25th March: End of Term Assessment of Pieces
In this rehearsal we ran through as many pieces as we could in the first half of our rehearsal. The recordings of these are found below with comments on how to improve them or what was good about them. The only two pieces we did not rehearse was "A Farewell Blessing" and "Keep The Home Fires Burning". The comments below are observations on the recordings and will, I hope, inform your practise at home. - Tom.
Anything Goes (Guidetracks for this song - click HERE)
OPENING : Altos - good sound with the tune; well done. However, with ALL the Sopranos coming in at their first entry the sound is very unbalanced because there are twice as many Sops as there are Altos. I would like the 1st Sopranos ONLY to sing "When they landed on Plymouth Rock" therefore to maintain harmonic balance. BASSES - you MUST know your entry note! You are singing the TUNE to begin with (same as the Sopranos) before moving off into harmony at "Plymouth Rock would land on them". I was singing the correct harmony but none of the basses were in this recording. It is REALLY important that, Basses, you know the points in this piece where you sing the tune and the points you are not...
CHORUS 1: The opening of the chorus was fine when singing the unison bits. However, eventually, it will need to be more sprightly and excited. At the moment you're all concentrating on the words and not how to deliver them. As a general point it is more important this year to make sure you know the lyrics for each piece really very well. This is because the music is more challenging that previous years, in general and the tempi of the pieces are a little more on the fast side at points. If you don't know your words well enough to glance down and know where you are then you'll struggle in performance. Some more specifics now (this chorus takes you up to the instrumental):
Basses: I really need you to learn your harmony. At the moment you are generally getting the right shape (as in, knowing when you're going up and down) but I have very little accuracy in terms of the notes you are singing (or at least, the notes I hear). On the 23rd June my dad is unavailable to help out and there is a possibility that even Paul won't be with us so we don't have any confident voices to lead your part. Even if you sing the notes softly but in tune, that is better than singing loud and wrong. Listen to the guide tracks, repeat small sections over and over again until the tune is so firmly in your head you won't forget it when you are singing against the other parts. I will try to do a Bass specific rehearsal near the start of next term to focus on your parts.
Altos: in general, I think this was fine. It is a little difficult with me so close to the recording device and it was more difficult for you as the piano was turned down too much to help during this run-through. Your Oohs were thrown massively by the Sopranos losing their notes.
Sops: My goodness, this was close to being rather good. Such a shame it fell apart.... SO: The opening of this piece needs you, particularly, to be bright and chirpy and CRISP in your enunciation. You completely fell apart at the Oohs. Yes, granted, the piano was a little low down in the mix to be heard clearly, but (having said that) you should know your parts well enough to know to which note you are going to after singing "Anything Goes". 1st Sopranos - you go up to a C from the Ab (the interval of which is the opening notes of "Kum ba yah"). 2nd Sopranos you go down ONE semitone (tiny gap) to a G. Please practise this as, once you're on that first note of the Oohs, I am sure you'll be fine... Because, despite what it sounds like, you have learned (as a section) the right melodic shapes.
BRIDGE & CHORUS 2: This is after the instrumental. The initial bridge ("the world has gone") was fine in the both the Soprano and Alto parts as far as I can hear in this recording. Basses.... Hmmm... You were generally trying to sing the Soprano part and despite singing loudly in your ears, you weren't quite getting it...... The return to the chorus was interesting for all, to say the least, everyone was unsure of the key change....more specifics ahead!
Basses: LEARN YOUR PART! :) Do not sing words/notes that are not there. I've made your part easier to help this piece work better but you do now need to learn it. I will not be able to help you out when I'm in front of the whole choir and the orchestra and miles away from your ears.
Sops and Altos - you completely lost the key change. I think this is due to the notes on "gigolos" leading onto the first note of your harmony parts. Something to work on as the rest of the piece was then sung in a very unsure way and the ending was nowhere near as confident as it was last week. We nailed the ending last week!
ALL OF YOU - listen to last week's rehearsal recording of "Anything Goes" - it will serve you well!
