MARCH 2009 - Sweet Adelines International

A Sweet Adelines International Newsletter for Members of the Director’s Certification Program and Front-Line Directors
DIRECTORS GET TECHNICAL
Have you seen the new Director Page on
our Web site? It’s chock full of resources
for all of you chorus directors and chorus
directors-in-training. You can locate it
by clicking the link above or browsing
the Education Tab on our home page (see
page two for more details). Once you’re
there, you will find everything from links
to archived issues of Forward Motion to
downloadable templates and articles of
interest.
You’ve spoken and we’ve listened. Time
and again we receive feedback at International Headquarters that one of the best
things about face-to-face time at convention and educational events is the networking opportunities.
So, in an effort to bring Sweet Adelines
Directors together on a regular basis, a
new online community was launched in
January 2009. At the Directors Only
Forum, front line directors can post on
bulletin boards as well as chat in real
time. The hope is that this will be a
dynamic networking tool that connects
Sweet Adelines directors from around the
world and gives them a place to “talk
shop” of their favorite kind—
barbershop!
The site is fully secured and private and
open only to front-line directors, as well
as members of the International Board of
Directors and Education Direction Committee. For more information on how to
join this exciting online community,
please click on the Directors Only Forum
link at the top left of the Director Page.
It is our hope that you will visit the
forum regularly and foster an open
exchange of ideas, support and
encouragement with your fellow directors. The community is for directors, by
directors and will thrive with active
contributions and involvement.
And in case you might have missed it, be
sure to check out January's Electronic
Edition of The Pitch Pipe. It features an
interactive Digital Edition Only article
by Renée Porzel – The Sudoku of
Choreography with embedded video illustrations, which literally bring the words
to life! In addition, the archived Marketing Your Chorus Webinar is also linked to
the inside cover page of the digital magazine.
Finally, if you haven’t done so already,
it’s time to register for Side By Side, the
upcoming Director Seminar/Judge
Training in Detroit, July 22-25, 2009.
The early bird registration deadline for
Side By Side is March 16th. See page two
for more details.
You can also purchase your own Side By
Side logo gear from the Sweet Adelines
International shop at Cafepress.com.
Show your spirit with a fun tote bag,
t-shirt, notebook and more!
I’m excited, are you? I sure hope so!
In harmony,
Lori Decter Wright
Director of Education
Sweet Adelines International
MARCH 2009
INSIDE THIS ISSUE:
Directors Forum
2
Side By Side
Director Training
3
As the World Turns:
A Year in the Life of a
Chorus Director
4-5
By Joan Boutilier
Real Harmony:
The 10 Most Common
Problems of Singers
6-7
By Teresa Radomski
MAINTAINING VOCAL HEATH
8-10
by David Otis Castonguay,
Radford University
DCP Advancements
9
DIRECTORS PAGE:
Resources are listed for
directors and musical leaders
of all levels. Find links to
past issues of Forward Motion, articles of interest including a checklist for music
selection, choosing arrangements, recommended contest music for C/C+ Level,
plus much more.
Bookmark this page and
visit it often to find updated
resources such as Rookie
Tool Kit materials and templates for letter of agreement as well as rehearsal
planning. There also is a
direct link to the Director
Education Coordinators
Moderator who is available
to answer your questions
and concerns at any time.
DIRECTORS FORUM:
Your portal on the web to a
dynamic community for Sweet
Adelines directors by Sweet
Adelines directors. Open to
all front line chorus directors,
members of the International
Board of Directors and Education Direction Committee.
Visit the forum regularly to
network, exchange ideas, ask
questions and share your
thoughts with fellow Sweet
Adelines directors from around
the world.
There is also a real-time chat
feature to keep you in-touch
while you are online.
Page 2
Forward Motion
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REAL WOMEN
As the World Turns:
A Year in the Life of a Chorus Director
Part One of a Two-Part Series
By Joan Boutilier, Director, Choral-Aires Chorus, Region 3, and River City Sound Chorus, Region 22, and Tenor, Four Bettys
The chorus planet on which we live is always revolving. In terms of planning, our chorus year doesn't end after a
major event such as competition. Instead, one season flows into the next from year to year. The best way to keep
our chorus world rotating steadily is to have a well-planned calendar scheduled far enough in advance to overlap
from year to year. A good calendar is a Director's best friend and will keep her/him feeling in control of chorus life
on her/his planet.
