Musical Notes

First, we will use standard English diction, as used on, say, the 1963 D'Oyly Carte Ruddigore. (I prefer slightly the NSWO recording on musical grounds, but the diction is somewhat cleaner on the 1963 D'Oyly Carte, to stick to the two versions most readily available.) North American participants should thus, for example, avoid the hard r generally; flipped rs at the starts, and largely dropped rs at the middles or ends, of words are better.

Second, generally avoid the neutral schwa sound. Instead, use whatever vowel is actually written. For instance, in the opening chorus the bridesmaids should not sing "mai-duhn-kind," but, rather, "mai-dehn-kind" (similarly, not "blush-uhs," but "blush-ehs," and the like). There are exceptions, but most of them will be obvious on inspection.

Third, most closing consonants at the ends of phrases should be sung through by adding a short schwa sound after the consonant. An example may help. When the men's chorus sings "ghost's high noon" at the end of each verse, the members should not simply end the word "noon" by cutting off the air. The closing n will not be heard. Instead, sing the word as though it were written "noonuh," with the "uh" at the end sung only at the cutoff -- about the length of a thirty-second note (demisemiquaver, I believe, in British notation). The closing "uh" must be sung at the same pitch as the note leading into it, not as a toneless grunt. (The same goes for such words as "cloyed" and "Murgatroyd" in the choral responses in Dame Hannah's song.)

Fourth, generally place all consonants ending syllables at the start of the succeeding syllable in that phrase. To illustrate: do not sing "flown-and-in-fla-ted," sing "flow-na-ndih-nfla-ted."

Fifth, generally put in a very, very short neutral vowel when you sing successive consonants -- for instance, between "accustomed" and "place" in "Painted emblems," or between "bright" and "May" in the opening chorus. We will leave them out occasionally, in particular when more staccato singing is needed or when there simply isn't enough time to insert the sound, but adding these helps maintain the vocal line. (The word "inflated" in the previous example is just such an instance; the patter moves too quickly to admit extra sounds.)

Sixth, and, for the moment, last, practice rapid music, dotted rhythms, and irregular choral entries by taking the music apart. I recommend the technique developed by the late Robert Shaw, which we will use in our rehearsals together. First, simply pronounce the words without regard to the rhythm of the music. Concentrate on pure, crisp diction. Once your words are in good shape, add rhythm, but not pitch. Sing the words on a constant pitch, cutting off exactly as written. I suggest the G# above middle C for sopranos, the E above middle C for altos, the F# below middle C for tenors (actual pitch) and the D below middle C for basses. (In fact, we may use this rather dissonant chord if we try this in practice.)

Once your rhythms, phrases, and cutoffs are exact, work on the music without the words. Instead of the words, count each syllable, using one-and-two-and-tee-and-four-and (or one-and-uh-two-and-uh for triple meter, or one-e-and-uh-two-e-and-uh when subdivided into four, or in most two-two). (Note the use of tee rather than three; three takes too long to say.) Off-beat entries should begin on the appropriate counting syllable. Perhaps an illustration may help. The opening chorus is in two-two, and should thus be counted using one-e-and-uh. It begins on "Two-e-and-uh," because it starts on the second beat of the measure. The layout below should assist.

Words Syllables
Fair Two-e
is and-uh
Rose One-e
as and-uh
bright Two-e
May- and-uh
day, One-e-and-uh

Just a few more general pointers.