Colleen S.

McDonough
September 19th, 2021

Gloria (1st Movement)

Antonia Vivaldi (1678-1741)

Interesting Fact: This is one of three settings of the text that Vivaldi composed!

Warm-Ups:

• Lip Trills (1-3-5-3-1) beginning on C4 up to D5, back down to G4)

• Oo-ee-oo-ee ( 5-4-3-2-1) (E5-F2)
• Vee-ah(1-3-5-8-5-3-1) beginning on F4-C5)
• Bree-Breh-Brah-Bro-Broo (Bb F D Bb up to D A F# D)
- All “R”s should be rolled
- At the final chord, sing it on “Bro” in the rhythm of m. 17-18
• Scales in rounds (D Major Scale) on Solfege

Rehearsal:
Sections A-B (m. 1-16)

Section A

• Have all students sing m.17-27 on “doh”

- Have powerpoint up to reference practice sight-reading previously done and pulled from
this piece to ease the transition.
- Remind them of the warm up on “Bro” and ask them to find it on the page
- Notice how the beginning moves down in steps
• Have Sopranos and Altos sing m.17-27 together
- Note the parallel motion throughout
- Practice following the shape of the line to create dynamics
• Have Tenors and Basses sing m.17-27 together
- Note the octave jump for basses in m. 20-21
- Have them listen to the tenors to help get there
- Note the frequent unison in m.22-27
- Using the shape of the soprano/alto line, create dynamics.
• Have Altos and Basses sing together m. 28-36
- Notice how frequently they come back together in octaves
• Have Sopranos and Tenors sing together m. 28-36
- Notice how frequently they come back together in octaves

• Ask all parts to sing together from m.17-36

- Mark breaths and specific “No Breath” places
- Mark accents on “Glo” of Gloria
- Have students “sing like trumpets”
- Move from “doh” to words
- Have all students connect the “s” of excelsis to the “d” of deo
- Have each part “solo” on the words while others sing to notice where each part is most
interesting
- Focus on dynamics
- First time: forte
- Repeat: piano
- Follow the shape of the line -- louder up, softer down!
Section B

• What key are we in now?

- Have students sing a b minor chord in root position with altos on the dominant and tenors on
the mediant (this is a switch from their previous voicings)

• Have each part sing alone from m. 38-48

- Have them mark when they think they’re part is the “most important”
- Practice trading dynamic levels when each part changes pitch
- Highlight Alto movement in m. 42
• Tenors and Altos together from m. 38-48
- Notice the Major 2nd in M. 44
• Ask all parts to sing together m. 38-48
- Mark breaths and “NB”s
- Move from “doh” to words
- Add connecting “s” to “d” of “Deo”
- Remember to let other parts shine!

• Tenors and Altos together from m. 50-59

- Notice the Major 2nds in m. 50-52
• All parts together from m. 50-59
- Mark breaths and “NB”s
- Mark changes in rhythm for breaths (m. 51)
- Move from “doh” to words
- Add connecting “s” to “d” of “Deo”
Coda
• Sopranos, Altos, and Basses together m. 62-67
- Practice staggered entrances
- Notice when your part has a “moving buddy”, who it is, and when they move on their own

• Add the tenors to m. 62-67

-Notice how their rhythm is different for their entrance
- Now that all parts are singing, notice where to bring out specific parts and when to back
off.

● Run whole piece from beginning to end

○ Focus on adding implied dynamics whenever possible.
○ Ask students to raise hand during moving parts when they feel their harmony
should be seen as “important”.