ISLAND CITY CHORUS

GREATER MONTREAL CHAPTER

Northeastern District

SPEBSQSA Inc.

The Little Chorus that could!

MINI PITCH

Date: May 10, 2004 Three weeks to show time! Volume 2004 -Issue 20

This was the big weekend for Region 1 members and the West Island Chorus, with Rob Mance at the helm, and Commonly Unique were in competition for a chance to go to the SAI International Convention this November.

The quartet contest results show Commonly Unique in fifth place, scoring 70.13%, an excellent result. Congratulations to Liz Mance, Morgan LaCroix, Kristin Drummond and Laura Holmes.

It is interesting to note that Boston Accent the winners of the Harmony Inc. Area contest placed third in the contest. They are members of both organisations.

The West Island Chorus scored 62.38% and placed seventh. Congratulations to everyone.

I must admit it. I was sceptical regarding the possibility of including " Luck Be A Lady Tonight," in the repertoire for our show, but it has been coming together remarkably well. The tough parts are still tough, but we are getting them to sound pretty good. The trick is to be off the paper this week. We need to have the notes and words down solidly

Nearly all the tickets for the ground floor are sold, but a few were returned last week. These many be obtained from Ray Watkins. Most people seem to have done pretty well with their ticket sales.

Alan Kenley has agreed to co-ordinate the Show Program, and he needs to get the advertisements so he can put the book together. There is only two weeks left to get advertising in.

If you have ads sold, get them to Alan as soon as you can. Don't forget that tickets come with ads over one quarter page. What a deal that is.

Since we have such a great show, we should be able to sell out the Salle Pierre Mercure. Give your ticket money to Ray Watkins as soon as possible.

We have two great quartets coming. Four Voices were the 2002 International Champions and The Gas House Gang won gold in 1993, but they keep getting better! Mike Slamka, lead of 2003 Champions, Power Play will be singing baritone with the Gang when they are with us here in Montreal. Commonly Unique will also be singing on the show. It should be a blast.

Another hot show is coming along this spring. The Montreal Chapter of Harmony Inc. are putting on their show June4, 2004. The location and price are to come, but they have Hot Topic2003 Harmony Queens and Commonly Unique on the show along with For the Fun of It (one of their chapter quartets) and of course the chorus, who are singing very well.

Tickets are $18 and the show is at CEGEP Gerald Godin on Gouin Blvd, Pierrefonds.

1. Never be satisfied with the starting pitch. If the conductor uses a pitch pipe, insist on your preference for the piano - and vice versa.

2. Complain about the temperature of the rehearsal room, the lighting, the lack of space, or a draught. It is best to do this when the conductor is under pressure.

3. Bury your head in the music just before an important cue.

4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.

5. Loudly clear your throat during pauses (tenors are trained to do this from birth.) Quiet interludes are a good opportunity for blowing your nose.

6. Long after a passage has gone by, ask the conductor if your low C was in tune. This is especially effective if you didn't have a low C or were not singing at the time.

7. Wait until well into a rehearsal before letting the conductor know that you don't have any music.

8. At dramatic moments in the music (while the conductor is emoting wildly) be busy marking your music so that the climax will sound empty and disappointing.

9. Look at your watch frequently. Shake it in disbelief occasionally.

10. Whenever possible, sing your part either an octave above or below what is written. This is excellent ear training for the conductor. If he hears the pitch, deny it vehemently and claim that he must be hearing the harmonics.

11. Tell the conductor, "I'm not sure of the beat." Conductors are always sensitive about their "stick technique", so challenge it frequently.

12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask him as many questions as possible about the meaning of individual words. Occasionally, say the word twice and ask his preference for pronunciation, making certain to say it exactly the same both times. If he remarks on their similarity, give a look of utter disdain and mutter under your breath about "subtleties of inflection".

13. Ask the conductor if he has listened to the Willcocks recording of the piece you are rehearsing. Imply that he could learn a thing or two from it. Also good: ask "Is this the first time you've conducted this piece?"

14. If your phrasing differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.

15. Remember - softer means slower.

Practice is something we do at home, every day, between rehearsals!

Rehearsal is where we reinforce what we have been practising every day!