tag:blogger.com,1999:blog-71918610499270144502024-02-20T01:14:09.946-08:00Sensational S2sMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-7191861049927014450.post-78198756019442963352012-04-16T11:18:00.000-07:002012-04-16T11:18:16.082-07:00Mary's Song-crescendo each time from 'wherever you go -->> your GIFT lives on' (except final time, which is quieter)<br />
focus on consonants<br />
-fade in volume when not melody<br />
-opening 'dah dah': first time will be louder; second will be softer, as an echo<br />
-M24: end is a decrescendo<br />
-M25: mezzo piano; quiet<br />
-M44: 'been our soul' is an entire choir crescendo as sing in unison<br />
-M65/66: descrendo into final 'dah dah's<br />
-final phrase will be SLOW; watch RandiMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-64814055173629918282012-02-20T08:59:00.003-08:002012-03-25T21:02:52.679-07:00Will the Circle Be Unbroken*All S2s always on 2nd line down (NOT 3 parts at beginning but rather all altos take bottom line)<br />
-OPENING: slower portion; wall of sound; we make circle with those gone before<br />
-M11 tempo pickup: we come back to present time; combo between country and metal sound<br />
-verses are call and response between S2 (melody) and other parts<br />
-M3: notice g natural on first 'by' (and every time we sing chorus line)Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-16971006219565850972012-02-20T08:58:00.004-08:002012-04-16T10:58:30.383-07:00Another Openin' Another Show-M51 & M55 (and similar lines)- cut off right away on 'rehearse' and 'worse'<br />
-in general, strictly observe all quarter rests for a more punctuated sound<br />
-M101-112 & M153-157: don't sing through the rests<br />
-Sing the E natural in M43, "ulcers grow" high enough; <br />
-Watch out for the same Enatural in M95, "sayin 'hello'"; <br />
-Remember in M137 that the B fla "Big first night", that we make the chord there;<br />
<div _yuid="yui_3_1_1_2_1334591825211104">-Wants us to raise our hands at the end, gradually, on our last word "show".</div>Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-67971130690453712302012-02-20T08:57:00.006-08:002012-04-16T11:09:30.654-07:00Home*song rests on the words; focus on phrasing of the story<br />
-M6: feel the triplet (3 quarter notes within 2 beats); give "place" a whole beat<br />
-M7: b. feel the "love overflowing"<br />
-M17: our "sprinkling" is the "little dog", whereas the Sop 1's "sprinkling" is the "big dog" - ours is lighter than theirs<br />
-M23: 'but I still' with big conviction<br />
-M34: 'tell us should we run away...' is a plea, not a popsong :)<br />
-M34: slight lift after 'should we run away' before 'should we try and stay'Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-41074011123990353912012-02-20T08:57:00.004-08:002012-03-03T13:55:19.305-08:00Imani-in our verse (you say faith is empty...): listen to recording or choir for changed rhythm and add 'a' between 'like' and 'beer' for 'like a beer'<br />
-m100: very background, piano sound on 'Imani lover' etcMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-20864038918003375062012-02-20T08:56:00.011-08:002012-04-16T11:10:28.146-07:00Living in a Holy City*generally, back off on the 'ja' of alleluja and lean into the 'le'<br />
-notice clapping at measures 32-42 and at 46<br />
*Mary wants us to be able to clap and sing those measures, "as we don't really have anything very hard to do for this concert"Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-40792137991215734902012-02-20T08:56:00.010-08:002012-04-16T11:07:10.152-07:00Proud Mary*at times, will sing the traditional rhythm, not what's written; watch Mary<br />
-M14: fast 1/8th note on 'big' of 'big wheel'<br />
-M54: the 'doo doot doot' section: notice the first doo BOTMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-5400152970451605172012-02-20T08:56:00.009-08:002012-03-25T21:05:50.416-07:00Music in My Mother's House-emphasis on word 'mother' in the refrain<br />
-final refrain: emphasize getting to the word 'house' in the phrase "in my mother's house"Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-84973345444725664492012-02-20T08:56:00.003-08:002012-02-20T08:56:12.652-08:00My Heart's At HomeMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-62874195234757716552012-02-20T08:55:00.012-08:002012-04-16T11:14:30.961-07:00Te Quiero*very impassioned song, foremost; "find your defiant bones" "put your chin out there and sing it"<br />
-roll r's in general<br />
-notice unison in final 'dos' of refrain: ex. is M16<br />
-4 measure phrasing in the 'du rus' underneath the soloists<br />
-background 'du ru ru' section during solos is very piano, leading to new sound after solos complete >><br />
-M27 & M54: BIG SOUND; "We are beautiful and we have mouths that can declare what is right!"<br />
-M54: much slower tempo<br />
-M58: crescendo through to M60 and then back offMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-51595311202318442502012-02-20T08:55:00.011-08:002012-04-16T11:05:30.533-07:00The Road Home*focus on fluidity of breath; full open vowels on half notes, especially<br />
