Rehearsal Notes and Zoom Recordings
Rehearsal #1 2026-01-11
Rehearsal #2 2026 01-25
Rehearsal #3 2026 02-07
Rehearsal #4 2026-02-22
Rehearsal #5 2026-03-08
Viva la Musica Rehearsal #1
2026-01-11 Zoom Recording
Preparation for second rehearsal, Sunday, January 25, 2026.
Pointers for your own practicing
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Use the resources on www.vivalamusica.org for translations, Latin pronunciation (general guides and these texts specifically), part learning aids, and recordings.
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Write measure numbers in your scores.
Only measures with a downbeat are considered full, "number-able" measures.
Without a downbeat, no matter how much else there is, it ain’t a countable measure.
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Write translations into your score.
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I like to write the meaning word above the Latin word.
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Text translations are on respective repertoire pages on this website.
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In Coronation Mass mark differently choral and solo entries.
That way it is easy to see when you are about to sing and when you can stop looking at the music because the soloists are singing.
I use a yellow highlighter for choral entries and a pink highlighter for solos. The colors don’t matter but the differentiation between the two matters a lot. The point of marking stuff in your music is so that you become so familiar with the music that you don't much need the printed page andthat it doesn't gobble up all your attention. You want that to go out, not get sucked up by your binder.
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The Coronation Credo and Haydn Te Deum are the wordiest, the least familiar Latin, and the most contrapuntal musically.
So in your own practice, give these two pieces a lot of attention.
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Start memorizing the first Coronation mvt: Kyrie Eleison, Christe Eleison, Kyrie eleison!
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Practice saying the Latin slowly, in correct rhythm.
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Pay attention to the beauty and consistently of the vowel sounds that I ask for in rehearsal and that you hear on the Latin pronunciation guides on this website.
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Printed word syllabification may need to be changed to fit how we divvy up sung syllables, particularly consonants that end a syllable.
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Practice pitches slowly on "doo" or any neutral syllable.
Use a pitch checker
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Practice everything slowly for now.
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Practice something every day.
That way the music has a chance to start living in you and you in it.
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Read program notes on this website and anywhere you find them to learn something about the pieces.
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Please send Shulamit resources you have found that could be useful to others.
Prep notes from Tuesday January 20, 2026 for
Our second rehearsal of thirteen is this Sunday, Jan 25, 2:00 PM —5:30 PM
Island United Church, Balclutha, Foster City
There is much benefit all round if you can be present in person. For distance singers, participating in the live Zoom is also super helpful for you and everybody. If you cannot attend live, the recording will be posted hopefully the day after rehearsal. At the very least, listen, watch, and practice with the rehearsal recordings.
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Prep for Rehearsal 2
A pitch checker:
Handel Zadok
1. In three sections or movements:
Section 1 orchestral intro then "Zadok the priest"
Section 2 “And all the people…”
Section 3 “God save the King…”
Number the measures starting each of the three sections at m 1.
2. Section 1, eighth note pairs are sung as dotted eighth sixteenth, as in the accompaniment. Section 1, m10 and m25. Change the written rhythm to reflect sung rhythm.
3. Mark (above the syllable ) emphasized syllables with “ —“ and unemphasized syllables with an upward cup:
3. Section 3 sixteenth runs: Prepare the following runs by singing super slowly and checking pitch. Sing light, slow, and on “aah”. Emphasize the groupings with a small — on the first of every four sixteenths.
Bass PU to m 7–m 10 (same as B PU to m 52—54)
Sops 1 and 2, PU to m23—25
A1 and 2 unison, T and B1 unison PU to m 31 (most of m 30)—32
For Haydn and Mozart:
If you have not yet written a translation for every Latin word we will sing, do that post haste. I like the literal meaning. And I don't care about sentence structure. When I sing a Latin word, the meaning is in my consciousness and thus might be evident in the sound. Seem unlikely? Try it! Remember emotional contagion. If you don't know what that is, read my dissertation! All 350 pages of it!
Haydn Te Deum
1. Listen to the Latin (https://www.youtube.com/watch?v=1HFUdaRWhNk) also posted on https://www.vivalamusica.org/zadok-empress-maria-theresa
This is some of the least sung Latin for most of us, so working with the excellent pronunciation guide is super helpful.
2. Again, mark emphasized and unemphasized syllables throughout. Notice how the emphasized syllables are often on longer note values or on stronger beats (1 and 3 in 4/4).
