, and drone. Some of us will also be moving through the space as we sing.
Transition: Storyteller (from the chorus) with "Good Night Moon" book and lantern.
Good Night Moon (Eric Whitacre)
NOTES: All splits as marked. Soprano solo opportunities in mm. 42-45 and mm. 57-61.
Transition: Lighting change and sitting with darkness.
Winter Walk (Timothy Takach)
We will intersperse this with the poem "The Shortest Day" - opportunity for a reader from the chorus. Many pauses inserted throughout.
Overtone singing from T/B in mm. 29-41. Practice your "Oreo" formation and see if you can get clear overtones! We will extend this drone through the pauses and the poem reading.
Transition: F chime twelve times for midnight.
Bogoroditse Devo (Sergei Rachmaninoff)
NOTES: all splits as marked. Basses with a low C2, add on last two notes.
Transition: excerpt from "Spiritual" by Ysaye Barnwell. Solo opportunity to start. Mm. 49-end is the section we will learn. It's the same as the beginning, just with a static end.
Ask the Watchman (Two Sea Island Spirituals, arr. Paul Caldwell & Sean Ivory)
Low voice solo opportunity as marked.
S/A use 3-part split assignment for mm. 16-26, 41-42, 45-45, 49-54, 88-108 (first three beats).
T/B use 3-part split assignment only for the "shout" in the middle of m. 33.
Splits as marked everywhere else, including the last beat of m. 108 - end.
Pronunciation: the dialect should be sung as written out and not corrected. It is mindfully based on the Gullah dialect.
O Come Emmanuel (Traditional Vespers Chant, arr. Daniel Schreiner)
NOTES: Soprano and alto use 3-part split assignment on pg. 6 for chords 2, 3, 4, and 6 and through the top of pg. 7. Solo opportunities throughout as marked.
Tomorrow Shall Be My Dancing Day (John Gardner)
NOTES: Splits as marked starting on pg. 6 (S/T on top line, A/B on bottom line). On pg. 8 and top of pg. 9, soprano and tenor use S1/S2 and T1/T2 splits. At the bottom of pg. 9, A/B use A1/A2 and B1/B2 splits.
Transition: possibly a "Call to Prayer" chant from the Islamic Center. Either way, chimes for pitches.
O Magnum Mysterium (Morten Lauridsen)
NOTES: Splits as marked. Basses in mm. 46-53 use specific 3-part bass assignment on roster.
Both concerts: we will sing carols (TBD) with audience participation.
On the December 17th concert, we will sing "Welcom Yule" from The Ceremony of Carols with the Good Company ensemble, followed by a solo piece from them before we carol. Sheet music and recording coming soon.
Grace Before Sleep (Susan LaBarr)
Tenors and basses in mm. 9-25. All tenors on T1, Bass 1s on T2, Bass 2s on the bass line. Back to splits as marked from 26-on.
All - stay FF from mm. 29 through the word "warm" in mm. 33-34. Not as marked from a previous performance.