Rose of Tralee

The Irish folk ballad "The Rose of Tralee" was likely written by poet C. Mordaunt Spencer and London musician Charles William Glover in 1846, but the Tralee town council endorses that it was composed by one William P. Mulchinock, a young Protestant man who fell madly in love with his parents' Catholic maid, Mary O'Connor. The less-likely second story is far more charming.

The pale moon was rising above the green mountain,  

2014 Rose of Tralee, Philadelphia's Maria Walsh

The sun was declining beneath the blue sea;
When I strayed with my love to the pure crystal fountain,
That stands in the beautiful vale of Tralee.
     She was lovely and fair as the rose of the summer,
     Yet 'twas not her beauty alone that won me;
     Oh no, 'twas the truth in her eyes ever dawning,
     That made me love Mary, the rose of Tralee.

The cool shades of evening, their mantle were spreading
And Mary all smiling sat listening to me;
The moon through the valley, her pale rays were shining
When I won the heart of the rose of Tralee.
     She was lovely and fair as the rose of the summer,
     Yet 'twas not her beauty alone that won me;
     Oh no, 'twas the truth in her eyes ever dawning,
     That made me love Mary, the rose of Tralee.

((The following inferior verse is not in many versions:))

On the far fields of India, mid war's bloody thunder,
Her voice was a solace and comfort to me,
But the cold hand of death has now torn us asunder.
I'm lonely tonight for my rose of Tralee..
     She was lovely and fair as the rose of the summer,
     Yet 'twas not her beauty alone that won me;
     Oh no, 'twas the truth in her eyes ever dawning,
     That made me love Mary, the rose of Tralee.

The inspired-by-the-song "Rose of Tralee" International Festival seeks the world to crown a young Irish (or descendant) lady "lovely and fair as the rose in the summer."  Surrounded by global celebration of Irish culture, the  Festival takes place mid-August in Tralee, County Kerry, Ireland with street entertainment, carnival, live concerts, theater, circus, markets, funfair, fireworks and an internationally renowned Rose Parade. 


We Portlanders are reminded of another Rose Festival.

Timberliners performance routine

I've never quite written up the Timberliner's routine for a performance before, but this is a good opportunity, since we have, instead of a regular rehearsal, 2 gigs:

First:  The Pythian home, 3406 Main St, Vancouver Wa

6:00 pm arrive and gather.  Find a warm up room

6:05 Do an easy warm up in four steps.
    +++And if a singer runs late (traffic will be thick), one can do these solo on the way.
    +++ And if I'm running late, any assistant or section leader can run these
1 ~ breathe in, sing and hold long E, F or G  on  "aw" for 15 seconds,  Make it beautiful, easy and loud.  Several times.
2 ~ while you do that, relax jaw, face, shoulders, stretch.
3 ~ Next, slide that beautiful note around low and high, loud and soft.
4 ~ Next, several 9 note scales key of B, C, C#, D, E, F, F#, relaxed and easy and in tune.

~  Get in something close to our standing order, se we can hear each other and 
~  Sing MayMeMyMoMu, balance and blend and tune, keys G, G#, A, A#, B, C, C#, D, D#, E.

6:12  Confirm our EmCee and Pitcher and Conductor.   
6: 13 Get out the song list for this gig and sing the starts thus:
    take a pitch, take the chord,  sing two measures.
If it's good, go on.  If it's not, try again.

During this, run one or two songs that likely need it: 
   (This week, though, we likely have them all well :)
6:25  Look at uniforms, gather stuff, then head to the performance room.
 
6:28 Set up chairs, say hello to folks, get in position.
6:30 We sing, EmCee, Pitcher and Condutor get us thru it.
7:00  We stop and greet this audience real friendly.

Note:  One thing we DO NOT DO is criticize our performance where any audience member can hear, EVER.  If you have to tell somebody about a mistake we made, tell us sometime when no one outside the group can possibly hear us.  On the other hand, ALWAYS COMPLIMENT what is WELL DONE in front of anyone you like. 




7:08  Drive to the next gig:
Second: Kirkland Union Plaza, 1414 Kaufman, Vancouver
 
7:13 Set up chairs, say hello to folks, get in position.
7:15 We sing.
7:45  We stop and greet this audience real friendly.
7:55  Drive to  wherever you like next.


Yours,  Gary

Beethoven Ninth notes, December 2014

Having just participated in Oregon Symphony Orchestra's annual New Years Eve Concert on 2014 Dec 30 and 31, rather than write a review of the concert (which I didn't really hear, being in the tenor section), I thought I'd post the performance notes given to the singers in rehearsal by OSO Music Director Carlos Kalmar and our rehearsal director, Ethan Sperry.