3. Esp practice mm 40—58, contrapuntal— make entering voices clearly heard.
4. Similarly, mm 84—114.
5. And the biggie: PU to m 141-177.
6. Check the syncopated rhythms in mm 170-172; 174-176; 178-183; 184-188.
Mozart Coronation
If you have not watched the Von Karajan -Kathleen Battle 1985 recording, do! It is the apogee. Here it is on the Viva site:
https://www.vivalamusica.org/coronation-mass-text-translations.
For every movement in which both choir and soloists sing, mark the choir entries in one color (yellow) and mark the solo entries in another color (pink). Pink tells you to look up and out.
Where/ and How Much: Solo / Chorus
Kyrie 31 mm
14 mm for soloists; the rest chorus. Thus: 50-50.
Gloria 198 mm
52 mm for soloists; the rest chorus. 25% solo; 75% chorus.
Credo 151 mm
23 mm for soloists; the rest chorus. 15% solo; 85 % chorus.
Sanctus 46 mm
100% chorus
Benedictus 98 mm
All solo until Osanna mm 62-71 (9) & 85-98 (13)
20% solo; 80% chorus
Agnus Dei 106 mm
70 mm solo; 36 mm chorus
67% solo; 33% chorus
Kyrie
Kyrie eleison, Christe eleison, Kyrie eleison is the only text in the movement. So....we sing this movement from memory.
Mark emphasized and un-emphasized syllables.
In subdivided 4, so you will see 8 pulses per measure mostly.
Look for all the two-note patterns—long, dotted note followed by complimentary short note—rhythm patterns.
—
Gloria
Consult at least one of the five the Latin guides at https://www.vivalamusica.org/latin-for-singers
Mark emphasized and un-emphasized syllables.
In 3 and sometimes in 1.
Mozart’s music is all elegantly phrased: it goes somewhere, arrives, retreats. Find the direction of each small phrase. That gives dynamism (not dynamics)—motion to the music, what on the page looks like series of static notes.
The Gloria being in dance meter, there is much going forward. That’s what imbues excitement.
Notice the dotted rhythm and complimentary short note followed by a concluding third note, a compositionally unifying feature from the Kyrie.
Notice the difference in dotted rhythms in mm 1, 5, 9 compared with m 11.
The double consonant GL needs to come AHEAD of the beat with the vowel “o” = “aw” on the beat.
Peccata (“sins”) has a double consonant of the same letter. This is a big deal: break after the first syllable and spit out the “cc” = K
PU notes in each entering voice mm 114-117 slightly emphasized for rhythmic clarity, not because the word is important.
If you have the bandwidth start marking dynamics: I color forte and piano. Of course, dynamics is an amount of sound, a quantity, but, as important, it is also a quality. It suggests. If a word pops into your mind for what that suggestion is, please write it in and share it with us in rehearsal or, if you write to me, I can share with the choir online.
Credo
In the same ballpark as the Haydn Te Deum, text we sing in most but not all masses. (We did not sing it in the Requiem mass, for instance).
Also there is a lot of it.
Also the music is contrapuntal.
Three things that we need to overcome to feel comfortable. Then our singing can become story-telling.
So, study the Latin—meaning, pronunciation, emphasis and de-emphasis of syllables, RHYTHM.
Over dinner, recite the Latin to your self or your dining partner. Convince yourself and/or them of the meaning! You might try the recitation in rhythm!
This is a LONG movement: sing it through beginning to end to develop your stamina.
Sanctus
Remember De-us is meh-oos, not day-oos.
Ex-cel-sis should be re-syllabified to e-ks-she-lsees
Osanna PU to m 17; light, dancelike, one per measure feel, joyful.
The double consonant in O-sa-nna: make it pop to give more zip to this zippy word.
Benedictus
Get your dreamy look on until the Osannas, one at PU to m 62 (a repeat of the Sanctus Osanna) and a second more driving one at PU to m 85. `
Agnus Dei
More dreamy choir of angels until the donna nobis kicks into Allegro con spirito, m 71. This is a canter to the finish line. So learn the music accurately, slowly,
PAH-cem (no punch).
M 91 at al. Use the sixteenth note to propel you to the next quarter.
M 99: SOLOISTS’ 2 measure interjection! Choir back in PU to m 101.
Ochoa Misa Del Pueblo
Singers score in pdfs, program notes, texts and translations are at https://www.vivalamusica.org/about-5
The movements are in 8 separate but labeled pdfs. Print double sided. Read Rene’s notes. Learn the Spanish. Listen to Adriana's authentic Spanish pronunciation audio on the Ochoa Misa page. Listen to one of the Viva recordings on YouTube
Viva la Musica Rehearsal #2
2026-01-25 Zoom recording
I want to thank the singers who heed the rehearsal notes and come to rehearsal prepared. I apologize for subjecting you to my diatribe yesterday, because not everyone deserved it.