-tell the story; sing full phrases, not individual words<br />
-'Oos': very rounded sound; not a MN 'o' and not 'ah'<br />
-'Oos' are us as the breath of life<br />
-feel the 1/8th note pulse in the versesMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-28595604382693522312012-02-20T08:55:00.010-08:002012-04-16T10:57:43.819-07:00Rock Me<span _yuid="yui_3_1_1_9_1334591825211117"> <ul _yuid="yui_3_1_1_9_1334591825211116"><li>Practiced the heart beat pulse </li>
<li>Wants boyancy on portions like M8, "Oh, Mother, I hear you, on your hear, lies my head", M16 "Oh, Mother , I see you..."; </li>
<li>Worked on the rhythm in M63 "closer" - watch her direction; </li>
<li _yuid="yui_3_1_1_2_1334591825211102">Wants that round, oval sound on all our "Rock me's".</li>
</ul></span>Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-82105286052879337832012-02-20T08:55:00.008-08:002012-03-03T13:33:36.951-08:00Star Spangled Banner*of course, most important is be mindful of what we're singing about! what actually happened!<br />
-Breaths are allowed after the following:<br />
-dawn's early light <breath><br />
-twilight's last gleaming <breath><br />
-perilous fight <breath><br />
-gallantly streaming <breath><br />
-rockets red glare <breath><br />
-our flag was still there <breath><br />
-banner yet wave <breath><br />
-of the free <breath><br />
-big sound on 'gallantly streaming'<br />
-vertical sound on 'light'Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-16148945114603164072012-02-20T08:54:00.008-08:002012-03-25T20:54:24.933-07:00This Little Light of Mine-word SHINE throughout: consistently open and energetic sound; LEAN into it<br />
-word OH also can be interesting<br />
-M10: (light of mine OH this little...) with 'oh' and syncopation, it has a 'call and response' feel<br />
-M30/31: mark downbeats for help with rhythm. ie: <br />
-M30 = 'I'm;' 'let' 1st 'shine' and <br />
-M31= 2nd 'shine' of M31<br />
-M56: will NOT be an S2 solo; our whole section will sing; faster tempo here (Mary says getting to the end of the song)<br />
-M64: shine is RIGHT on beat; avoid coming in earlyMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-76218346294765601882012-02-20T08:54:00.006-08:002012-03-03T13:58:11.489-08:00To Sing is to Fly-M28: vertical sound on 'listen'<br />
-M34 (at E): very quick tempo again, we will 'fly' again<br />
-M54 (at H; last phrase 'to fly and soar'): very soft, piano opening that grows to <strong>ff</strong> double FORTE!Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-67883709992221761502012-02-20T08:53:00.006-08:002012-04-16T11:12:12.945-07:00Tree Song<ul _yuid="yui_3_1_1_9_1334591825211108"><li>** 'As a tree gives so it receives' is about statement; purpose; a gift of the earth</li>
<li>Every time we sing "As a tree gives" - open mouth, drop chin, round oval sound when you sing "As"; </li>
<li>Break after "gives" , before "so it receives" in M25-26; </li>
<li>Be aware of the triplets and douplets, such as in M33-35, and sing them differently; <br />
When we sing "summer and fall" - open mouth, drop chin, round oval sound when you sing "fall."; </li>
<li>At section B, things become playful, and move faster; be ready for that with our "popular, persimmon.."; </li>
<li>When singing "juniper, joshua, jellyfish..", wants a big J for all those J words; </li>
<li>At section C we will start a little softer, so that we can build it to M133 "Roots, trunk, branches, leaves"; </li>
<li _yuid="yui_3_1_1_2_133459182521198">Do not rush the <span style="text-decoration: underline;">douplets</span> starting at M128- "amla, sal, linden, laurel, lilac, larch".</li>
</ul>Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-28581121573631099372012-02-20T08:53:00.005-08:002012-04-16T11:03:16.143-07:00We Go On*song is about the message of the WORDS; keep them front of mind<br />
-in general, open vowels and short, strong consonantsMara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0tag:blogger.com,1999:blog-7191861049927014450.post-65630577083651375982012-02-20T08:52:00.003-08:002012-04-16T11:00:37.601-07:00Why Do They Shut Me Out Of Heaven*song is VERY tongue in cheek; comes with a real attitude<br />
-watch for altos with their Joan Griffith face (her bass playing face)<br />
-M20: 'uh huh' is snarled with attitude<br />
-M25: 'I can sing...' is pretending to be sweet, but not really meaning it<br />
-M30 & M59: notice slides on and 'Yeah' and 'loud'<br />
-Angelic, somewhat sweet and sassy on the first couple "Why do they shut me out..?",<br />
-Emphatic on that first "Uh huh!", <br />
-Flirtatious on the "If I were the gentlemen in the white robes" <br />
-Pippettes, on the "doo" wap parts; <br />
-Crescendoing from the 1st to the 2nd and the 3rd to the 4th "doos, whenever we sing them; <br />
-Thinking about the Power involved in those who judge, when singing "I I were the gentlemen" - Could I be like them? - well, yes, I could; <br />
<div _yuid="yui_3_1_1_2_1334591825211114">-By the time we sing the "Did I sing too loud, too loud..." the final "Too loud" should almost be a shout. Classic Mary.</div>Mara Hennenhttp://www.blogger.com/profile/04574274535094575027noreply@blogger.com0