We rehearsed again in the church of Our Lady of the Assumption. The arrangement of choir sections and the seating was much better for hearing both Mary and other voices in the choir.

The warm up exercises include practising the singing of certain words – to sing through the vowels and keep consonants short eg Chri(st)ma(s) .

We then practised:

• In the Bleak Midwinter
• Remember to crescendo smoothly through dotted minims eg ‘bleak’ in Bar 3, ‘wind’ in Bar 5
• Revise the pattern of which sections of the choir sing what and when in the first verse (with repeat) and in the Canon – see detailed notes from 7 November

• The Gift
• Throughout – observe the syncopated rhythms, count the beats on each note accurately, be ready to pick up quickly new phrases at joins between verses and chorus especially, observe dynamics carefully
• Ch 4 – sing out the sop and alto accompaniment with ‘Ah’ above words in lower 2 parts
• Ch 2 – tenor and basses sing out accompaniment with clear and accurate rhythm from Bar 32
• V2 – alto and basses sing syncopated rhythm clearly from Bar 39
• Note Ch 3 is mp
• V3 – altos and tenors – spit out the staccato quavers from Bar 66
• At all times – heads up, sing out and watch!

• Ding Dong merrily on high
• Bar 11 – note the second sops begin the chorus each time.
• Repeats of the 3 choruses – fp, fp, pf.
• Note no rall at the very end
• From Bar 11, alto, tenor and bass accompaniment, sing gently but with a strong ‘swinging bell’ style
• Be careful of double syllable words at the ends of phrases – stress the first syllable and ease off for the second eg Bar 6 singing

• Ring the Bells
• Sing joyfully
• Bar 14/15 sustain the notes on ‘sing’ for correct length in each part
• Be prepared for the join and the key change into v4

• Angels’ Gloria
• We practised small sections and then sang through the piece
• Pronounce the word ‘Angels’ with emphasis on the first ‘A’
• We practised the running quavers section from Bar 93
• Note 3 upper parts from bar 105
• Be ready for the many and different joins between difference sections of the piece
• Note mp at Bar 63