Blue Ridge
Vocal Connection
Specific resources posted for each song vary, but they typically consist of a printable PDF and individual audio tracks for each voice part. The audio tracks include the accompaniment and additional voices, but the labeled voice is recorded at a higher volume to stand out. “Accompaniment” tracks either have no single voice enhanced, or include only the accompaniment with no additional voice parts.
In some scores, a solo vocal section might be written on the same staff as a part written elsewhere for a whole vocal section. When that happens, both the solo and group parts are likely to be included on the same rehearsal track. So if you’re using these rehearsal tools to memorize, it would be helpful to compare what you hear against the printed score, so you can distinguish solo from group parts.
A word about certain limitations in some Sibelius audio files: even though Sibelius is a sophisticated music writing program, it can’t synthesize human consonants. So it can’t actually “sing” the vocal lines. Instead, it uses a synthesized voice singing a nondescript vowel. The result is a vocal line you can follow to learn your part, even though there aren’t any words.
Sibelius also doesn’t follow repeats the same way a human would. For example, sometimes certain notations instruct singers to perform repeats differently each time through. Sibelius doesn’t “see” those instructions, so it performs both passes the same way. But singers should heed instructions that might appear on printed music. So, once again, while you’re in learning mode on a piece, it’s a good idea to compare a written score against what you’re hearing to improve your comprehension & accuracy.
Note:
If there is a “Vocal Recording” listed, that link will take you to a recording where you can hear what the piece sounds like.
This track diverges from the written score at measures 48-51. When performed, those 4 measures are supposed to be performed 4 times in a row. The 1st time through, the basses sing “doo root…” alone. On the 2nd pass, the altos join with the text marked (2). Sopranos join on the 3rd pass with the text marked (3). Tenors join only on the 4th pass with the text marked (4). As each part joins, they continue until all 4 parts are singing their line.
That’s not the way this rehearsal track has been recorded.
Rather, on the 1st pass, at measures 48-51, the bass line sounds alone, as written. However, at measures 52-55, the alto line sounds alone. Next, at measures 56-59, the soprano line sounds alone. Then, at measures 60-63, the soprano line sounds alone. Finally, at measures 64-67, all 4 parts sound together.
This format allows each part to hear their line alone first, and then combined with the other 3 parts. On the part tracks, the featured line is louder throughout. On the “All Parts” track, they’re balanced.
The first distributed PDF of this piece had errors in the tenor & bass lines at mm. 40, 46, & 53. It was dated 1/22/25 at the bottom.
The current PDF, dated 1/31/25, has corrections in red. Revised audio tracks for all voices were also uploaded on 1/31/25.
Tenors & basses can hand-write corrections on your 1/22/25 copies, or ask Jean for corrected pages as they are available at a rehearsal.