GENERAL COMMENT
I am encouraged by this recording (don't laugh!) because it shows that all of you know ROUGHLY where you are going in this piece. The structure is clear in your heads. However the thing that is lacking the most is your knowledge of the words. Too many eyes down and not enough looking up at me. All of you need more surety in your individual tunes which will come with good lyric learning and more practise with the guide tracks. Basses, I had to spend the majority of my time helping you which took me away from leading the others. You, above all the parts, must become more familiar with what your part is telling you to sing.
In performance, this piece needs to zip along a lot more than it does now. Words must be at the front of the mouth and "spat" out in an exciting and confident way. Every single note that has a dot under it or above it must be sung in a short and detached way to get this feeling of fun and vigour across. You are NOT far off being able to work on this aspect of singing this song. But you must all learn the words and your parts a little better over the next month. By May we must be polishing this piece not still making mistakes :) Good effort yesterday. Well done!
CHORUS 1: The opening of the chorus was fine when singing the unison bits. However, eventually, it will need to be more sprightly and excited. At the moment you're all concentrating on the words and not how to deliver them. As a general point it is more important this year to make sure you know the lyrics for each piece really very well. This is because the music is more challenging that previous years, in general and the tempi of the pieces are a little more on the fast side at points. If you don't know your words well enough to glance down and know where you are then you'll struggle in performance. Some more specifics now (this chorus takes you up to the instrumental):
Basses: I really need you to learn your harmony. At the moment you are generally getting the right shape (as in, knowing when you're going up and down) but I have very little accuracy in terms of the notes you are singing (or at least, the notes I hear). On the 23rd June my dad is unavailable to help out and there is a possibility that even Paul won't be with us so we don't have any confident voices to lead your part. Even if you sing the notes softly but in tune, that is better than singing loud and wrong. Listen to the guide tracks, repeat small sections over and over again until the tune is so firmly in your head you won't forget it when you are singing against the other parts. I will try to do a Bass specific rehearsal near the start of next term to focus on your parts.
Altos: in general, I think this was fine. It is a little difficult with me so close to the recording device and it was more difficult for you as the piano was turned down too much to help during this run-through. Your Oohs were thrown massively by the Sopranos losing their notes.
Sops: My goodness, this was close to being rather good. Such a shame it fell apart.... SO: The opening of this piece needs you, particularly, to be bright and chirpy and CRISP in your enunciation. You completely fell apart at the Oohs. Yes, granted, the piano was a little low down in the mix to be heard clearly, but (having said that) you should know your parts well enough to know to which note you are going to after singing "Anything Goes". 1st Sopranos - you go up to a C from the Ab (the interval of which is the opening notes of "Kum ba yah"). 2nd Sopranos you go down ONE semitone (tiny gap) to a G. Please practise this as, once you're on that first note of the Oohs, I am sure you'll be fine... Because, despite what it sounds like, you have learned (as a section) the right melodic shapes.
BRIDGE & CHORUS 2: This is after the instrumental. The initial bridge ("the world has gone") was fine in the both the Soprano and Alto parts as far as I can hear in this recording. Basses.... Hmmm... You were generally trying to sing the Soprano part and despite singing loudly in your ears, you weren't quite getting it...... The return to the chorus was interesting for all, to say the least, everyone was unsure of the key change....more specifics ahead!
Basses: LEARN YOUR PART! :) Do not sing words/notes that are not there. I've made your part easier to help this piece work better but you do now need to learn it. I will not be able to help you out when I'm in front of the whole choir and the orchestra and miles away from your ears.
Sops and Altos - you completely lost the key change. I think this is due to the notes on "gigolos" leading onto the first note of your harmony parts. Something to work on as the rest of the piece was then sung in a very unsure way and the ending was nowhere near as confident as it was last week. We nailed the ending last week!
ALL OF YOU - listen to last week's rehearsal recording of "Anything Goes" - it will serve you well!
GENERAL COMMENT
I am encouraged by this recording (don't laugh!) because it shows that all of you know ROUGHLY where you are going in this piece. The structure is clear in your heads. However the thing that is lacking the most is your knowledge of the words. Too many eyes down and not enough looking up at me. All of you need more surety in your individual tunes which will come with good lyric learning and more practise with the guide tracks. Basses, I had to spend the majority of my time helping you which took me away from leading the others. You, above all the parts, must become more familiar with what your part is telling you to sing.