Prep for Rehearsal 3 of 13, Saturday, February 7, 9:30 AM—1:00 PM
Rehearsal 3 of 13 Recording https://youtu.be/AlCbXgTFHZM
We will rehearse all of the following:
Handel, Mozart, Haydn, Ochoa
Memorized
Mozart Kyrie (mm. 1-5, 21-30)
Three Hosannas (Sanctus mm 17-46, Benedictus mm 62-71 and mm 85-97;
final choral Dona Nobis (Agnus Dei mm 71-end)
1. Please consider writing to Dr René Ochoa to thank him for writing for Viva his Misa Del Pueblo rene.ochoa46@gmail.com
2. If you have not done these things, do them before rehearsal 3:
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Write English translation for Latin texts into your music — Coronation and Empress Maria Theresa.
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Write English translation for Spanish texts for Misa del Pueblo.
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Coronation: mark entrances of solo versus choir. I mark these with highlighter: yellow for choir, pink for soloists.
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Renumber Zadok so that numbering for sections 2 and 3 restarts from m 1.
3. Part learning, FREE! Vocal Part‑Learning Aids for Every part, every movement!
All on https://www.vivalamusica.org/repertoire-for-sweden
or click here:
Mozart Coronation Mass You Tube: Learn My Choir Part
Te Deum for Empress Maria Theresa
If these do not meet your needs, parts from choraltracks.com are available for purchase with MP3 downloads. Useful to speed up learning and security
Haydn Te Deum and Handel Zadok: $2.99 for voice part for each.
Coronation Mass: $15.99 per voice part for all movements.
4. Speak the less familiar texts, Mozart Credo and Haydn Te Deum slowly, in rhythm, with syllable accents, but with vigor not like a dirge!
5. Re-syllabify all text so that ending consonants are shifted to next new beginning consonant. You can do this as you go.
6. Pencil in strong and weak accent marks on notes of multi-syllable words.
7. Write in forward momentum using an arrow or paired hairpins < >
8. Highlight dynamics: I use red for forte, blue for piano.
9. Practice these especially:
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Maria Theresa m.141-end.
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Mozart Credo
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All six choral movements of Misa (not Por Eso or Por Cristo)
10. Memorize Coronation:
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Kyrie
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Sanctus Osanna m 17 and Benedictus Osannas m 62 etc and m 85 etc
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Agnus Dei mm 71 – end
11. Handel
Mvt 3 (assuming you have numbered sections 2 and 3 both starting at m1)
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Sixteenth runs: slow, careful practice for pitch accuracy: mm 8-10 Basses, 23-25 Sops (both 1 &2) , 31-32 (A1, A2, T, B1), 52-54 (B 1& 2). Speed comes as you practice, but accuracy of pitch needs attention from the start.
2. Eighth notes followed by eighth rests accompany sixteenths in another part. These eighths punctuations can be grouped in pairs of 2, going from beat 4-1, 2-3, et foll.
This happens in 4 places: (please note that no matter how many notes in the measure, if a run starts on anything other than the first beat of the measure, that measure is not counted when numbering).
Mm 8-10: Basses have sixteenths.
Upper 4 parts have eighth notes that need to be grouped in pairs, beat 4-1, 2-3 et foll.
Mm 23-25: Sops 1 and 2 have sixteenths.
Lower 5 voices have eighth notes that need to be grouped in pairs, beat 4-1, 2-3 et foll.
Mm 31-2: A1, A2, T, B1 have sixteenths.
Sop 1 and 2 and B 2 have eighth notes that need to be grouped in pairs, beat 2-3, 4-1 et foll.
Mm 52-54: B 1 & 2 have sixteenths.
Sop 1 & 2 (same line), A 1, A 2, and T have eighth notes that need to be grouped in pairs, beat 4-1, 2-3, et foll.
12. As we will sing everything every rehearsal, prepare by practicing everything, with the special focuses mentioned above.
13. The sooner we sing musically the more musically we will sing.
14. Concert Attire
Prep for Rehearsal 4 of 13, Sunday, February 22, 2 PM—5:30 PM
Last rehearsal 2/7 singing from memory! Bravo! Congratulations on the memorization for Kyrie, 3 Hosannas (Sanctus) m17-46, (Benedictus) 62-71 and 85-97, and (end of Agnus Dei) Dona Nobis. We did remarkably well and I think we might have surprised ourselves in this! Continue to secure these.
Memorize for next rehearsal, Sunday, 2/22:
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Handel Part 1: “Zadok the priest and Nathan the prophet anointed Solomon King.”