Meeting with and working under Ethan is the reason I decided to do this concert.  I've had plenty of Beethoven 9, and even with Maestro Kalmar before.  Dr. Sperry, though, is new to me, despite my having connections to Oregon Repertory Singers and Portland State University that he's now led for years.  He did not disappoint, bringing new ideas to the piece, its significance, and singing and music in general, all while preparing 130 singers (many of whom were new to B9) in only two long, but well paced rehearsals. 

Generally:

"It is especially fitting that members of so many choirs, Portland Symphonic Choir, Oregon Repertory Singers, Portland Gay Men's Chorus, Pacific Youth Choir, and Portland State University's Chamber Choir and Man Choir, (am I forgetting anyone?) are joining forces to present this music all about brotherhood and the community of all humanity."  ES

"Portland should, once a year, get everyone together for something like this.  Thank you for being here." Carlos Kalmar

"Recent scientific research tells us that our ears recognize instruments not by the ongoing sound, but by the initial attack.  When they edited out the first instant of a trumpet blast, a violin bow-stroke, or sung consonants, few could tell one on-going sound from another.  Singers can take advantage of that by putting their consonants ahead of the beat, so that entire sound of the doubling instruments supports the choir."  Ethan Sperry.

"Never sing louder than lovely"  Ethan Sperry, quoting his teachers.

"You don't have to sing every single note.  You will need extra breaths in the fast and loud passages, and there are a lot of them in Beethoven 9.  It's okay to drop out two or even four notes so you have a well supported and beautiful sound."

"Carlos is a fantastic choral conductor. He will show you everything you need.  And he changes things.  Do the study you need to get out of your score so you can keep your head up and watch him."  ES

~ This proved to be great advice.  Carlos' wife Raffaela went into labor on Dec 30, and resident conductor Paul Ghun Kim took the podium with no rehearsal or prior experience conducting Beethoven 9.  The choir and the orchestra followed him flawlessly in new tempos.  Paul's comment on the choir: "Wonderful".  The baby was announced as a healthy girl, and Carlos got a standing ovation on entering the stage on Dec 31.

Specific Notes for Beethoven's Ninth, "An die Freude"

m 238-240 EVERYONE, men and women both, sing "FffRrrrEU-de" on the A below middle C please.  KC
   Do not sing angrily loud; it's a bright explosion of joy.  ES

m 257- 264 Sopranos, double the alto.  Tenors, double the bass.  The tenor, as Ludvig wrote it, is UN-singable. ES
"This is your music that tells the audience why you have been waiting for 45 minutes in full view; make them joyful that you did." CK
m 264 make the half note a quarter note with quarter rest.  CK

m 286 Basses JA! is full agreement. CK
m 287 everyone else agrees, too. CK
m 289 "nie" the "sf" is not an explosion.  Beethoven uses "sf" to say "this is the important word in the phrase"; lead up to it then come back from it.  ES
m 292  make the half note a quarter note with quarter rest.  CK

m 313 in "Küsse" the K is strong before the beat and  the "ss" is even longer before the beat with a break.  CK
m 313 - 319 Elegantly please.  No forcing, especially tenors and sopranos.  UN-accent beats 2 and 4 almost always.  ES
m 320 -234 all half notes are quarter notes with quarter note rests. CK
m 330  "Carlos makes this a loooooong fermata"  ES
m 330 "this is a loooooong fermata."  CK.

m 411-431
"What is English for 'Bierhalle'?  Oh, Bierhalle works here?   Ah, of course, this is Portland!"  CK
"Get out your beer steins! "  Both gents
"Maybe it's that we Portlanders take our beer in cups, so we don't slosh them around.  Maybe it's that they don't mind spilling beer in Germany because beer is cheap."  ES
m 411 the L of Laufet must be well before the beat.
m 417 etc.  "Held" needs his "t". Omitting it makes "ein Hel", something completely different.  (thank you, Doro)
m 431 Some scores have a tenor D.  It should be a Bb.