In performance, this piece needs to zip along a lot more than it does now. Words must be at the front of the mouth and "spat" out in an exciting and confident way. Every single note that has a dot under it or above it must be sung in a short and detached way to get this feeling of fun and vigour across. You are NOT far off being able to work on this aspect of singing this song. But you must all learn the words and your parts a little better over the next month. By May we must be polishing this piece not still making mistakes :) Good effort yesterday. Well done!
Bewitched (Guidetracks for this song - click HERE)
VERSE 1: This started quite confidently in the 1st Sop part and the Alto part. 2nd Sopranos, I am not sure you are confident in your "tune" yet. Granted, you are not yet used to singing much harmony yet but, if you learn your "tune" and keep it strong in your heads then you'll be absolutely fine. I think, probably, we'll take it a little slower in the end, too, which will help. Lovely legato, for the most part, though we'll eventually need to add the polishing factors such as dynamics...
CHORUS 1: You all seem to know this chorus however there seems to be some unsurety as to your own parts. The tune is mostly there but I lost a few of the written lines. My assessment is simple - we need to work on this a little more!
BRIDGE : Altos - you just lost the first note. Interesting harmonies....
CHORUS 2: Much the same issues as the first chorus (mainly because the notes are the same!).
GENERAL COMMENTS
This is a weak piece at the moment. Mostly I think this is because we've not spent enough time, yet, in rehearsal consolidating all the notes in each part. This shall be addressed (of course!) but, in the meantime, please listen to the guides and really try your best to follow your individual lines.
CHORUS 1: You all seem to know this chorus however there seems to be some unsurety as to your own parts. The tune is mostly there but I lost a few of the written lines. My assessment is simple - we need to work on this a little more!
BRIDGE : Altos - you just lost the first note. Interesting harmonies....
CHORUS 2: Much the same issues as the first chorus (mainly because the notes are the same!).
GENERAL COMMENTS
This is a weak piece at the moment. Mostly I think this is because we've not spent enough time, yet, in rehearsal consolidating all the notes in each part. This shall be addressed (of course!) but, in the meantime, please listen to the guides and really try your best to follow your individual lines.
Black Hills of Dakota (Guidetracks for this song - click HERE)
VERSE 1: Lovely start. Very legato. To improve - more of an American accent would be nice in please
"And when I get that lonely feeling" : Alto line - brought out well; Basses don't quite know their part (more specifically, when to change from singing the tune to harmonising. I have had a thought about this section of the piece. I think it might be worth putting a couple of Sopranos down to the Alto line (it's not that low) and adding some of the Altos to the Tenor line (which is lovely and needs bringing out). This is the only really complicated section, harmonically, and we want to get it nailed. I'll be implementing this idea the next time we rehearse this piece.
BRIDGE ("Black hills, Black hills") - Lower voices, you need more confidence in your tune. Sopranos & Altos - you've forgotten the Oohs and "Away". This needs to be sorted! If it helps, the piano part plays your "away" bit so listen out for it at home in your practise time. "Where the deer" - again, Lower voices you are leading this. I won't be able to do so from the position of conducting the orchestra. Please consolidate.
VERSE 2: (return to Take me Back") - Sopranos - you didn't find the first note - seems that the only person who remember what they were doing was ERui..... After this point it all went a little pear-shaped to be honest!
After this the musical sections are repeated;' unfortunately worse that the first time around...
GENERAL COMMENT
When I started warbling in the falsetto range of my voice it proved that the Sopranos do remember their lines. However it is slightly worrying that there hasn't been the recognition that there are straight repeats in this piece and that, if you can sing the first time right, the second time should be perfect. The middle section and ending needs some serious work to sound more confident. However the start is quite acceptable at this juncture. Overall, this has promise.
"And when I get that lonely feeling" : Alto line - brought out well; Basses don't quite know their part (more specifically, when to change from singing the tune to harmonising. I have had a thought about this section of the piece. I think it might be worth putting a couple of Sopranos down to the Alto line (it's not that low) and adding some of the Altos to the Tenor line (which is lovely and needs bringing out). This is the only really complicated section, harmonically, and we want to get it nailed. I'll be implementing this idea the next time we rehearse this piece.