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And Mozart Sanctus mm 1-14.
Last rehearsal, when we got into the Mozart Credo and the Haydn Te Deum, we got bogged down, it was more of a slog and a wood-shed. Did everyone feel wiped out afterwards? There were still a lot of singers sight reading. Been there done that. Let’s move on. Practice on your own so we can make music in rehearsal. It will be much easier and more enjoyable when everyone has practiced.
Focus on Mozart Credo and the Haydn Te Deum in your individual practice and then in rehearsal they will be easier.
Team Truckee had the right idea, practicing with their digital keyboards to secure pitches.
Most of what is in the notes below is confirmation of what we did at last rehearsal. When we all practice this in the coming two weeks, next rehearsal it will all be more in our bones and we can enjoy the security and the application of our own musicality!
Handel
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Part 3: Sections that want our love:
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Mm 8-10, mm 23-24, mm 30-32, mm 52-54.
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Observe full quarters and commit to closing on the rest. Part 3: m 1, m 2, m 3.
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Mark S1, S2, A1, A2, T, B1, B2 on every page of your score. The parts vary from page to page, sometimes S1 and S2 separate, sometimes sharing a stave. So, unless it’s obvious to you, please mark parts on every page.
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If your section is divisi, careful about what part you are singing. choose 1 or 2 and stick with it part! We will confirm at next rehearsal who is singing first and who second.
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Circle “alleluia”s to differentiate from “amen.” m 6, mm 1-12 etc.
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Mark syllable emphasis and sing the emphases with gusto e.g. A-men, a-lle-LU-ia (Capitalization = emphasis)
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Mm 8-10 etc. Groupings of 2 beat sequences: mark the groupings with slurs. Practice with small breaks between the sequential repetitions. Then join the sequences with no time break in between.
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The ending sequence is always extended to 4 beats, e.g. m9 -m 10: the last sequence starts 8(4) and goes to 11(1) with the strongest emphasis on the downbeat, then “men” light. Simile mm 23-25, mm 30-32, mm 52-54.
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Each sequential repetition more volume than the previous and always with a crescendo on the final and extended sequence to the goal note.
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Take the r’s off endings: for = fo; E-ver = E-vuh.
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Part 1: “Zadok the priest and Nathan the prophet anointed Solomon King.” Memorize for Feb 22
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Part II: “And all the people rejoiced”— a dance: joyful, emphasis on first beats.
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Quarters non-legato.
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Mark the eighths as dotted eighth sixteenth (mm 3, 11, 25.
Haydn Te Deum
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3 Sections — 3 movements, with contrasting characters but continuous segue from 1 to 2 to 3:
Allegro mm 1-82.
Adagio mm 83-92.
Allegro moderato mm 93-193.
(Practice in backwards order, like we rehearsed)
Allegro moderato mm 93-193.
These are our most challenging 100 mm in the whole program! As they may also be the last notes on the program, we need to get ‘em!
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Secure your entrance pitches. Sing on numbers to clarify rhythms, especially syncopations. We are going for confidence to look ahead, look up before entry, and sing out so that every entering part is clearly heard more than any continuing parts.
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Differentiate between the unison chordal entries and the truly contrapuntal entries. For these next two weeks, concentrate on the more challenging contrapuntal entries: m 93, pickup to 99, m 108, 109, 110, 111 and pickup to 141 all the way to 186!
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Allegro mm 1-82.
Adagio mm 83-92
Concentrate here also on the answering back and forth.
Allegro mm 1-82.
Esp mm 21-27, mm 40-45, mm 51-58.
Mozart Credo
Sections:
Mm 1-33
Mm 36-57
Mm 65-95
Mm 114-end.
Gloria
Sections:
Mm 1-32
Mm 42-56
Mm 79-86
Mm 97-104
Mm 114 -1322
Mm 135-172
Mm 181-end
Sanctus!
Just 3 phrases:
mm 1-4
mm 5-8
mm 9-14
Sing no two notes the same volume or intensity.
Shape everything! Mozart is music’s Spanx, only more enjoyable! Everything shapely—word emphasis, hairpins, attention to cut offs.
Quarters are not always quarters.
Forte sometimes is forte and sometimes is Sforzando.
Mark phrases in your music.
Love the accidentals. Make them juicy. They are where Mozart is being dramatic, expressive, adventuresome, bold, daring, or contemplative, ruminative, sad, resigned.
Diphthongs: 98% to the first vowel and only 2% to the second.
