Rutter’s nativity apostrophe to a four-footed beast. I have included the introductory and between verse piano parts. The sopranos and the basses split.
- All parts
- First soprano emphasized:
- Second soprano emphasized:
- Altos emphasized:
- Tenors emphasized:
- Baritones emphasized:
- Basses emphasized:
[…] Rutter: Donkey Carol […]
Hi John,
First thank you for the work you have poured into doing this site for us. However one comment I must make is that the second sop. part is not emphasized. The first soprano dominates and I cannot hear my part distinctly.
I do not want to offend you and perhaps there is nothing that can be done about it.
Oops! No offense taken, on the contrary, thank you! Will fix. I do these recordings by setting the volumes on virtual microphones in a “mixer”. Once that is done, it only takes a few seconds to output a new MP3, and a few minutes to upload it to the site. I get a little grouchy with modern composers who split every part (and then split the subparts!) but that’s how the course is laid out. I’m still wondering what to do with the pieces that make drastic changes in tempo. All very nice for the conductor’s ego (Slower! Faster!) but what about the poor singer who is just trying to practice, singing along with the lalas? Until they give me a virtual conductor, I’m omitting the accelerandos and ritards and rallentandos, and some fermatas, particularly fermatas tied to another note. My score editor won’t do them!
OK call me a nudge but in going back into this the alto is really the second soprano part. Oh, is there no rest for the weary?! Thanks John.
Karen
Hi John,
Found two mistakes in my part last measure top of page 4 you didn’t resolve the middle c to the d and top of age 15 third measure I think you repeated the f instead of the d on alleluia. Thanks. Karen