BRIDGE ("Black hills, Black hills") - Lower voices, you need more confidence in your tune. Sopranos & Altos - you've forgotten the Oohs and "Away". This needs to be sorted! If it helps, the piano part plays your "away" bit so listen out for it at home in your practise time. "Where the deer" - again, Lower voices you are leading this. I won't be able to do so from the position of conducting the orchestra. Please consolidate.
VERSE 2: (return to Take me Back") - Sopranos - you didn't find the first note - seems that the only person who remember what they were doing was ERui..... After this point it all went a little pear-shaped to be honest!
After this the musical sections are repeated;' unfortunately worse that the first time around...
GENERAL COMMENT
When I started warbling in the falsetto range of my voice it proved that the Sopranos do remember their lines. However it is slightly worrying that there hasn't been the recognition that there are straight repeats in this piece and that, if you can sing the first time right, the second time should be perfect. The middle section and ending needs some serious work to sound more confident. However the start is quite acceptable at this juncture. Overall, this has promise.
The Lion King Medley (Guidetracks for this song - click HERE)
The Circle Of Life - Good start; Basses - you were relying on me singing, unfortunately. Again - you must know when you move off the tune AND, more importantly, where you are going. The other parts seemed really quite confident.
They Live In You - Sops & Altos - good, crisp notes and words. Basses - some of you were not singing what you should be; some of you were singing the tune and not even singing the same note as everyone else.... This needs to be worked on! :) "calling" was good! However, "and a VOICE" - well, the word "voice" was hit correctly by some (it's a F#) but many of you were singing what the piano was playing (a G). THIS IS UNISON SECTION OF THE SONG - EVERYONE MUST SING THE SAME NOTE!! :) "of a child" and "asking" was good, too! The CHORUS - the lower part needs more strength in its pitching. The other parts seemed to be OK but its difficult to hear with me trying to keep the Basses in tune... This song has lots of potential to be REALLY GOOD.
Can You Feel - This is in unison, to start with, but the basses were again singing the tune (or an approximation of the tune). We need to really work, basses, on getting our harmonies more tuneful and confident. The rest of you sounded absolutely fine!
Wait To Be King - again, I have to highlight the Bass line. It jumps out as needing the most work. HOWEVER - ALTOS the last "wait" needs to be really bright and clear F# and not any other note....
Hakuna Matata - COME IN at the right time Sops & Altos! Lower voices - please get your bit in tune (its an echo!). Other than that, it's not bad EXCEPT for the third Hakuna Matata, near the end, which is a slightly different tune to the others.
The Circle of Life (reprise) - This leaves a lot to be desired. It did not help that the piano was quiet this rehearsal and that you don't know this section as well, particularly the ending..... This section needs MUCH more work that than the others. Listen to the guides, especially the ending.
They Live In You - Sops & Altos - good, crisp notes and words. Basses - some of you were not singing what you should be; some of you were singing the tune and not even singing the same note as everyone else.... This needs to be worked on! :) "calling" was good! However, "and a VOICE" - well, the word "voice" was hit correctly by some (it's a F#) but many of you were singing what the piano was playing (a G). THIS IS UNISON SECTION OF THE SONG - EVERYONE MUST SING THE SAME NOTE!! :) "of a child" and "asking" was good, too! The CHORUS - the lower part needs more strength in its pitching. The other parts seemed to be OK but its difficult to hear with me trying to keep the Basses in tune... This song has lots of potential to be REALLY GOOD.
Can You Feel - This is in unison, to start with, but the basses were again singing the tune (or an approximation of the tune). We need to really work, basses, on getting our harmonies more tuneful and confident. The rest of you sounded absolutely fine!
Wait To Be King - again, I have to highlight the Bass line. It jumps out as needing the most work. HOWEVER - ALTOS the last "wait" needs to be really bright and clear F# and not any other note....
Hakuna Matata - COME IN at the right time Sops & Altos! Lower voices - please get your bit in tune (its an echo!). Other than that, it's not bad EXCEPT for the third Hakuna Matata, near the end, which is a slightly different tune to the others.