The Famous Chorale

m 545-590
"Joyful, loud, exuberant, mit bier" CK
"Where you have them, bring out the eighth notes by backing off the prior quarter just a little"  CK
"All the syllables are not equal.  Beethoven put the unimportant syllables on the off beats.  Let them be unimportant."  ES
m 535 "There is no English word for Feuertrunken, and most modern Germans don't know the word either.  When you use it they just look at you, but feuertrunken, happy drunk with fire,  is what you have to convey"  CK

m 595 "Don't come in early.  Circle the rest!  Make less of the unaccented closing syllables."   ES
"Gentlemen: sing tall, commanding, and rather separated" CK
m 601 (and 608) "make Kuss half "u" and half "ss" with a break"  both gents
m 604 (and 610) "Welt is a whole note with "t" on beat three half rest." both
m 605 "Ladies are very lyrical here.  Men make four rather detached notes, then accented singing" CK

m 620 "Very warm and loving here for "Brüder!"  CK
m 622 "-zelt" is a half note for everyone, then stress your next 'muss'.  ES

m 631 "Ihr" is very warm and beautiful, then spit out at "stürst" CK
m 632 "nie-" is stressed and "-der" is less.  CK
m 633 the crescendo is good. CK
m 635 is subito pianissimo, building evenly to "Welt?".  CK
m 639 subito pianissimo again, then building again.  CK
m 643 "I rely on the altos.  The sopranos are impossibly high, the tenors are screaming, the basses are too high to sing well, but the alto is just right in the range and a beautiful leap I love to hear.  Please delight me." CK
m 645 (and other places)  "muss" has a short vowel, and "er" needs a space before it.  Practice this   "Mu-" (eighth) pause (eighth) "-ss" (eighth) pause (eighth) "er" (full value).  Here we go." ES

m 650 "Robert Shaw, to get louder or softer sounds from a section, would add or subtract people, not as a comment on their singing, but to get the sound he needed.  Sopranos, especially seconds, if you cannot float a relaxed, pianissimo, high g on "ü", simply don't sing it.  Second sopranos and altos, same for the the e: if you cannot float it, just open your mouth and pretend to sing, and it will be beautiful" ES
"That was simply beautiful"  ES    (It was.  GS)

The Fugue. m 655-729

"Altos, I really want to hear the main theme, and where ever else it occurs, please." CK
"Actually, Carlos doesn't really need the main theme really loud: it carries and I hear it completely cover the bouncy second theme, so please do this:  Bring out the bouncy, joyful "Freude" theme most.  When you have the main "Seid umschlungen" theme, pulse and sustain each note, especially the first few, but it's just a little softer.  Everything else is unimportant, marked down a dynamic or two.  The only exception is the bursting "Freude!" and you sing those out.  Can that be how we do it?"  ES
"Pity the altos.. the parts are harder than yours, and it takes them too low AND too high." ES
m 720 to 724 first note, a few (5 of 30) tenors on the alto, then back to tenor.  EK

m 730 "At Rudolph (rehearsal letter R), NO crescendo, tenors, til 738" CK
"The short notes are pick-ups to the half-notes.  Put them right on the beat.  Anyone may double the four bars before or after they sing softly and accurately"
m 745 the tempo broadens a little and this is full and warm and inviting.  CK
m 749 is a little folk song that ends at 762 lilting and lovely.  CK
m 753 breath after "-zelt" and ES
m 757 breath after "wohnen". ES
m 758 Alto, the first note should be C-natural, not C sharp.  CK

m 795 "don't worry, I will bring you in there."  CK
m 806 (and 827)  "Alle" is very bright and right in rhythm.  CK
m 806 "Give Alle a double accent, once when you enter and again on the tied quarter, almost "ahaaalle"  ES
m 811 "Brüder is the top of the phrase, swell to it and away from it with a breath. CK
m 812 Sopranos, make the little turn lovely and relaxed, but please do it together.  CK
          "Sopranos, when you sing that turn, wink at Carlos.  I mean, the turn is the wink." ES
m 814 "I will give you the cut off like this: CK demonstrates a downbeat and a second downward grabbing gesture.
m 831 "is right in tempo, please come in see the new tempo at 832 for the "Menschen"  CK

m 851 "is very, very fast.  Memorize."  ES.  (It was.  I did. GS)
m 865 "everyone separate the eighth notes so we can hear them.  Basses, stick to your quarter notes and make us notice them." ES
m 880 "All fortissimo, with accents on the down beats. ES
m  883 "Welt" gets a full quarter before the "t" and breath every time. ES
m 916 "the fortissimo is full and the piano is subito" CK
m 920 "Just watch,  You'll see right where "fun-ken" goes in two and please do not rush it.  But the orchestra is hammering loud there, no one will hear it."  CK

"Let's do this again sometime"

But we heard it, and we got it right both times.  Personally, I came of both performances fresh-voiced: those 130 voices meant the singers didn't need to struggle to balance, nor had we sung a long dress and warm-up on opening day: the dress was the night before.  It was a happy experience for me, and I'd do it again.

Yours, Gary.

