Back to Rehearsal Files

Kyrie

Bar 30 (page 3/6) – All sopranos sing the solo part.

Gloria

First section:

Shorten long end notes of phrases evenĀ  if not immediately followed by another phrase in your part, as follows:

Bar 6, 9, 12, 19, 21, 23 – shorten end notes by a quaver;
but no breath at the end of bars 3
bar 14, 16 – shorten end notes by a crotchet;
bar 18 – a quick semiquaver breath after ‘te’
bars 19, 21, 23 – shorten end notes by a quaver;
bars 29, 31, 35 – shorten end notes by a crotchet;
but sing through bar 33;
bar 39 – just a quaver on ‘ste!’

Middle section:

The appoggiatura is a quaver with the main note a second quaver in all cases;
Sing the solo part when you can (we will split the parts later);
bar 44 – bottom bass part is A, not E;
bar 52 – bottom bass part in G, not A:
bars 59-62 – ignore small print voice parts:

Final section:

Bars 67, 69, 71 – shorten end notes by a quaver;
but bars 73, 75, 77 – give final minims their full two beats:
bars 81-83 – all notes marcato, rather than legato – ie a slight push and shortening of each note rather than smooth.

In the Novello edition:

Bars 78-81 – change words to Je- [tie the two crotchets] su, [single crotchet] Je- [semibreve tied to crotchet] su [second crotchet – ie replace first minim of b.80 with 2 crotchets] Chri- [minim] ste [bar 81 first crotchet]

NOTE: The main recording follows the pdf score words here, while the ChordPerfect voice emphasised parts follow the Novello edition, so you’ll just have to remember to sing the different words when using that!

Credo

First section:

Insert a crotchet rest at the end of each phrase to breath (even if you have a rest in the following bar), ie at the end of bars 4, 8, 12, 16, 20, 22, 24, 26, 28, 30, 32, 35, 36, 40, 42;
bar 16 – the hairpin is not really a decrescendo, but more of a ‘push’ on the syllable ‘um’ (as in the recording);
bar 28 – Sopranos and Altos remove the word ‘et’ and the third beat crotchet it is sung on, so the phrase is ‘ex Patre natum’ – the Novello score has this already;
Sing through bar 38 (ignore comma);
bar 47 – Altos change the minim to two crotchets (both F#), the first slurred to the minim on ‘fa-‘, the second on ‘cta’ (so words line up with the other parts) – Novello score already has this;
bar 48 – all shorten the minim to a crotchet; also note p here in pdf score – just a slight increase in volume, not much!
bars 50-55 – sing through, and shorten minim in bar 55 to a crotchet (all parts), similarly shorten end notes in bars 62, 66;
bar 69 – give this one the full 4 beats.

Middle section:

Bar 73 – follow the accompaniment’s crescendo with a strong forte entry (marked in Novello but not pdf);
bars 76, 80, 84 – shorten last notes by a crotchet, but sing through bar 89 for full 4 beats;
bar 97 – up a notch to fortissimo!
bars 104, 108, 112, 116, 120, 124, 133 – Shorten all these end notes by a crotchet;
bar 125 – a reminder that we are still fortissimo – don’t forget!

Final section:

Bar 138 – marked pp in pdf, p in Novello – the latter probably better:
bars 138-145 – sing through, but add a crotchet rest at the end of bar 145 after ‘Dominum’;
Insert crotchet rests (as in first section) at the end of bars 149, middle of bar 153, end of bars 155, 157, 159, 161, 163, 168, 177;
bars 150-end – ignore all small italicised words and small notes in pdf score;
bar 165 – Tenors and Basses – quick breath after ‘Prophetas’;
bar 173 – all parts – quick breath after ‘mortuorum’;
bars 181, 183, 185 – make each minim a crotchet.

Sanctus

Bar 2 – be ready for a strong entry on time – count the first bar; sing right to the end of the crotchet, and in bar 3;
bar 4/5 – make sure dotted rhythms are really dotted, and sing through bar 4, quaver breath at end of bar 5;
bar 7 – breath after ‘terra’ in bars, 7, 8 and 9 – quaver off each time;
bar 9 – sopranos think what the note is for the ‘Osanna’ entry;
bars 10-22 – think ahead for the note and count for each fugue entry – make each entry strong, then let the next part take over the impetus;
bar 35 – make last note a quaver rather than a crotchet.

Benedictus

Think of this in three (ie each bar is really two bars of three quavers)

First section:

Soprano solo – all sopranos and altos sing (as far as possible);
bar 6 – the grace notes are two demi-semiquavers take out of the crotchet – just like bar 22 in the tenor part;
bar 14 – watch three whole beats on ‘qui’;

Second section:

bar 19 – tenor solo – all tenors and basses sing; note this exactly the same as sopranos have just sung;
bar 20 – soprano solo – sopranos and altos continue to sing;
bar 25 & 27 – grace note is just a semiquaver running into the triplet;

Third section:

bar 35 – bass solo – all basses sing; again this is the same tune as second section;
bar 36 – tenor solo – tenors sing (this is what the sopranos sung in the second section, but an octave lower); soprano solo – sopranos sing; altos join tenors or sopranos as you wish;
bar 38 – last semiquaver in bass part is C#, not B;
bar 40/42 – tenor part – slightly different notes to second section;

Osanna

bar 54 – again, sopranos think what the notes are – you get a dominant chord;

Agnus Dei

Eight beats in a bar (quavers)

bar 6 – soprano solo – all sopranos sing (altos as well if you want);
bar 6 – crescendo through the first bar;
bar 7 – the ornament on ‘mun’ is two semiquavers;
bar 11 – chorus entry very quiet;
bars 12 & 14 – last note on ‘bis’ is a quaver, not a crotchet;
bar 20 – bass solo – basses and tenors sing; crescendo through first bar
bar 21 – the ornament on ‘mun’ is two semiquavers;
bar 25 – chorus entry very quiet; shorten last notes as before;
bar 34 – soprano solo – all sopranos sing;
bar 36 – grace note is a quaver (not too quick);
bar 39 – chorus entry very quiet; shorten last notes as before.