Viva la Musica Rehearsal #4 of 13
Prep for Rehearsal 5 of 13, Sunday, March 8, 2 PM—5:30 PM
Zoom Recording rehearsal 5 of 13, Sunday March 8
Thanks, everyone, for a very productive rehearsal Sunday Feb 22. It was super that folks have been practicing, and this gave us a most productive rehearsal.
And thanks to Adriana and Etienne for sharing useful resources, see below!
1. Handel Zadok
The very best thing you can do is use the HOME CHOIR, BRISTOL CATHEDRAL Sing for the King resources (linked below) that Adriana found. A video for each part is lead by Ben, a fine and amiable choral director. Each takes about one hour, with excellent vocal and musical suggestions. This goes far beyond note learning. There is a little bit of organizational stuff in the video that you can skip—see Programme below Youtube recording with timings if you want to jump to the meat.
When everyone in Viva la Musica has used the video for their part, we will have very little left to rehearse, and we will be able to sing Zadok confidently! Don't take my word for it. Try these fantastic rehearsal aids. Click on the links below for your voice part:
The performance (starts around 6:35)
2. Passive Listening helps you get the music: Handel, Haydn, and Mozart—in your car, in the shower, in bed, at work, at play...
Etienne shares with us her Spotify public playlist titled "Classical Shu" - which has Zadok, Te Deum, Mozart - C Mass.
3. MEMORIZATION UPDATE—6 pieces of music for 3/08
For 2/08:
Mozart
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Kyrie
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3 Hosannas—
In Sanctus m17-46,
In Benedictus m 62-71 and mm 85-97
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Dona Nobis at the end of Agnus Dei
For 2/22:
Handel
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Part 1: “Zadok the priest and Nathan the prophet anointed Solomon King.”
For 3/08:
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All of the above
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Mozart Sanctus mm1-14
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Ochoa Misa first movement Senor ten Piedad
Mozart: Coronation—Where the choir sings (and doesn't)
Check your colors in your score, one for choir, a different one for soloists—easily and immediately visible!
Kyrie choir sings: mm 1-5 and mm 21-end.
Gloria choir sings: mm 1-32; 42-56; 79-86; 97-104;114-122; 135-172; 181-198.
Credo choir sings: mm 5-57; 65-95; pu to 114-end.
Sanctus choir sings: All mm 1-46, (incl. osanna m 17-end).
Benedictus choir sings: mm 62 -71 (osanna); 85-97 (osanna).
Agnus Dei choir sings: mm 71-end (dona nobis).
Key Unity
All movements in C major except Agnus Dei opening in F, moving to C for Dona Nobis and the mass's ending.
Harmonic language
Diatonic.
A preponderance of secondary dominants to create intensity.
Shifts from major to minor for drama.
Tonic pedals (to create stability) and Dominant pedals (to increase expectation).
Modulations within the movements are juicy musical moments and often highlight a text word or event or shift.
Kyrie
Opens in C Major
to c minor (m 4)
to A minor (m 9)
to c minor (m 14-145) "Christe"
to C Major (m 17).
briefly touches f minor (m 23-24), returning to C major in same measure).
Gloria
Opens in C Major
to G Major (m 15) "Et in terra pax"
Back to C (m 26-28) "voluntatis"
to G (m 49) "agimus tibi"
To understand the meaning of "agimus" in Latin, consider:
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"Agimus" is the first-person plural form of the verb "agere." It translates to "we do" or "we act" in English. The verb "agere" encompasses a range of meanings, including to drive, to lead, or to perform. "Agimus" can also imply taking action or engaging in activities collectively.
to g minor (m 77) "Qui tollis"
to f minor (mm 103-104-105) "peccata mundi"
to c minor (121-2) "Patris"
to C Major (131-135) "Quoniam tu solus Sanctus"
to G Major (151-153) "tu solus Altissimus"
to C Major (156-162) to end. "Iesu Christe, cum Sancto Spiritu: in gloria Dei Patris. Amen."
Credo
Opens in C Major
to a minor (18-19) "in unum Deum, Patrem omnipotentem"
Neapolitan (major chord on flattened 6th degree) in m 32 to C Major "Deo vero"
a minor (40-41) "per quem omina facta sunt"
G (44) "facta sunt"
C (46) "nos homines"
f minor (m 60) "et incarnatus est"
a flat minor (m 65)"Crucifixus"
C Major (m 72) "et resurrexit"
a minor (m 85-91) "cum gloria judicare vivos et mortuos"
F Major (95-96) "non erit finis"
C major (101) "vivificantem"
Dominant pedal (from 122-129) "Et expecto resurrectionem"
Sanctus
Opens in C Major
to sub dominant minor chord (11), tonic minor (12) to C to end.
