Choir Rehearsal Quotes

She remembers rehearsals. Wrong notes turning to right ones, dissonance becoming harmony. She remembers “O Holy Night” sounding so perfect, in the end, her voice wrapping itself around Jonah’s like they were created just for this. She remembers his smile at her from across their shared mic. She remembers getting asked to reprise her duet with Jonah a year later. Just after everything happened with Luke. But then Mr. Boyden took her aside. Told her that Jonah had backed out. He’d said he was too busy for extra rehearsals, but she knew: it was because of her. She saw it in Jonah’s face, in the way he avoided her eyes. She saw it in everyone else’s faces too. She was a bullet he’d just dodged. She remembers standing up for the solo she was given instead—her last performance before she quit choir. She remembers opening her mouth, nothing coming out. She’d cleared her throat, tried again. Her voice emerged, but all wrong: small and shaky and sharp. With everyone looking at her, with the rumors still swirling, she felt exposed. She felt small and shaky and sharp. Vulnerable, but made of angles and thorns.

Elsa walked to her desk and looked down at the small porcelain jar and candlestick. She had been using them as stand-ins for the orb and scepter she would have to hold, like her father did during his coronation. As she had many times before, Elsa closed her eyes and tried to imagine herself inside the chapel where the ceremony would take place. She thought of the choir that would be singing in the balcony, and she could see the pulpit she would be standing at in front of the priest and all her people, as well as nobles and visiting dignitaries. With no family, she'd be up there alone. Elsa tried not to think about that as she imagined the priest placing the jeweled tiara on her head. Then he'd hold out the pillow with the orb and scepter for her to take. She couldn't wear her teal gloves during that portion of the ceremony, so she removed them for practice. She wore gloves all the time these days. Perhaps it was silly, but she thought the gloves helped her conceal her magic. This was her battle cry: Conceal it. Don't feel it. Don't let it show.

I was not able to sleep that night. To be honest, I didn’t even try. I stood in front of my living room window, staring out at the bright lights of New York City. I don’t know how long I stood there; in fact, I didn’t see the millions of multicolored lights or the never-ending streams of headlights and taillights on the busy streets below. Instead, I saw, in my mind’s eye, the crowded high school classrooms and halls where my friends and I had shared triumphs and tragedies, where the ghosts of our past still reside. Images flickered in my mind. I saw the faces of teachers and fellow students I hadn’t seen in years. I heard snatches of songs I had rehearsed in third period chorus. I saw the library where I had spent long hours studying after school. Most of all, I saw Marty. Marty as a shy sophomore, auditioning for Mrs. Quincy, the school choir director. Marty singing her first solo at the 1981 Christmas concert. Marty at the 1982 Homecoming Dance, looking radiant after being selected as Junior Princess. Marty sitting alone in the chorus practice room on the last day of our senior year. I stared long and hard at those sepia-colored memories. And as my mind carried me back to the place I had sworn I’d never return to, I remembered.

The Lottery by Stewart Stafford It was New York, 1984, The AIDS tsunami roared in, Friends, old overnight, no more, Breathless, I went for a check-up. A freezing winter's dawn, A solitary figure before me, What we called a drag queen, White heels trembled in the cold. "Hi, are you here to get tested?" Gum chewed, brown eyes stared. This was not my type of person, I turned heel and walked away. At month's end, a crippling flu, The grey testing centre called, Two hundred people ahead of me; A waking nightmare all too real. I gave up and turned to leave, But a familiar voice called out: "Hey, you there, come back!" I stopped and turned around. The drag queen stood there in furs, But sicker, I didn't recognise them, "Stand with me in the line, honey." "Nah, I'm fine, I'll come back again." "Support an old broad before she faints?" A voice no longer frail but pin-sharp. I got in line to impatient murmurs: "If anyone has a problem, see me!" Sylvester on boombox, graveyard choir. My pal's stage name was Carol DaRaunch, (After the Ted Bundy female survivor) Their real name was Ernesto Rodriguez. After seeing the doctor, Carol hugged me, Writing down their number on some paper, With their alias not their real name on it: "Is this the number of where you work?" "THAT is my home number to call me on. THAT'S my autograph, for when I'm famous!" "I was wrong about you, Carol," I said. "Baby, it takes time to get to know me!" A hug, shimmy, the threadbare blonde left. A silent chorus of shuffling dead men walking, Spartan results, a young man's death sentence. Real words faded rehearsal, my eyes watered. Two weeks on, I cautiously phoned up Carol. The receiver was picked up, dragging sounds, Like furniture being moved: "Is Carol there?" "That person is dead." They hung up on me. All my life's harsh judgements, dumped on Carol, Who was I to win life's lottery over a guardian angel? I still keep that old phone number forty years on, Crumpled, faded, portable guilt lives on in my wallet. © Stewart Stafford, 2024. All rights reserved.

