Posted 02/20/23
Probable performance order is in the right sidebar.
And All That Jazz – The piano introduction is four measures
long because the first two measures are repeated; don’t come in too soon.
Measures 3 through 16, all people including men sing the soprano/alto notes,
men an octave lower, the first time through. Second time, split to normal
staves. Page 3, Measure 13, first time, replace ‘ice’ with ‘gin’. Page 4, second
ending, Measure 23, the word is ‘do’
instead of ‘all’ so the phrase is ‘and do that jaeeazzz.’ Page 6, Measure 40,
replace ‘weird’ with ‘queer’. Page 7, Measure 45, each part splits to its own
staff. Page 11, Measure 61 is a whole measure of rest, so don’t sing.
Another Op’nin’, Another Show – Page 4, Measure 30, note the
flat which is different than you expect. Page 4, Measure 31, men, first note is
C flat, same as B natural, once again different than you expect. Page 11, Measure
115, men, first note is C flat, same as B natural. Page 16, Measure 161 to end,
is all one uninterrupted note, so stagger breathing.
As Time Goes By – Page 2, women start singing first and men
don’t sing until last note of Measure 8. Page 5, Measure 32, break but no breath
after ‘do’. Page 7, Measure 49, break but no breath after ‘do’.
Celebrate Music – Lots of syncopation. This publisher tends
to follow an unofficial convention used in newer works to indicate syncopation.
For example, in Measure 8, ‘world’ is paired with two tied eighth notes instead
of a quarter note. This indicates that ‘world’ begins on the ‘and’ of ‘two and’.
Page 6, Measure 41, put a quarter rest at the end of the measure to provide a
break. Note that the altos are moving in the measure so don’t cut off too soon.
Page 10, Measures 84 and 85, sing notes staccato.
Fields of Gold – The first five measures of the song are a
cappella. After that, tenors sing alone through Page 4, Measure 16. Note that
this publisher also tends to follow an unofficial convention used in newer
works to indicate syncopation. For example, in Measure 16, ‘fields’ is paired
with two tied eighth notes instead of a quarter note. This indicates that ‘fields’
begins on the ‘and’ of ‘two and’. Page 6, Measure 35, break, no breath, after ‘sky’.
Page 15, Measures 85 through 90, no breaks so stagger breather. Break at end of
Measure 90.
Joint Is Jumpin’ – Page 7, Measures 59 and 60 and Page 9,
Measures 83 and 84, use original lyrics; replace ‘Let the party now begin’ with
‘Get your pig feet, beer, and gin’.
Music, Lead the Way – This uses straight rhythm, not swing.
Riversong – This should be sung smoothly, with emphasis on syllables
varying as if speaking; don’t stomp on the words. Page 11, gradual decr. start on
this page at differing measures for the differing parts so that the volume goes
from f at the start to mp at Page 12, Measure 95. WTD closely starting at
Measure 95; there is only one word so you can look up from your music, there is a rit. in Measure 95, and further
decr in Measure 96.
Don’t Be Cruel – Wherever ‘ah’ is written, sing ‘oo’.
For The Beauty Of The Earth – Page 2, Measure 10, ‘the’ is pronounced
‘thee’ because it precedes a word beginning with a vowel.
The Water Is Wide – Throughout, ‘neither’ is pronounced as ‘neyether’
even though it really should be pronounced as ‘nayther’. Page 6, Measure 50,
tenors should pronounce ‘dew’ as ‘dyew’. Page 7, Measure 57, break between “o’er”
and “and’. Page 8, Measure 70 to the end, WTD. There are breaks before ‘my’ and
after ‘love’. There are multiple fermatas. On the final word ‘I’, do not close
to the ending ‘ee’ of the diphthong but instead stay on the beginning ‘ah’.
General Stuff – Do not ‘chew’ your ‘r’s. For example, ‘our’
is pronounced like ‘hour’, not like ‘arrh’ (pirate speak). On longer notes, do
not close to the final consonant or the final sound of a diphthong until
cutoff. This is particularly important on words ending in ‘s’ or ‘z’ to prevent
the dreaded snake pit hissing sound. Vary the intensity of words much as you
would in conversations so that you don’t get a stomping effect. Typically, you
will need to enunciate more clearly when singing softly.
