February 3, 2016/Rehearsal #5

February 1, 2016/Rehearsal #18
February 2, 2016
February 1, 2016/Rehearsal #5
February 4, 2016

February 3, 2016/Rehearsal #5

Dear Ensemble singers,

Thank you for your hard work and professionalism on Saturday. You did such a wonderful job!
AND we had a great rehearsal on Wednesday as well. It is always so refreshing to start some new music, and we had a lot of fun with these Latin pieces!

Action Items for Next Week:

 

  • Review for Wednesday (see below for things to review):

 

    • Plena
    • Eu e Você
    • El Pambiche Lento
  • Complete Musicianship Assignments as outlined on your schedule and below

Eu e Você is very “singable,” partially because it is a Brazilian pop song! Many of noticed that it sounded familiar to you. This has to do with the chord progression in the beginning: I-iv-IV-V. This is very common in a lot of music. It is sometimes called the 50’s progression because of how often it is used in pop music from the 1950s. Can you find one that has it?

Rehearsal Notes and Things to Practice:

Plena

We read all the way through this piece, except for the vocal percussion at the beginning. We are still a bit under tempo, but we are getting close!

Here is a great youtube video to use in your practice.

Things to practice:

  • Keep the syncopations crisp and energetic. No laziness!
  • S1: Review your part from measure 31 to 47
  • For the last section (measure 75 to the end), we are in a Four-part split: S1/S2 on top line, A1 on middle line, A2 on bottom line
  • Start memorizing! This is due for memory on 2/24!

El Pambiche Lento

We read through almost all of this piece on Wednesday–you did a great job!

Here is a great recording you can use for your practice (notice how quick it is!)

Things to practice:

  • Review all spanish language (diction file below!)
  • Altos, review your different parts for each verse.

Eu e Você

We sang all the way through this one as well. Great work sight reading and learning that new Portuguese!

Things to practice:

  • Review the notes at the beginning and the sequence
  • Altos: be careful about when you sing the whole “dm tch tch dm” and when it is shorter
  • Here is a breakdown of what you sing when:
    • Measures 7 through downbeat of 19: Four part split, A2 on bottom line, A1 on middle line, S1/S2 on top line
    • Measures 19 beat 3 through 38: Three part split
    • Measures 39 and 40 ONLY: Four part split: S1 on top line, S2 on middle line, A1/A2 on bottom line
    • Measures 41 through 57: Three part split
    • Last two beats of Measure 57 through first beat of measure 59: Four part split: S1/S2 on top line, A2 on middle line, A1 on bottom line
    • Last two beats of measure 59 to the end: Three part split

There are tons of pop songs that use this progression (I-iv-IV-V). Here are a few I found. You can try singing the “Ah Bem” over the top of them! You may have to adjust the rhythm or the tempo.

Can you find more?

 

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General Musicianship Notes:

Please be sure you are going back and making all corrections Gwen asks you to make!

 

Musicianship A

More sight singing! We came up with a list of questions to ask ourselves before we start singing:

  • Key signature
  • Time signature
  • Tempo
  • Starting and ending notes
  • Sing a tonic and dominant triad
  • Sing the scale
  • Investigate to see if there are any patterns that repeat (pitch, rhythm or pitch and rhythm)

For next week: Complete pages 13-15 of Book IV.

 

Musicianship B

We reviewed the difference between simple and compound time signatures, and we went over the chromatic scale. Please remember to use the solfege on the handout in your workbook. A copy is attached here.

For next week: Complete pages 13-15 of Book V.

 

See you all on Wednesday!

 

Laney

SolfegeChromatics

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