All Praise to Thee, My God, This Night All praise to Thee, my God, this night For all the blessings of the light. Keep me, oh, keep me, King of kings, Beneath Thy own almighty wings. 2. Forgive me, Lord, for Thy dear Son, The ill that I this day have done That with the world, myself and Thee, I, ere I sleep, at peace may be. 3. Teach me to live that I may dread The grave as little as my bed. Teach me to die that so I may Rise glorious at the awe-ful Day. 4. Oh, may my soul on Thee repose, And may sweet sleep mine eyelids close, Sleep that shall me more vigorous make To serve my God when I awake. 5. When in the night I sleepless lie, My soul with heavenly thoughts supply; Let no ill dreams disturb my rest, No powers of darkness me molest. 6. Dull Sleep of Sense me to deprive, I am but half my time alive; Thy faithful Lovers, Lord, are griev'd, To lye so long of Thee bereav'd. 7. But though Sleep o'er my frailty Reigns Let it not hold me long in Chains; And now and then let lose my Heart, Till it an Hallelujah dart. 8. The faster Sleep the Senses binds, The more unfetter'd are our Minds; O may my Soul, from matter free, Thy loveliness unclouded see! 9. O when shall I in endless Day, Forever chase dark Sleep away, And Hymns with the Supernal Choir Incessant Sing and never tyre! 10. O may my Guardian while I sleep Close to my Bed his Vigils keep, His Love Angelical instill, Stop all the Avenues of Ill. 11. May he Celestial Joys rehearse, And thought to thought with me converse Or in my stead all the Night long, Sing to my God a Grateful Song. 12. Praise God, from whom all blessings flow; Praise Him, all creatures here below; Praise Him above, ye heavenly host: Praise Father, Son, and Holy Ghost.

In the same way that very young children can master new language, the earlier they are taught to read music, the better. When they can read well, they receive enormous personal satisfaction and can be much more effective in the rehearsal.

Sorry.” He smiled and touched his hand to his face. She thought, Why has he turned pale? Then he said, “You know, by vulnerable I suppose I really meant—religious. Yes. Pious girls have tender hearts. They believe sad stories. So I have heard. All to their credit, of course. And they usually lead sheltered lives. Little real knowledge of the world. They are brought up to think someone ought to love them for that sort of thing, their virtue and so on. And they are ready to believe anyone who tells them about, you know, his angel mother, and how the thought of her piety has been a beacon shining through the darkest storms of life. So I have been told. And often, on a cold night, there will be cake and coffee, absolutely free of charge. That can bring out the hypocrite in a fellow, if he has a thin coat or a hole in his shoe. As I understand.” Then he said, “If I had a daughter, I wouldn’t let her go anywhere near a choir rehearsal.

