UOSCC Spring 2019 Rehearsal Journal
Rehearsal 1
This was the first rehearsal of the new semester to prepare for the concert on 29th April. As the first session after the winter break, the aims of this rehearsal were largely logistic: to distribute music and welcome new members. Simpler music that encouraged airflow and attention was scheduled for the first half, while introducing the unison rhythms in After I am Gone, the associate conductor and the German language was programmed for after the break.
Despite a few communication issues, the room was setup and music handed out efficiently. The H-E-L-L-O exercise that I’d introduced the previous term was a useful introduction and focus tool. I believed at the time my warm-up was effective but later feedback suggested the Sopranos and Tenors especially would have benefitted from further warm-ups of the higher range. Three Country Dances was an appropriate introduction piece to teach orally, as it’s simplicity allowed for the choir to properly learn the first half within a short space of time and perform it attentively and with energy. The Tomkins was a natural development stylistically, and we sang through the first section well but with uncertainty from the basses. The intention to focus on the rhythmic theme of After I am Gone, both at the beginning and when it returns was constructive, as combining this with the notes afterwards was much simpler. Being quite well-known, the initial rehearsal of The Seal Lullaby without Piano accompaniment was quite smooth and singers were attentive. The second movement of the Mendelssohn indicated that learning the German would need much attention through the process.
Rehearsal 2
Due to another ensemble overrunning, this rehearsal began almost ten minutes late. The warm-up began with basic stretches, yawning and facial massage. I proceeded to focus on warming up the higher ranges after sopranos and tenors had requested so after Rehearsal 1. Exploration of the lower range and different consonants were required for a more well-rounded warm-up.
My priority this rehearsal was to build upon the work from the previous week's rehearsal and try and speak through as much of the German pronunciation of the Mendelssohn partsongs as possible. I spread movements III, V and VI throughout the rehearsal, each time speaking through the first page of text, then singing the parts without the text (to “ba’) before combining these together. Using ‘ba’ was useful for learning notes but evidently did not encourage proper airflow or engagement. While most of the Tomkins motet had been touched upon at this point, the choir were very unsure of the music and resisted dynamic direction and expression, making this item a prime candidate for external sectionals. The introduction of After I am Gone (especially the central rhythmic motif) in the previous week allowed for more confident coverage of the new sections. I briefly returned to Three Country Dances despite the schedule as a focus exercise. Attention was poor overall, most likely due to a lack of stimulus while speaking through the German and the difficult repertoire giving the impression that little progress was being made.
Rehearsal 3
It was vital to introduce the remaining repertoire at this stage of the rehearsal process to ensure that member's had a rough understanding of each piece and the programme overall. Using reflections from the warm-ups of the previous two sessions, a varied use of exercises to explore not only the higher range but also lower range and diction allowed for a more varied warm-up. Learning the second half of Three Country Dances was slower as more time was needed to review the first half before joining to the second part. I struggled to convey the sudden speed changes in the duple metre of the Mendelssohn I due to a lack of contrast in gesture. Unfamiliarity with the music was also a factor and rehearsing just the words in rhythm more extensively may have been beneficial. Lower and upper voices split after the break to work on separate pieces. The lower voices quickly familiarised themselves with the glee Breathe soft ye winds upon getting a feel of the upbeat and romantic character. While the basses held a useful sectional, the other parts were introduced to the SAT piece The Waterfall. While the choir struggled with some unison triplet rhythms and use of dissonant harmony, the piece was sight-read well with energy and enthusiasm. While not the best rehearsal in terms of accuracy, the choir displayed clear signs of ensemble and engagement with interpretation of pieces.
Mid-week note:
The choir had difficulty understanding the triplet minim rhythms in The Water-fall, and a similar motif appeared in After I am Gone for the sopranos. I made a note to explain these rhythms and address both pieces in the next rehearsal.
