Notes

• Lead
  • The lead should try to improvise.
  • During the interlude, the lead can play chords with the sopranos. If so, on the third (last) iteration, the lead should play something different like this or this.
• First soprano
  • Sticking for the high rolling part: Shona roll.
• First tenor
  • The low line is the same as the high line except for the first note.
• Second tenor
  • Low line variations.
• Third tenor (optional)
  • high line, low line, variations.
• Baritone
  • In the high rolling section, the lead eventually works up to a descending high line, which the baritone echos. The trade-off occurs 3 to 5 times, after which the lead stays high. At this point the baritone stays high, too. This happens 4x, then the baritone joins the lead low for 2x as the signal to go into the low section.
  • An alternative high line for the baritone.
• Bass
  • During the interlude, with the exchange with the soprano, the first note of the bass is on the beat, and the second phrase starts off the beat---the opposite of what it has been doing.
  • The last line for the bass is the same as its low line except it goes to an A instead of an F at the end of its first part.
• Interlude During the interlude, the bass/soprano exchange consists of the sopranos playing 1x and the bass responding 1x. The call-and-response is done 3 times, making 6 total cycles.
• Singing To make the singing more prominent, only have the lead, first tenor, and the baritone playing.
• Ending Those parts that had earlier low chords or low lines play these at the end, except, of course, they end with a final chord or note, as recorded above. The bass has a special line, as noted above. The lead and first soprano play the same part to end: low chords which did not occur earlier. In sum, after the vocals, the bass signals the end by playing a high variation twice, everyone goes low for two, then done.