Dominant pedal (m 17-23) "hosanna in excelsis"
Benedictus
Opens in C Major
Dominant pedal (50-58) "qui venit in nomine Domini" and (60-68) "Hosanna"
Agnus Dei
Opens in F Major
touches on tonic minor (41-42)
Back to dominant of C (53-56) to set up C major for Dona nobis (m 57)
Brief tonic minor (mm 65, 66)
moving resolutely to C major (by m 70) and staying in C to the end.
Rhythmic Unity through the Mass
Long-short (dotted rhythms) are present in almost every movement, in a variety of speeds and note-values, the short note providing a rhythmic jumpstart to the next note.
Kyrie
Gloria
Credo ("Dominum" , m 19 , "Genitum" m 36, "incarnatus" (60), "Virgine" (62), "Pontio" (67) "tertia" (73) "dexteram" (80) "gloria" (85, 86) "resurrectionem" (m 123) in contrast to long swathes with no dotted rhythms
Sanctus (2), (13)
Osannas
Benedictus (mm 12, 28, 29)
Agnus Dei "miserere" (m 20-21, 33-34, 35)
"Dona Nobis" in Agnus Dei (from m 57 on)
Phrasing
Usually matching pairs of phrases, often symmetrical.
Often shaped by dynamic hairpins.
Light prhase endings on metrically usually strong beats are deliciously Mozartean elegant.
Sequences usually build intensity.
Motivic repetition for emphasis.
Melodic material
Two themes in the Mass later recycled in for operas:
The Kyrie solo melody (PU to m 8-11) later becomes Fiordiligi's aria "come scoglio" in Cosi fan tutte.
The Agnus Dei solo melody (mm 9-16) later becomes the Countess aria, "Dove sono" in Marriage of Figaro.
Orchestral figurations
Sound and feel like piano concerto writing.
Double thirds are harmonically sweet.
In the Credo opening, a torrent of sixteenths,"rauschende violinen" (rushing violins) push forward energetically, creating eddies and swirls of motion.
A Scintilating Coronation Mass performance at the Palace of Versailles
Viva la Musica Rehearsal #6 of 13, Sunday, March 22, 2:00–5:30 PM
Recording 03/22/2026 Viva la Musica Choir Sweden Rehearsal #6
3 hrs-10 min
Sunday's rehearsal will start with Coronation Credo. If you would practice between now and Sunday according to the plan below, so that it feels more familiar we’d be off and running at rehearsal ; then we can continue the good work we did last week, and explore the compelling features of key, mode (major/minor), rhythm (especially the myriad dotted rhythms), and chordal/polyphonic parts.
Credo
First the mostly unison rhythm and the easier passages:
M 5-9(1)
18-23
36-44
65-76(1)
83-90
Pu123-128(1)
142-end.
Then the more contrapuntal passages which depend on confident robust entries and a strong rhythmic reliability and propulsion when your part is going in contrast to the other parts.:
M9-13 "omnium"
24-27-33
44-48
PU73-82
91-95
Pu115-122(2) -141.
The Credo is also in three sections + coda.
A: 1-59
B: Adagio 60-72(2)
A1: Pu 73-130
Coda: 130-end.
Kyrie (memorized)
is in ABA form:
A: 1-6
B: 7-20 all solo
A1: 21-26
Coda 27 to end
Gloria
In Sonata Form—three related sections, with the expo and recap similar to each other, and the explorations to minor modes in the development.
Exposition: 1-57
Development: Pu 79-122. Mark the minor or diminished or half diminished chords because they need extra communion wine/whine—78-79, 83, 89, 91, 93, 95
Recapitulation: 135-end.
The Gloria is so cool: there is a hemiola in the orchestra right at the beginning (it feels in 4 not 3) but the choir calls out, exhalting, in 3!
Also look for the minor keys: they are so dark and delicious, like cherry brandy chocolate: g minor at 77 et foll, c minor at 101 for peccata!, f minor at 103, C minor 118 et foll. Which makes the Recap in C major at 135 so sunny!
Sanctus (memorized)
I made a shift to subdividing, so instead of 3, now in 3 subdivided, and that was not so easy for the choir last week. So, if you could think about that, it would be more comfortable.
3 Hosannas (all memorized)
Dona Nobis (Agnus Dei m 71 to end) (memorized)
A romp as the choir gets the soloists glorious music from the Kyrie. Bell-like DO-nna in each entering part. Notice the ironic descending line m 17-19 and repeated 21-25.
Phrasing:
Strong Light.
Almost every phrase in the entire work is a feminine ending. Heavy Light, that is, light on the last note of the phrase. Do this especially when the phrase ends on a metrically strong first beat of a measure. This is very Mozartean elegant.