Chorister's Guide

A Choristers' Guide To Keeping Conductors In Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upmanship. The following rules are intended as guides to the development of habits which will promote the proper type of relationship between singer and conductor.

1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.

2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It's best to do this when the conductor is under pressure.

3. Bury your head in the music just before cues.

4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.

5. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose.

6. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time.

7. At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing.

8. Wait until well into a rehearsal before letting the conductor know that you don't have the music.

9. Look at your watch frequently. Shake it in disbelief occasionally.

10. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone.

11. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique" so challenge it frequently.

12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the "subtleties of inflection".

13. Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, "Is this the first time you've conducted this piece?"

14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.

15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget.

16. Summary:  Make every effort to take the attention away from the podium and put it on you, where it belongs!

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

this is a mirror post from http://www.ahajokes.com/vocal.html

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

Carmina Burana expressions translated

It's easy find translations of the lyrics of Carl Orff's "Carmina Burana" from places like ASO Chorus.org and even YouTube-videos:

You can even find all sorts of fun trivia about the music itself and parody "mis-heard" lyrics (handy when you need to memorize).

But where is the translation of the many unusual Italian instructions that the German Carl wrote in his score for the musicians?  You have to know those along with the more typical Italian words describing music if you are going to sing the thing, like Portland Symphonic Choir will soon.

I couldn't find them already gathered anywhere.  So, starting with the title then by movements without much (explanation) [insertion] else, here are:

Orff's Italian and Latin expressions in English

Carmina Burana:  Songs [of the Benedict monks] of Beuern [in Bavaria, Germany]

Cantiones profanæ cantoribus et choris:  Secular music for singers and choruses
cantandæ comitantibus instrumentis: to be sung together with instruments
atque imaginibus magicis: and magic images (projections)

1.
Fortuna Imperatrix Mundi: Fortune, Empress of the World
Pesante: heavy, ponderous.
poco: a little
stringendo: pressed faster
attacca: go on without pause

2.
sempre: always
ben declamato: well declaimed

3.
I – Primo vere: Part 1 - In springtime (literally, "first truth")
un poco pesante: a little ponderous
Coro piccolo: Little chorus
molto flessibile: very flexible
espr.: espressivo: expressive
poco più lento, tranquillo: a little slower, tranquil

4.
sempre molto: always very
rubato: robbing duration of some notes for others at whim. (literally, "stolen")

5.
Con ampiezza: with breadth
quasi allegretto:  somewhat fast
stacc: staccatto:  detached
legato e più sciolto:  smooth and looser
allegro molto:  very fast
ma un poco più accelerato: but a little more accelerated
ancora più presto di prima: even more quickly than before


6.
Uf dem anger: In the meadow
Tanz:   Dance

7.
cullando:  rocking
poco più mosso:  [with a] little more movement
dolcissimo:  very sweetly
Coro grande: Large chorus

8.
quasi andante:  like an andante (medium slow tempo)
semplice: simply
a bocca chiusa: with lips closed (humming)

9.
Reie:  round dance
esitante:  hesitant

10
unis. unison:  as one together
poco: a little
ritenuto: suddenly holding the tempo back

11.
II – In Taberna: Part 2 - in the tavern
con spirito:  with spirit
con slancio:  with rushing
stentato: broken

12.
lamentoso  lamenting
sempre ironico: always ironic

13.
libero improvvisando: freely improvising
gesticolando e beffardo assai: very gesturing and mocking

14:
sempre eccitato: always excited
staccatissimo: always very detached
con rumore: with noise
subtio molto stentato: suddenly very broken
sfrenato: unrestrained
selvaggio:  savagely
scatenato: unleashed
accel. possibile: accelerating as much as possible
urlante: yelling

15
III Cour d'amore:: Part 3. Court of love.
Ragazzi:  boys
un poco impertinente:  a little impertinently
con extrema civetteria:  with extreme coquettishness
fingendo innocenze:  faking innocence
flebile:  feebly

16.
tenero: tender
ma sempre esagerato: but always exaggerated
affettato:  mincing

17.
lusinghevole:  flattering

18.
ardente:  ardently
con calore crescente:  with increasing heat
molto appassionato:  very impassioned
ancora più mosso:   even more moving
brioso: lively

19.
allegro:  fast (literally: happy)
buffo: funny
con comica esagerazione: with comic exaggeration
lunga: long

20.
martellato: hammered

21.
molto amoroso: very loving

ma: but
sempre velato: always veiled

con estrema sensibilità: with extreme sensitivity
smorz.: smorzando: dying away

22.
piu lento: a little slower

23.
con abbandono:  with abandon

24.
Blanziflor et Helena:  Blancheflour and Helen [of Troy]
                                 (two beautiful, chaste women of disparate legends)
ten.  tenuto:  held


-----------------------------

Let me know if I missed anything, please.
G.


references:

http://dictionary.onmusic.org/
https://translate.google.com
http://en.wikipedia.org/wiki/Carmina_Burana_%28Orff%29

Arrangement Difficulty ratings

Hi Gary,
What is it that determines the degree of difficulty of a song?  With recordings, now available, and with 
the different voices prominent, isn't this "rating" 
still important?