Rehearsal 4
This was the first filmed rehearsal, with the intention to demonstrate some familiar material and some new developments to provide a useful indication of progress at the end of the process. The presence of camera did not improve focus as expected, and due to unforeseen circumstances a level of tension was exchanged and absorbed between the choir and conductor. With Mendelssohn movement IV, having everyone speak through the text and singing a single part successfully allowed for coverage of the entire movement. The choir were reluctant to watch the conductor when sight-reading leading to moments of slowing tempo, and rehearsing at a slower tempo for a longer period may have helped. Exercise to understand compound rhythms in The Waterfall and After I am Gone by re-grouping triplets lead was only understood by some members, leading to talking and disruption. While the triplet subdivision and regrouping exercise was successful at first, miscounting was still a major problem when singing with pitch and on respective parts. Unfortunate instances of choir wasting time by carrying on after conductor signals to stop. Due to the choir as whole not responding with intention to stimulus, and the conductor failing to recognise the need for a slower, more detailed pace the rehearsal was stressful, with some constructive moments of repertoire development.
Rehearsal 5 - Accuracy focused rehearsal with intention to review covered repertoire.
Note: Up to this point the lower voices were less confident with the difficult repertoire and therefore less attentive in rehearsals. It was suggested by a fellow choral leader that I swap the seating with the upper voices, not least to provide a change and observe responses in the rehearsal. See image [1].
Rehearsal 6
Began the rehearsal standing to properly rehearse Three Country Dances in the arrangement planned for the concert, see image [2]. I integrated some warm-up exercises from solo singing, including a simple but effective stretch by placing the arms above the head in a triangle shape, and staccato arpeggiated vowels to encourage continuous airflow and soft onset.The choir’s memorisation of the Three Country Dances was reasonable. While asking for smiles and individual interpretations of character from each voice part improved tone, attempts at engagement or vocal line and contrasting dynamics achieved little, partially because the exercise of singing while walking around the room encourages the first but distracts from concentration. Aspects of performance often seemed more present than technique. Focus was kept during The Seal Lullaby. The slot was mainly focused on accuracy, with beginnings of interpretation being addressed. Further rehearsal of Breathe Soft Ye Winds improved accuracy and some appropriately bright sounds achieved. Some notes rehearsed for After I am Gone, but a lack of security at this stage was disconcerting.
The easier movements II and III of the Mendelssohn partsongs were confident and performed with enthusiasm.
[1]
[2]
Rehearsal 8
Unusually, the rehearsal was at the concert venue as the opportunity arose, and experiencing the larger space proved useful. Due to availability some slots had to be rearranged last minute, allowing for longer warm-up and a run of Three Country Dances. Attempts to explain structure not very successful. This was first rehearsal with Seal Lullabuy accompanied, previously rehearsed acapella. Balance issues and lack of confidence appeared. I explained the need to practice each key moment of transition during the Mendelssohn, and ran through each effectively. Concisely explaining specific goals aided concentration and willingness to cooperate. People nervous about the more contemporary After I am Gone, affecting tempo and ensemble, but so late in the process it is key to keep going and enjoy singing, this view was reflected by the visiting composer. One particular moment of transition had not been adequately rehearsed, and an unequal amount of time was spent trying to correct it. It was suggested to me at the end of the rehearsal by the visiting accompanist that despite not being in the score or my artistic preference, bringing the choir off and giving a separate cue may be more successful and safe considering how far we were in the process, rather than carrying through and risking a loss of ensemble.
Concert Day Rehearsal
The adrenaline from the day of the concert improved energy and performance intention. Split voice range pieces (Even When He is Silent and Breathe soft ye winds) and student composition (The Water-fall) the most secure, with the emotional meaning within the texts conveyed well. When David Heard proved problematic due to an unforeseen shortage of altos for the split parts, but the extensive rehearsals early in the process allowed for a secure structure overall. A run-through of Lord, for thy tender mercy’s sake with the quartet of section leaders allowed for some of the intonation issues to be rectified in the larger space, and both balance and dialogue between the voices was clear. As the largest items of the programme, the Mendelssohn partsongs and After I am Gone were priority and were sung through without serious issues, with some great moments of dynamic contrast especially. The final rehearsal was more optimistic than in the final few weeks, and provided insight into the most effective moments to come in the concert later in the day.