Dotted Rhythms
Find every dotted rhythm you sing and consider how you want to make the little note significant. There are augmentations, diminutions, piles...dotted rhythms are one of the jet propulsion engines that move the music forward.
Sequences
Same pattern of pitches, repeating, moving upward by step or half step, or downward.
Build or release intensity. Usually build.
Accidentals
Accidentals should never be accidents. There moniker is misleading. Sing accidentals with intensity and pointedness. They are signals that the harmonic world is changing, and, with it, the feeling outgo is intensifying.
Ochoa
Listen to Adrianna's recording for authenticity.
Señor ten Piedad and Santo from memory.
MEMORIZATION
I have no magic wand for memorizing, except:
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The structural analyses given are your roadmap.
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Sing looking at the music; then see what you know singing without the music.
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Know the literal meaning of every word.
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Say the text in rhythm.
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Sing the pitches on a neutral non-tiring syllable like "doo".
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Do both text and pitches slowly and then gradually at faster tempi.
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Lots of repetition.
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Practice at different times of the day and night.
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Practice in different locations.
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Memorization is also not a linear process, so it might be easier some days and elusive on others.
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Be patient with yourself.
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Doing all or some of this goes a long way to knowing the music really well.
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Performing with full commitment this practice will bring means .... everything we could want!
Viva la Musica Rehearsal #7 of 13, Saturday, April 4, 2:00–5:30 PM
Recording: https://youtu.be/6NRJLBoa-wM
MEMORIZATION UPDATE
Nothing new for memorization for this week, since I did not send notes.
Below is an updated list of what has already been assigned, and 2 memorization projects —Ochoa and Mozart—for rehearsal 4/11.
The goal of memorization: We are trying to get our heads out of the music and the music into our heads.
A process and a goal: It should not be a big stressor.
Organic: with enough repetition and attention, memorization starts to happen ipso facto.
Does not have to be perfect the first time a piece is on the memorization schedule.
All that said, it would be beyond cool if the choir could sing the Ochoa and the 3 spirituals memorized for our Stockholm concert.
And the Mozart and Handel for the Upssala concert.
Let’s keep that as a possibility or a goal, and see where we land.
MEMORIZATION UPDATE
Ochoa Misa
First movement Señor Ten Piedad
Third movement Santo
Fourth movement Por Tu Cruz (for 4/11)
What’s left: Second movement Gloria; Fifth movement Amen; Sixth movement Cordero.
Handel
Part 1 “Zadok the Priest”...
What’s left: Part 2 “And all the people…” (for 4/11) and Part 3 “God save the king.”
Mozart
First movement Kyrie
3 Hosannas: fourth movement Sanctus mm 17-46, fifth movement Benedictus mm 62-71 and mm 85-97
Fourth movement Sanctus
Sixth movement Agnus Dei: Dona Nobis
Second movement Gloria (for 4/11)
What’s left: Third movement: Credo
What’s left: Three spirituals and processional
Viva la Musica Rehearsal #8 of 13, Saturday, April 11, 2:00–5:30 PM
Recording: https://www.youtube.com/watch?v=KhYQUc4wF1o
Memorization
These notes made on the flight home, Sunday April 13 2026, after a 12-hour delay, Sat night flight cancelled
Memorization is a thing… at least for most of us.
Not automatic, no matter how well we know the music, but a process.
The process is partly deliberate and intentional, and partly subconscious.
And it can be confounding!
It takes repetition—lots!
It also takes courage. And it takes application.
It is more difficult to sing from memory on your own than in your section where you have support.
Conversely, the more you do, the more you help your section.
Do this work in different ways, at different times of day and night; in different locations; with and without a pencil ✏️; with/without the printed music; with/without a recording; of the whole/of your part; in front of a mirror; standing/sitting/lying down; indoors/outdoors.
Always with attention, fully present, not multitasking.
You do have a few parachutes🪂—the sheet music, your section mates—so take a risk: jump!
Get out of the book b4 it’s comfortable to do so.
Sing w.o. book— maybe w recording—whatever u know.
A phrase at a time.
Do: The music only with neutral syllables.
The text spoken in rhythm.
Music and text together.
Sing at different speeds: slow, at tempo, beyond tempo.
Know the pitch, meter, rhythm, dynamic, articulation (legato/staccato), strong and weak beats.how do these elements of music contribute to the meaning?
Know the arc of the phrase; know pairings of phrases.
Know the structure of the music. E.g. ABA — contrasting sections.
Sections that repeat with changes!
Be technical and analytical. Use objective knowledge.
