Do you KNOW the way to San Jose?
We all “know” a bunch of things. Based on my pretty good high school physics class (and an especially clear Popular Science article), I “know” how an atomic explosion works. But I would not be a good choice for the nuclear bomb team. My pre-teen kids ‘knew” how to drive better than their parents, if one had judged from their freely offered advice. But we didn’t let them behind the wheel.
Do you KNOW the notes?
Like fission and road-smarts, music-making requires a higher level of knowing than simple acquaintance with the elements. We must know in a way that allows us to dependably and independently accomplish the music in a meaningful way. This means that we’re able to be less focused on note concerns and more conscious of the musical possibilities within this great score. We can be expressive; we can be out-of-our-music; we can have fun. If our knowledge of the Rutter is simply general, we don’t KNOW it yet!
In the next few days (before next Monday’s rehearsal), please check the score(s) to see what you truly KNOW: Can you sing (yes, truly sing by yourself!!) all your notes in tempo? Can you say/sing the words without struggling, in tempo? Can you perform the dynamics as indicated? Can you find your entrances (both pitch and rhythm) in context? Being “close” is not enough.
We have wonderful learning aids via the internet - and I strongly suggest that you vary your use of them: Switch between the websites to learn your part in different settings. As a challenge, turn off your voice-part and sing against others. If allowed on a particular site, change the tempo drastically. [Slow is very good!]
Many thanks to all of you who have committed yourself to studying and practicing the music! Your good work is obvious, and there was fine progress on Monday. We all sense, however, that much remains to be conquered in such a short time. Try to find your personal trouble spots and spend some focused effort there. If you’ve neglected your study, please understand how important your role is and redouble your efforts.
You’ve been given many markings in rehearsals, but you may not have all. Before Monday, please check and mark your score, in pencil, as given below for the first movement. It takes a little time, but it’s important that we not use any more valuable time to mark. [Mr. Rutter’s original markings are indicated in bold.] The rest of the score markings will be provided you during the next few days or with a handout at Monday’s rehearsal.
| Mvt. I: | ||
| m12 | SA | circle quarter rests |
| m14 | SA | ‘t’on 2 |
| m16 | SA | carry over after ‘magnificat’ |
| m18 | SA | carry, no breath |
| m20 | All | circle quarter rest |
| m28 | All | circle ‘mp’ |
| m34 | All | circle beat 2 rhythm |
| m40 | TB | lift after 2 |
| m44 | All | circle rest |
| m46 | TB | ‘t’ on 2 |
| m48 | TB | no breath and crescendo during dotted note |
| m50 | TB | no breath after beat 1 |
| m56 | All | no breath after 1 |
| m62 | SA | no breath after 3 |
| m70 | SA | no breath after 3 |
| m74 | All | breathe before 3 |
| m97 | All | change tied half-note to dotted-quarter, insert eighth-rest |
| m102 | All | watch tuning on F-flat |
| m123 | S | carry after meus |
| m127 | S | lift after deo |
| m131 | SAT | lift after 2 |
| m161 | SSA | lift after 2 |
| m161 | B | carry to 162 |
| m164 | SSA | no breath |
| m168 | SSA | lift |
| m172 | SSA | lift |
| m191 | All | no breath |
| m199 | all | lift |
| m225 | SAT | lift after 4 |
| m227 | All | “breathe on last eighth of bar” |
| m229 | All | good breath before m230 |
| m231 | All | lift |
| m233 | All | lift |
| m265 | SA | carry |
| m266 | SA | carry |
| m271 | TB | no breath |
| m273 | ATB | lift |
| m275 | All | lift |
| m281 | All | lift after 1 |
| m283 | All | carry |
| m285 | All | lift |
| m297 | All | ‘t’ on ‘and’ of 2, insert eighth-rest |
| m299 | All | carry |
| m308 | All | no breath |
| m309 | All | no breath |
| m311 | All | ‘t’ on ‘and’ of 2, insert eighth-rest |
| m313 | All | ‘t’ on beat 1 |
