Rehearsal/Performance Schedule

Dress Rehearsal for all starts at 11 am Saturday. Please put your music in concert order. Included are Mike's 'hot and warm spots' to focus on before 11/9.

Concert Order and hot and warm spots:

  • Be It Therefore Resolved

    • Notes on p. 12-14. m. 35-45.

    • Timing in the opening section, especially m. 12-13.


  • March of the Women (SSA)

    • Notes in m. 14.

    • Interlude after v. 3 and v. 4 


  • A Life Summed Up

    • Rhythm and notes from 66-83, M. 56-83-dynamics and a few pitches.

    • Notes m. 3-14.


  • O Virtus Sapientae

    • ST coordination of melody (i.e., knowing when to sing and when not to sing).

    • Overall familiarity/comfort with the Latin text. 

    • TENORS: finding the F for the final phrase


  • Domine ad adjuvandum 

    • General cleanliness of notes in the closing “Amen” section. Tempo will be quarter note = 84 in that section. 

    • E flat vs. E natural during the first 3 pages (especially altos).

    •  Enter confidently and move ahead m. 3


  • Psalm 24

    • Timing/memorization at m. 73-77.

    • Note accuracy and not slowing tempo at m. 41

    • TENORS: timing on pages 10-11. 


  • Motherless Child

    • Note accuracy on pages 9-11.

    • Notes at the top of p. 23.

    • Timing/WATCHING ME as we move from m. 46-47 and at m. 59

    • TENORS: closing to "ng" on beat 2 of m. 24 and 26

    • BASSES:  moving notes from m. 7-8


  • Wanting Memories

    • Rhythm on p. 11-12

    • Rhythm on p. 15-16. 

    • SOPRANOS AND ALTOS: wait for beat 4 in m. 26 and m. 66


  • She Who Makes Her Meaning Clear (Gamba Adisa)

    • Notes in a few individual measures (15, 22, 29, 48-49, 63).

    • Rhythmic timing in the “Gamba Adisa” section, heads up ALL and TENORS: especially not syncopating the square rhythms from letter F to the end, TENORS, more at m. 50-51. 




  • Always Coming Home (SSAA)

    • Balance of parts/hearing the alto melody from 118-129.

    • Notes from 113-118.


  • Aware

    • Hearing the key changes ahead of time. 

    • Embracing the beauty of the open vowel sounds.

    • TENORS: sustaining the last note to the end (use falsetto as needed) 

    • BASSES:  m. 34-37 check notes and bring out the melody


  • November Night

    • Notes and timing at 33-49.

    • Notes from 18-23, 

    • put closing consonants squarely on beats 2 and 4 in m. 57.

    • BASSES: m. 40-41


  • The Flowing Stream 

    • ST: familiarity with the Chinese text and how it locks into the melodic rhythm. 

    • Rhythmic timing at 21, 25, and 30.


  • Sing, My Child

    • Finding the note and moving ahead confidently at 39 and 75.

    • Being prepared for dynamic changes. 

    • BASSES: M. 61-74


  • God Bless the Child 

    • Note accuracy in the intro and outro sections.

    • Switching to the straight 8th note rhythm at 28 and 66. 


  • Take, Oh Take Those Lips Away (from Three Madrigals)

    • Embracing the beauty of each vowel sound. 

    • Keeping up with the dynamic shifts.


  • O Mistress Mine (from Three Madrigals)

    • Keeping the lilt and dance-like rhythm going throughout. 

    • Keeping up with the dynamic changes and not allowing soft tone to affect tempo or style. 


  • Together

    • Counting through rests and pre-hearing pitch so that attacks will be clean. 

    • ST – giving each melodic phrase dynamic motion and momentum, especially when parts are set contrapuntally. 


  • The Peace of Wild Things

    • More dynamic contrast throughout

    • Note accuracy at m. 36-44.  

    • TENORS: note accuracy at beginning, confident entrance m. 27, transition form m. 45-46.

    • BASSES: notes at the beginning

    • Notes at m. 4-10.

    • D and G naturals on p. 6.


  • It Takes a Village

    • Being more secure with the rhythm during the opening section – feeling the pulse and knowing what is on and off the beat. 

    • Not losing track of where you are (especially within repeated measures) during the section that begins at m. 45. 

    • Count and don't lose your place on pages 5-8.

-link to Corey's compilation of rehearsal notes from Mike:


link to Complete Ear Trainer:


Here's the schedule for our weekend with Joan Szymko:

Saturday, Nov. 9th:

  • 11:00 a.m.-1:00 p.m. – Dress rehearsal in LPC Sanctuary with Joan Szymko, guest instrumentalists, and Windsong. 

  • 1:00-2:15 – Lunch on your own.

  • 2:30-4:00 – Master class in LPC Sanctuary with Joan Szymko (Good Company will be the ‘demo’ chorus).

  • 4:00-5:30ish – Reception in LPC atrium with Joan. Hors d'oeuvres, wine and soft drinks will be served. No admission charge to attend, but donations to defer the cost of the event will be gratefully accepted. I expect the reception to be over no later than 5:30, but you are under no obligation to stay the whole time. 

Sunday, Nov. 10th:

  • 2:30 p.m. – call time for warm up/prep in LPC Chapel. Wear concert black and leave the best parking spots for our audience members.  

  • 4:00-5:30ish – Concert in LPC Sanctuary. 

  • 5:30-6:30 – Post-concert reception in LPC Atrium.

Rehearsal links

A Life Summed Up.mp3
November night midi.mp3
Motherless Child.mp3
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