Sometimes just do mechanical work—not w feeling, but the analytical stuff.
Know the text and its meaning — every word.
What does that mean to you?
Personalize the text you sing so it applies to your life—inner or outer or both.
Do you have your own word—adjective, noun, verb, adverb—that captures for you the mood/affect of different sections of the music.
Then forget about all of that and just sing, let muscle memory take over.
Go back to book for parts u don’t know.
With book, off book, with, off...
Sing your part aloud, sing it mentally
From beginning of movement again.
Maybe same parts still not in our noodle.
Maybe some other part has fallen out 🙄.
The music falls into place in bits…
Enuf on this piece/movement, for one day.
Same scenario another movement/piece.
Do you have trouble falling asleep? As you lie in bed…Mentally think through the start of one piece or one movement….
Do you hear the music in your mind?
Do you hear the orchestra parts?
Did you make it up to the end of the movement?
Start w different piece/movement next time.
Memorization is not linear, predictable, or reliable. It can be elusive and evasive. Keep doing it!
Are ear-worms popping up?
When you’re doing something other than the music, do bits of melodies or rhythms or chords pop up in your mind, out of the blue? Maybe not even a whole phrase, maybe only a bit, a motif….maybe not even your own part! That’s wonderful—the music is in you! It’s saying, “Hello friend! Sing ME!”
Does the sound—in the moment, as in a chord, or in a phrase, as in a chord progression—move you?
To what or to where does the music take you?
If it enriches you, is it worth spending the time and energy to put it more fully in you?
What does performance mean for you?
Do other things pop into your head while you are trying to do this work? Just greet them and come back to the music.
Do you feel you just are not cut out to memorize?
This is not what you signed up for?
You’re a good reader and thus a poor memorizer?
You don’t have the time, energy, willpower?
Journal your journey—what portions of the program you have down, what you don’t. And journal about your process. Successes. Frustrations.
Ask yourself: Why memorize?
What might it do for you personally and for our/your performance experience, and for our audience.
If I am not reading the music,
how does that free me up, or does it freeze me up?
Is memorizing challenging? Yes!
Is it frustrating? Yes!
Is it worth it? I say yes! What say you?
The music is in your head or your head is in the music.
******
Mozart Accidentals
Signal new direction * Need extra oomph * Want your attention
Accidentals are no accident.
They are musical traffic signals!
Find where your part is noted below, mark in the oomphy notes in your score (I use green highlighter), then sing 'em oomphy!
Often it’s the approach to the sharped/flatted note and the leaving it, i.o.w. not just the note itself, but the line to and from it.
Find where your part is noted below, mark in the oomphy notes in your score, sing 'em oomphy!
Kyrie
Bass: mm 3, 4, 5; simile mm 23, 24, 25
Alto m 24 G
Bass m 29 G-G octave
Gloria
Sop mm 13-14 D# -D
Alto m 15 F#
Alto mm 25-28 D-C-B-C
Bass m 47 G#, m 49 -50 F#-G
Sop and Alto mm 79 vertical interval A-E flat (Aug 4th); simile m 81 F-B
Alto m 84 F# and B flat
Tenor mm 84-5 B flat and F#
Tutti m 103!
Tenor m 113 F#
Bass m 182 B flat
Credo
Alto and Bass m 22
Tenor and Bass m 30
Bass m 60
Sop m 65
Tenor m 69
Alto mm 85-86 G#-A; m 87 G natural
Alto and Bass m 116 B flat
Tenor mm117-118 B natural
Alto Mm 123 A flat
Sanctus
Alto m G#; m 3 G natural
Bass m 2 G #
Bass m 5 G #
Bass m 11 Aflat
Sop m 12 E flat
Alto mm 23-24 B flat-A
Bass m 27-31 B flat-A-Aflat_G-F#-F-E-F-G -C
Dona Nobis
Bass m 73 the line that includes F# and F
Haydn Te Deum sourced by Adriana!
ALL the vocal parts
Choral parts coach Andy Earnest:
https://www.youtube.com/results?search_query=Andy+Earnest+Te+Deum+parts
City Called Heaven also sourced by Adriana!
ALL parts: https://www.youtube.com/results?search_query=Cityh+called+heaven+all+parts
Performance by the excellent Santa Fe Dessert Chorale and tear jerking soloist:
https://youtu.be/nqbgros-WNc?si=-qZ-lFv-3IwPX1vZ
A big high school choir, all singing from memory:
https://www.youtube.com/watch?v=-6OuAielyco
Mahalia Jackson:
https://www.youtube.com/watch?v=bIfKzeLD4YI&t=38s