Etymologically, paroikia (a compound word from para and oikos) literally means “next to” or “alongside of the house” and, in a technical sense, meant a group of resident aliens. This sense of “parish” carried a theological context into the life of the Early Church and meant a “Christian society of strangers or aliens whose true state or citizenship is in heaven.” So whether one’s flock consists of fifty people in a church which can financially sustain a priest or if it is merely a few people in a living room whose priest must find secular employment, it is a parish. This original meaning of parish also implies the kind of evangelism that accompanies the call of a true parish priest. A parish is a geographical distinction rather than a member-oriented distinction. A priest’s duties do not pertain only to the people who fill the pews of his church on a Sunday morning. He is a priest to everyone who fills the houses in the “cure” where God as placed him. This ministry might not look like choir rehearsals, rector’s meetings, midweek “extreme” youth nights, or Saturday weddings. Instead, it looks like helping a battered wife find shelter from her abusive husband, discretely paying a poor neighbor’s heating oil bill when their tank runs empty in the middle of a bitter snow storm, providing an extra set of hands to a farmer who needs to get all of his freshly-baled hay in the barn before it rains that night, taking food from his own pantry or freezer to help feed a neighbor’s family, or offering his home for emergency foster care. This kind of “parochial” ministry was best modeled by the old Russian staretzi (holy men) who found every opportunity to incarnate the hands and feet of Christ to the communities where they lived. Perhaps Geoffrey Chaucer caught a glimpse of the true nature of parish life through his introduction of the “Parson” in the Prologue of The Canterbury Tales. Note how the issues of sacrifice, humility, and community mentioned above characterize this Parson’s cure even when opportunities were available for “greater” things: "There was a good man of religion, a poor Parson, but rich in holy thought and deed. He was also a learned man, a clerk, and would faithfully preach Christ’s gospel and devoutly instruct his parishioners. He was benign, wonderfully diligent, and patient in adversity, as he was often tested. He was loath to excommunicate for unpaid tithes, but rather would give to his poor parishioners out of the church alms and also of his own substance; in little he found sufficiency. His parish was wide and the houses far apart, but not even for thunder or rain did he neglect to visit the farthest, great or small, in sickness or misfortune, going on foot, a staff in his hand… He would not farm out his benefice, nor leave his sheep stuck fast in the mire, while he ran to London to St. Paul’s, to get an easy appointment as a chantry-priest, or to be retained by some guild, but dwelled at home and guarded his fold well, so that the wolf would not make it miscarry… There was nowhere a better priest than he. He looked for no pomp and reverence, nor yet was his conscience too particular; but the teaching of Christ and his apostles he taught, and first he followed it himself." As we can see, the distinction between the work of worship and the work of ministry becomes clear. We worship God via the Eucharist. We serve God via our ministry to others. Large congregations make it possible for clergy and congregation to worship anonymously (even with strangers) while often omitting ministry altogether. No wonder Satan wants to discredit house churches and make them “odd things”! Thus, while the actual house church may only boast a membership in the single digits, the house church parish is much larger—perhaps into the hundreds as is the case with my own—and the overall ministry is more like that of Christ’s own—feeding, healing, forgiving, engaging in all the cycles of community life, whether the people attend

They both got tired in term time, up for daily rehearsals, in and out of the cathedral all week for extra practices, Saturday afternoons without fail, seven sung services a week, school, homework.

I hear a choir, far enough away for me not to hear it when it goes soft. It is a song I know, I don't know how, and when it fades, and when it dies quite away, it goes on inside me, but too slow, or too fast, for when it comes on the air to me again it is not together with mine, but behind, or ahead. It is a mixed choir, or I am greatly deceived. With children too perhaps. I have the absurd feeling it is conducted by a woman. It has been singing the same song for a long time now. They must be rehearsing. It belongs already to the long past, it has uttered for the last time the triumphal cry on which it ends.

CONCERT CHECKLIST 1. Secure a date on the calendar. Be sure it is listed on the official school calendar to protect it. 2. Reserve a performance venue for the concert and for final rehearsals. 3. Have tickets printed if they are to be used. 4. Plan the printed program and get it to the printer by the deadline date. 5. Plan the publicity. The following types of publicity can be utilized to draw a sizable concert audience: Radio releases Television releases Newspaper releases Online listings School announcements Notices to other schools and/or organizations in the area Posters for public placement 6. Send complimentary tickets to: Civic leaders Board of Education Superintendent People who have helped in some way Key supporters Key people to stimulate their interest 7. Have the president of the choir send personal letters of invitation to people that are special to the music program (newspaper editor, Board of Education, Superintendent, civic club presidents, supporters etc.). 8. Appoint a stage manager. He should be someone who can control the stage lighting, pull curtains, shut off air circulation fans that are noisy, and see that the stage is ready for the concert. 9. Arrange for ushers. 10. Check wearing apparel. Be sure that all singers have the correct accessories (same type and color of shoes, no gaudy jewelry for girls, etc.). 11. Post on bulletin board and tell students the time they will meet for a pre-concert warm-up. High school students will perform best if they meet together at least forty-five minutes before the concert.

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