There was a good turnout last night; however, the Tenor and Bass sections needed to be thicker on the ground. That didn’t stop them from being heard, even if they were seduced to the tune by the Sops.
For those of you who have never sung in concert or a reminder for those who already have, please train yourself for ‘Stillness’ at the end of EVERY song.
REMEMBER NOT TO MOVE until the last note has sounded on the piano. Do not turn the page to the next song, scratch your nose, etc. You can be guaranteed to get the famous Eamonn glare if you commit this grave misdemeanour!
We recapped The Salley Gardens. Enjoy the three-part harmony on ‘Gardens’ and lean into it.
When the Basses join with the Tenors in verse two, it should sound rich and passionate.
‘..As the grass grows on the weirs…’ it should gradually get quiet so it fades away and not be a sudden change. Know when to come in on ‘, but I was young and foolish ….’ As there is no help with the piano. You have to feel it.
Time After Time 1979. A bit of fun.
Time After Time followed. Tenors and Basses pitch your first note higher than expected.
Again, there is no help when to start ‘If you're lost you can look ….’ After ‘the second hand unwinds’ apart from the slight ‘chink’ sound in the piano.
Keep your breathing rhythmic in this chorus section, which will keep it moving and syncopated.
The verses are rather dull, so make it enjoyable by enunciating the words and telling the story.
Please learn the words for the chorus of All My Trials so you can look up and watch Eamonn for the critical timing. Everyone seems to be in a hurry to get the trials over!
Remember, ‘Brothers’ and ‘Sisters’ are long and loud; sing them until the end of the bar and take a quick breath before quietly singing ‘Too late but never mind’.
Sop 1s in the ‘Now hush little baby….’ section; this is flexible, so watch Eamonn closely for timing.
Again, no help, so take a quick breath after ‘cry’, then don’t breathe until after you sing ‘die’
Luxuriate in this, making it weighty and with depth.
After a well-earned break, we returned to Fields of Gold, a song written and performed by English musician Sting. The singer described the view from his 16th-century Wiltshire manor house:
In England, I live in a house surrounded by barley fields, and in the summer, it's fascinating to watch the wind moving over the shimmering surface like waves on an ocean of gold. There's something inherently sexy about the sight, something primal as if the wind were making love to the barley. I'm sure lovers have made promises here, their bonds strengthened by the comforting cycle of the seasons.
Many musical artists have covered the song. American singer and guitarist Eva Cassidy recorded a version that first appeared on her 1996 live album Live at Blues Alley, then later on her albums Songbird (1998) and The Best of Eva Cassidy (2012). Eva Cassidy's version charted in Sweden and the Netherlands in 2008 and 2013, respectively. British-Georgian singer Katie Melua, a fan of Eva Cassidy, recorded a version that was released as the BBC Children in Need single for 2017
Love this version by Katie Melua
In the past, Fields of Gold has been the nemesis for the Sop 1s as they don’t have the tune and have Oohs! I’m sure they can do their homework and instil confidence in themselves and Eamonn that they can achieve this challenge.
Sop 2s have the tune.
Deep breaths are needed as ‘gold’ is a very long note.
Talking of breathing, don’t breathe in ‘Feel her body rise when you kiss her mouth’
A gentle diminuendo at the end as you ‘walk in fields of gold.’
Trillers on the Perch
Evan Rule, our Bass singer, is the stage manager for How to Disappear Completely and Never Be Found, written by Fin Kennedy at The Questors Theatre
from 13th -21st September. Box Office: questors.org.uk. Tel:02085675184
What makes us who we are?
That is an interesting question!
Meet Charlie Hunt, a successful advertising executive. He’s living the high-flying life of sleepless nights and bottomless bubbly. But there is one problem: everything is fake. Meanwhile, Sophie, a pathologist, examines a lifeless body... As this woman haunts Charlie, the falsities of his corporate world creep into mayhem, forcing him to buck the system. But how many parts of himself can he give up before he stops existing?
This award-winning play follows one man’s dissociation from reality as he embarks on a darkly surreal journey to escape himself. Come and discover how to disappear completely without breaking a single law.
Next week, we will be at the downstairs bar with Amir. Beware of new versions of We’ll Gather Lilacs and All My Trails.
Please bring all the music in the Dropbox; you can’t go wrong.
Until next week!
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