The Circle of Life (reprise) - This leaves a lot to be desired. It did not help that the piano was quiet this rehearsal and that you don't know this section as well, particularly the ending..... This section needs MUCH more work that than the others. Listen to the guides, especially the ending.
Pack Up Your Troubles (Guidetracks for this song - click HERE)
Verse 1 - this came across as if you don't know it at all! We have covered this in rehearsal and the guidetracks are very clear on how the verse goes. Really, if I have a teacher hat on, I'd be saying "disappointing"... :)
Chorus - This is better but still comes across as if you don't know it well enough yet.
Verse 2 - same complaint as verse 1 (I was having to try to sing two different parts!)
Chorus 2 - Altos are adding more harmonies here, the Basses were listening to me more closely but, again, it hasn't the confidence as it should have.
GENERAL COMMENT
This is not good enough at the moment to warrant any particular positive and constructive criticism.... Unfortunately you do not know it yet! LISTEN TO THE GUIDES!!!
Chorus - This is better but still comes across as if you don't know it well enough yet.
Verse 2 - same complaint as verse 1 (I was having to try to sing two different parts!)
Chorus 2 - Altos are adding more harmonies here, the Basses were listening to me more closely but, again, it hasn't the confidence as it should have.
GENERAL COMMENT
This is not good enough at the moment to warrant any particular positive and constructive criticism.... Unfortunately you do not know it yet! LISTEN TO THE GUIDES!!!
It's A Long Way To Tipperary (Guidetracks for this song - click HERE)
Well done! This is much more confident! Sopranos and Altos were MUCH more in and tune and happy with their parts. The problem in this piece is, unfortunately, the approximate pitching of the Basses. I'm not sure that the lower part is well.
The verses will be absolutely fine - I'm going to split them into solo voices or small groups.
OVERALL (get ready...!) I am HAPPY with the stage we're at with this piece! BASSES - learn your part! and EVERYONE LEARN THE ENDING!
The verses will be absolutely fine - I'm going to split them into solo voices or small groups.
OVERALL (get ready...!) I am HAPPY with the stage we're at with this piece! BASSES - learn your part! and EVERYONE LEARN THE ENDING!
In Flanders Fields (rehearsal not runthrough) (Guide: In Flanders Fields)
Verse 1: The first phrase still isn't QUITE right, Altos; it's close but not you're not coming quickly enough. Also, the "ders" of "Flanders" is too long, it really is only a semiquaver... You have to move onto "fields" asap because "fields" anticipates the first beat of the next bar. I know you all know what I'm talking about :) Sops - you will have to come in MUCH more quietly, so not to be too unbalanced. Lovely entry, though, if a little loud. Lower Voices - your entry, I'm afraid to say, ruined this first verse. You must find your first note and come in more quietly, so not to overpower the tune. Golden rule for choir singing: If you are not sure of your note, make sure you sing quietly enough to hear a stronger voice more sure of the entry. If you belt out what you think is right you may not be and that can have dire musical consequences.
Verse 2: Your entry after the Youth Choir verse: messy to say the least. I think that, if I asked you to sing this "standalone" then you would be able to do it. However you MUST find your first notes and you MUST come in more quietly. We don't get loud until the guns are mentioned. Also, whilst I'm thinking of it : ALTOS - please will you split? Top Altos - please sing the LOWER part of the S.C. Line and BOTTOM Altos please sing the Alto line? Also, I'll be asking some of the stronger Sopranos to learn the top part of the S.C. Line 2 bars before 21 because we won't have the Youth Choir on the 8th July.
"We Are The Dead". Its really important to listen to this part of the rehearsal. It is ALSO REALLY IMPORTANT TO SING ALL THE NOTES THE SAME AND IN TUNE! They are all B's but in this recording the tuneful of the Bs are questionable.
"Short Days"..... Lovely start. Basses, one or two of you are trying to sing the tune not your harmony part. Please don't! Overall, the start of this is fine. The legato line is coming but, as you hear in the rehearsal, you all need to more accurate with your rests and the lengths of the words you are singing. Listen carefully to the rest of the rehearsal on this section. I have to say it's one my favourite parts of the piece as the tone and character changes.... I want this feeling of reminiscence coming across from you all. So please learn it well so that when you perform it the detail I've put in is second nature to you.
