Sectionalness
I forgot to mention one positive moment from the lesson on Friday. He said I reminded him of himself freshman year when his teacher said his voice had something special that just needed to be brought out. Now, I don't particularly like his voice, but I understand what he means. I do think that "something special" leaps out in the practice room from time to time, but I'm not sure how many have witnessed it, so I don't even know what it sounds like externally. I just know that sometimes it feels awesome, and that "Tre sbirri, una carrozza" is often easier and freer than much else I sing. Whiskey Tango Foxtrot, eh?
I had choir today. After warming up (and doing some spastic hamstring-stretching exercises upon my lament about inflexible hammies), we broke up for sectionals. We worked on the Penderecki "Agnus Dei" and "Après Moi." In the former, I was having the hardest time with high-lying passages. Any suggestions for singing those without tensing up while keeping a connected and deep-rooted sound? Or do I really have to lighten up? I should think "down" more. Maybe I'm too timid of being too loud and, therefore, heard. I just don't know. It'll probably be better when I'm more secure with the notes and such. The funeral march from the Woolf went pretty well, and my low E-flat was essentially there. I think we corrected a couple phrases we sang incorrectly all of last year. As no sopranos were present, when we reached the end, I did my impression of Beth's solo to a high D-flat. For great justice. (No, I can't reach that note anymore. It was more about the relative pitches.... ) Bev needed more time with the sopranos and altos, so she extended both sectional and break time. But, as we had half the voice parts to cover, we were done quite early. Five of us walked part of the way down State Street and back. We would've bought ice cream or something if bringing it in wouldn't've made the early release rather obvious. When we were back together, we worked on "The Cloud Capp'd Towers." Oh, the love.
When rehearsal was done, a bunch of us ate dinner at the Chafé (Chadbourne Cafeteria). We clearly need to do this more often, as when a bunch of musicians gather socially, hilarity and insanity ensue, including (I am not making this up) Hungarian aristocrat jokes. I loved, in particular, the polytonal "Mary Hynes" four of us randomly sang. It was really disturbing.
Required viewing for ALL of you: Tunak Tunak Tun. It's not opera, but it's good. Seriously: Watch it. You'll wonder how you ever lived without seeing it. And ... I'll leave you at that note and put some clothes in the dryer. Tschau.
I had choir today. After warming up (and doing some spastic hamstring-stretching exercises upon my lament about inflexible hammies), we broke up for sectionals. We worked on the Penderecki "Agnus Dei" and "Après Moi." In the former, I was having the hardest time with high-lying passages. Any suggestions for singing those without tensing up while keeping a connected and deep-rooted sound? Or do I really have to lighten up? I should think "down" more. Maybe I'm too timid of being too loud and, therefore, heard. I just don't know. It'll probably be better when I'm more secure with the notes and such. The funeral march from the Woolf went pretty well, and my low E-flat was essentially there. I think we corrected a couple phrases we sang incorrectly all of last year. As no sopranos were present, when we reached the end, I did my impression of Beth's solo to a high D-flat. For great justice. (No, I can't reach that note anymore. It was more about the relative pitches.... ) Bev needed more time with the sopranos and altos, so she extended both sectional and break time. But, as we had half the voice parts to cover, we were done quite early. Five of us walked part of the way down State Street and back. We would've bought ice cream or something if bringing it in wouldn't've made the early release rather obvious. When we were back together, we worked on "The Cloud Capp'd Towers." Oh, the love.
When rehearsal was done, a bunch of us ate dinner at the Chafé (Chadbourne Cafeteria). We clearly need to do this more often, as when a bunch of musicians gather socially, hilarity and insanity ensue, including (I am not making this up) Hungarian aristocrat jokes. I loved, in particular, the polytonal "Mary Hynes" four of us randomly sang. It was really disturbing.
Required viewing for ALL of you: Tunak Tunak Tun. It's not opera, but it's good. Seriously: Watch it. You'll wonder how you ever lived without seeing it. And ... I'll leave you at that note and put some clothes in the dryer. Tschau.