A reminder from Carleton that we have only two more rehearsals after this – both in the church.  Generally there were not too many changes to markings already given, so for some pieces there are very few comments. 

And this will be the last set of alto notes until the Spring Term

Pronunciation – particularly in the Rutter, WATCH OUT FOR DIPTHONGS,  particularly voi-ois (voice) – should be “vois”, hear is pronounced “heer” – not “he-er!


Requiem Aeternum

Pg 3 Bar 29 – watch for the placement of the notes as there is a rituendo (not accompanied by orchestra) so Carleton will slow down. 

Out of the Deep

Pg 12 – Bar 11 put the “d” of “\iLord£ on the quaver, not on the rest.

Pg 13 Bar 21 – change to a previous marking–  breathe after “well”. aim for a mellifluous sound. 

Pg 14 Bar28 – note tempot change to “pui mosso”  –  move faster 

Pg 16 Bar 41 – note the dynamics and make sure you sound the ~”d” on “fear’d”

Pg 19 Bar 69 – there are only two beats before entry


Pg 28 Bar 14 – WATCH, WATCH, WATCH   for entry 

Pg 32 Bar32 – only two beats on the “ na” of “ hosanna”  (quaver out in Bar 33

Agnus Dei

Pg 37 – Bars 25 onwards remember the change of tempo n-  “rubato” –means flexible.

Pg 44 Bar 84 – breathe before “ shall”


Pg 5 – Bar 2 – do not rush the quaver, give it its full length

Pg 6 – Tenor entry – those who wish to can sing with the tenors until Soprano entry on Pg 7

Pg 7 Bar 50 – “ Ex audi”  – put the emphasis on the “aud” but make it rich and warm. 

Pg 8 Bar 55 – maintain  forte  throughout the phrase – making “ ven” of  “venerit”  the main focus of the phrase

Pg 9 – Bar 81 – watch the word – its “kyrie” (not eleison)

Pg 10 Bar 90 – make the crochets (D) marked and detached, but not staccato

Libera me

Pg 37 Bar 48 change of marking –  no breathe after “ rit”  – if needed breathe after “ que”

Pg 38 Bar 54 – Make this a very dramatic entry

Pg 40 Bar 81 – take out a minim

Pg 41 Bar 87 – grow towards the “B”