"Take Up Our Quarrel" - This section needs lots of attack and it needs REALLY good and ACCURATE and SPAT-OUT words. It is an "angry" section but for us to get this character out we must be able to sing it without needing to look at our words or music. It must be so engrained you can look up and watch my antics at the front! :) This is your task for next rehearsal.
GENERAL COMMENT
As with all the pieces thus far the parts that need the most work are the Lower Voices (who, at the moment, show good effort in shape but not yet accurate with their pitch) and the 2nd Sopranos. I would advise learning this piece in the sections that it is divided into. I would recommend learning the words OFF BY HEART. Good words means the melodies are easier to remember. Ideally, I'd like this piece to be the pinnacle of our work this year and a way of showcasing the quality of the choir and the emotion we can instil in others who hear us sing. If you can get the emotion of the poem across in such a way that people walk away from the concert being affected by this piece then we would have done our job really well.
Verse 2: Your entry after the Youth Choir verse: messy to say the least. I think that, if I asked you to sing this "standalone" then you would be able to do it. However you MUST find your first notes and you MUST come in more quietly. We don't get loud until the guns are mentioned. Also, whilst I'm thinking of it : ALTOS - please will you split? Top Altos - please sing the LOWER part of the S.C. Line and BOTTOM Altos please sing the Alto line? Also, I'll be asking some of the stronger Sopranos to learn the top part of the S.C. Line 2 bars before 21 because we won't have the Youth Choir on the 8th July.
"We Are The Dead". Its really important to listen to this part of the rehearsal. It is ALSO REALLY IMPORTANT TO SING ALL THE NOTES THE SAME AND IN TUNE! They are all B's but in this recording the tuneful of the Bs are questionable.
"Short Days"..... Lovely start. Basses, one or two of you are trying to sing the tune not your harmony part. Please don't! Overall, the start of this is fine. The legato line is coming but, as you hear in the rehearsal, you all need to more accurate with your rests and the lengths of the words you are singing. Listen carefully to the rest of the rehearsal on this section. I have to say it's one my favourite parts of the piece as the tone and character changes.... I want this feeling of reminiscence coming across from you all. So please learn it well so that when you perform it the detail I've put in is second nature to you.
"Take Up Our Quarrel" - This section needs lots of attack and it needs REALLY good and ACCURATE and SPAT-OUT words. It is an "angry" section but for us to get this character out we must be able to sing it without needing to look at our words or music. It must be so engrained you can look up and watch my antics at the front! :) This is your task for next rehearsal.
GENERAL COMMENT
As with all the pieces thus far the parts that need the most work are the Lower Voices (who, at the moment, show good effort in shape but not yet accurate with their pitch) and the 2nd Sopranos. I would advise learning this piece in the sections that it is divided into. I would recommend learning the words OFF BY HEART. Good words means the melodies are easier to remember. Ideally, I'd like this piece to be the pinnacle of our work this year and a way of showcasing the quality of the choir and the emotion we can instil in others who hear us sing. If you can get the emotion of the poem across in such a way that people walk away from the concert being affected by this piece then we would have done our job really well.
Wherever You Are (Rehearsal not runthrough) (Guide: Wherever You Are)
GENERAL COMMENT
In this rehearsal I asked each part to sing through the whole song individually. Overall, I found that each part sang their bit with sensitivity and a sense of style. However, there were lots of little places that showed unsurety. Listen to this recording, which is an in-depth look at each part; listen to the guides that ERui recorded for you all. This is showcasing the quality of our Sopranos and Altos - which is worth doing! Make yourselves proud and learn this piece so you can wow our audience!
In this rehearsal I asked each part to sing through the whole song individually. Overall, I found that each part sang their bit with sensitivity and a sense of style. However, there were lots of little places that showed unsurety. Listen to this recording, which is an in-depth look at each part; listen to the guides that ERui recorded for you all. This is showcasing the quality of our Sopranos and Altos - which is worth doing! Make yourselves proud and learn this piece so you can wow our audience!
