If you missed any rehearsals or wish to review, here are rehearsal notes for Consider the Lilies movements I through VI.
Throughout this piece, be very careful of tall, open vowels, especially on the Latin sections. The movements each have a distinct feel and it is important to differentiate between the upbeat hymns and the more legato sections. Observe the dynamics marked throughout and watch carefully as there are tempo changes or fermatas in every movement!
I. A Parable
This piece should feel connected and reverent; imagine a boys choir in a cathedral
m. 35: no breath between eis and Domine
m. 37: breath after perpetua
m. 39: be sure to hold through soloist entrance to downbeat
m. 43: no breath between Ah and Christe
m. 45: breath after eleison
m. 47: Soprano & Tenor breath after eleison; Alto & Bass hold to downbeat of 48
m. 51: Alto & Bass breath after eleison
II. A Hymn
Contrast smooth, 4-measure phrases on refrains with more intense verses; lots of rubato, especially on last refrain
m. 10, 26, 42: no breath after beautiful
m. 12, 28, 44: breath after small
m. 14, 30, 46: no breath after wonderful (except SI descant)
m. 20: no breath after sings
m. 34: Soprano & Tenor no breath after all; Alto & Bass hold to downbeat
m. 37: Alto & Bass no breath after Almighty
m. 40: all lower voices change “well” to a quarter note followed by a quarter note rest; SI sings descant, SII on Soprano line
m. 50: big breath, stagger breathing to end
III. A Keen
This needs to feel like a lament, slow and mournful; all soloists sing until “Jesu” at m. 17
m. 13: breath after Jesu
m. 17: breath after credo
m. 21: no breath after Jesu
m. 25: Solo, Soprano, Alto hold through downbeat; Tenor & Bass breath before Oh
m. 29: breath after believe
m. 33: breath after belief; Bass cut off as though to breathe & come in on 3
m. 37: breath after believe; Alto cut off as though to breathe & come in on 3
m. 61: breath after believe
m. 65: breath after belief
m. 69: breath after believe
m. 76: Tenor & Bass no breath
IV. A Hymn
An upbeat, joyous march; keep it light but be careful not to be too staccato
m. 6: breath after soul
m. 10: breath after whole
m. 14: no breath after roll
m. 16: breath after Star
m. 31: breath after tow’r
m. 35: breath after pow’r
Both tow’r and pow’r, be careful to sustain the open “ah” vowel and close to the “wr” sound at the last moment
m. 37: no breath after worn
m. 39: breath after goal
m. 40: no breath after fermata on Valley; watch for beat 4 after fermata & continue on upbeat
m. 41: breath after Star
m. 42: no breath after thousand; careful with timing!
m. 54-58: Tenor & Bass careful with timing and cutoffs on short phrases
m. 57: Soprano & Alto breath after will
m. 59: slight lift after fear
m. 60: pronounce manna as “Mah-na”
m. 61: no breath after fill
m. 63: slight lift after face
m. 65: no breath after roll
m. 67: slight lift after Star
m. 68 & 69: breath after thousand both times
m. 71: no breath after thousand
V. A Prayer
Very simple, unison melodies that need careful vowel shaping and attention to precise pitches without sliding; except for m. 21 after “Domine,” breaths are at rests only. Be careful with close harmonies in last four measures.
VI. A Promise
Think smooth, warm, and inviting, with just a little punctuation at the sixteenth notes. “Eye” should always be sustained on an “ah” vowel. Be careful not to slide on ascending intervals.
m. 2 & 4: breath after fear
m. 5 & 6: no breath after assail you, slight lift after with you
m. 17: breath after eye
m. 18 & 19: as m. 5-6 above
pickup to m. 24 should be in the new key: D natural on “when” and G natural on “the”
m. 25 & 27: breath after fear (cut off as though to breath & go on even if not singing next phrase)
m. 28: Tenor & Bass no breath after asunder
m. 32: Lower voices stagger breathing until m. 39
m. 39: breath after eye
m. 40: no breath after asunder
m. 41: breath after care
m. 51: this modulates up another step to a new key, but there is no lead-in in the accompaniment. Practice anticipating the change in order to get the entrance note for the new key.
m. 52 & m. 55: breath after fear
m. 56: no breath after furnace
m. 57: breath after fermata on you
m. 58: no breath after fermata; watch for each eighth note to be directed separately on “do not”
m. 60: stagger breathing in Alto & Bass until m. 67
m. 68: breath after furnace
ending: carefully tuned unison on call & response; stagger breathing on last 5 measures