Pronunciation –  – another reminder about Italiante pronunciation.
 
“s” – make them short and snappy, allide with the next word if possible (or leave them out all together).
“i” – make them sound like “~ee” , i.e. lengthen the sound; so “in terra”  should sound like  “een terrrah”
Make consonants on the final syllable crisp and sound them out.
Haydn – Gloria
Pg 21 Bar 174 – make the “E” stand out.
Pg 23 Bar 221 – Make the “G” a crotchet, not a minim
Pg 25 Bar 246 – we practised this bar a lot as the rhythm is difficult.  Keep counting and come in on the quaver of the third beat.  This is worth practising a lot
Agnus Dei
This piece should sound very legato
Pg 59 Bars 2 and 4 – emphasise the vowel on the slurred quavers  “Deh-eh-ee”
          Bar 6 – take a quaver out of the “F”, so that you are ready for the “qui tollis….”
Pg 66 Bar 153 – make the most of the middle “C” (we sing lower than the tenors so have to avoid the tendency to slide up to their note)
Credo
We rehearsed this a lot.  Carleton was generally OK about the tenors, but general reminders were – breathe before entries, watch the words (particularly where A mens go across several notes – put the “men” in the right place.  Watch the dynamics.
 
Salieri
Pg 5 Bar 22 – make all the “Sanctus” the same rhythm, i.e.ignore the earlier instruction to change tempo in the middle of the final Sanctus
Pg 17 Bar 212 – take a quaver out of the A
 
 
HOMEWORK – Everything , lots of times.  He will be brutal next week.
 
Rehearsal in the Church next week.
Scarves for the concert – please remember yours and if you have lost it ask Alison Norris for a spare (which you will have to pay for)