Thanks,
DH

Good question.

"Difficulty ratings", even in carefully defined fields like piano playing, are always somewhat subjective. 
Barbershop Harmony website that lists all the arrangements and their difficulties as "easy", "medium" or "hard" makes "Hello, Mary Lou" the standard as a medium difficulty.   I agree.

Any director will  look for things that are neither way too easy nor way to hard in all of several areas:

Barbershop voicing.  (Leads have a hard time learning harmony for more than a few notes)
Range of the parts. (Highest note and lowest note of each part)
Tessitura of the parts.   (Where the part mostly lies:  staying low or high is harder)
Leaps in the harmony parts.  (lots are hard; few are easy)
Key center shifts (are interesting, but hard. "folks dressed up like Eskimos")
Harmonic complexity. (Many accidentals make for tricky singing)
Rhythmic complexity.  (counterpoint and drum-like parts are fun, but tricky)

This demands that directors have a good assessment of their group, what they can do, and how well they do it.  Even one "too difficult" area can make the song never quite fly.

As a side note about considering arrangements for programming, you also consider:

General popularity of the song at its heyday (and if your target audience will know it)

Mood and style of the piece (is it fresh or repetitive in your repertoire?)

"Backgound" style gigs

Two kinds of performance styles are "Concert" and "Background".

Concert Style is where an audience is attentive to you the entire time.  Then, you do all the staging, narration, jokes and whatnot that make the most engaging performance you can make.  For concerts, audience response is predictable, whether it's the wild dancing cheers of a hard rock concert, or the retrained quiet of classical chamber music applause or anything in between. Nearly everything in a singer's training, craft and technique assumes you're doing concerts.  

 

But there are times where the audience is changing, or have other things to do while you perform.   Outdoor gigs in entryways or walkways often are like this:  people have business to do and can enjoy you at most for a few minutes, then on they go.  If folks are mingling over drinks or dinner while you're performing, they might listen a bit, and even shush each other so they can pay attention to you, but the social pressure to mingle often rules the room and it seems you're not a center of attention.

 

This is were you use "Background style", where all you do is sing the songs beautifully and smoothly without demanding that anyone pay much attention.  In these, you don't do the patter, moves or jokes, just sing pretty and look pretty as you can.  This removes the pressure of the audience to split their attention for you and leave it on each other. If people are noisily chatting, you don't try to overcome them with loud music:   all they can be louder than all you.  Rather you simply make relatively soft, beautiful background music and sing "under" the noise.   Think "Elevator Muzak"

Background style gigs can be disheartening.  Passersby mostly look away from you, and the room seems devoted to ignoring you.  Maybe you are being slighted or taken for granted, and you'd wonder why, with all your talent and preparation, you are doing THIS.  Still, if this is a paid gig, remember that someone has made your music a gift for these people.  Give it.  By all means, smile and sing well, despite the apparent put-down.  There is one little artistic reward: it's rather like an open dress rehearsal for the music only.    

 

One variation of the background gig is the "Table stroll", used where the room is large and filled with chatty people and there is no way the people on the far side of the room can hear you.  What you do is move your group from area of the room to area of the room every few songs.  By the end of the set, you might have walked all around the room so that, while no one there heard everything, everyone heard something.  This turns a "background" gig into a series of mini-concerts.  

 

Sometimes a booking changes from "background" to "concert" if an audience gathers, or you find a few people who are very interested in what you are doing.  While they're there, you do a "concert", then when they disperse, you go back to "background" style.  Shifting to "concert style" or to "background" requires the Emcee and director notice who is listening or not and how intently, then make a judgement call which to do.  When in doubt, use "background style".  If it's clear the audience is responding to you, switch over to concert style, then back when they are not.

  

 Street performance, or "busking" style just about between concert and background:  you want to be present enough to get paid, but not demanding enough to be unapproachable.  With luck and skill, you can take a page from the busker's book to make a background gig into a concert gig by reading and working your passersby into an audience by demanding their attention thru superb performance and presence.

This all comes down to giving your customers what they need and want, whether it be a blowout enthusiastic concert, or simple songs to set a mood.