For the purposes of this tool, the year is divided into four quarters. It's necessary to plan three or more seasons
ahead for chorus events, and for some things, like coaching, longer range planning is advised. Since the majority of
our organization does not compete at international, this calendar tool will address “non-internationally-bound”
chorus life.
I. Patterns occur within a typical calendar year. Once a pattern is established it becomes a template for future
years. To set your pattern, first plug in events that you are certain will occur during the four quarters, by month if
possible. This is a big picture of the year.
A sample is provided (this sample assumes an Annual Show performance in November as well as contest in April or
May):
FIRST QUARTER: 2009
January:
February:
March:
SECOND QUARTER: 2009
April:
May:
June:
THIRD QUARTER: 2009
July:
August:
September:
FOURTH QUARTER: 2009
October:
November:
December:
Coaching night
Singing Valentines
Chorus retreat
Regional Contest
Ways and means event (non-singing)
Community Park Concert
Membership Drive
Annual Chapter Show
FIRST QUARTER: 2010
January:
February: Singing Valentines
March:
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Forward Motion
II. Put in the dates for teaching choreography and new songs and the date for tape evaluation for contest.
FIRST QUARTER: 2009
January: Coaching night; Teach choreography for contest uptune for 2009 (keeping ballad from 2008)
February: Singing Valentines;
Tape evaluation begins for 2009 regional
March: Chorus retreat
SECOND QUARTER: 2009
April: Polish Contest Songs
May: Regional Contest
June: Music team teaches new Annual Show song to chorus two weeks after regional
THIRD QUARTER: 2009
July: Summer ways and means event (non-singing);
Music team teaches second new Annual Show song
August: Community Park Concert;
Choreography team teaches new plan for Annual Show song
September: Music team teaches third new Annual Show song;
Choreography team teaches new plan for Annual Show song
FOURTH QUARTER: 2009
October: Membership Drive
(guests learn two songs to perform on Annual Show)
November: Annual Show;
Music team teaches new Seasonal Holiday song
December: Music team introduces new ballad for regional 2010 (keeping uptune from 2009)
FIRST QUARTER: 2010
January: Choreography team revises choreography for contest uptune
February: Singing Valentines;
Tape evaluations begin for 2010 regional
March: Chorus retreat
III. Create the Director/Music Team (MT) Task Calendar.
FIRST QUARTER: 2009
SECOND QUARTER: 2009
THIRD QUARTER: 2009
MT contacts coach for 2010 and 2011, if necessary
MT learns new song (for Annual Show) to be taught to chorus after Regional Contest
MT continues learning new songs to teach for Annual Show
MT selects new contest ballad for 2010
FOURTH QUARTER: 2009
MT learns Seasonal Holiday song to teach after Annual Show
MT sets dates for tape evaluation for 2010
MT begins learning new contest song for 2010
FIRST QUARTER: 2010
March 2009
MT continues learning new contest song for 2010
MT contacts coach for 2011
MT selects three songs for 2010 Annual Show and new Seasonal Holiday Song(s)
Page 5
REAL HARMONY
THE 10 MOST COMMON PROBLEMS
OF
SINGERS
by Teresa Radomski, MM, Assistant Professor of Voice and Theatrical Singing at Wake Forest University
In dealing with the physical production of the singing
voice, one encounters many problems, all of which are
interrelated, and often addressed simultaneously. The ten
problems listed below are prevalent in different types of
singers, regardless of training and experience.
1. POOR POSTURE: The efficient alignment of the
body is of primary importance to voice production. Problems in posture range from “collapse” of the chest and rib
cage, with corresponding downward "fall" of the head and
neck, to the hyper-extended, “stiff” posture of some singers that results in tension throughout the entire body.
Effective posture evolves from the kinesthetic awareness,
that may be developed through the study of a physical
discipline such as Hatha yoga or Alexander Technique.
2. POOR BREATHING AND INAPPROPRIATE
BREATH SUPPORT: Some beginning voice students
seem to “gasp” for air, and exhibit clavicular or shallow
breathing patterns. Trained singers, on the other hand,
use primarily diaphragmatic breath support. The muscles
of the lower back and abdomen are consciously engaged,
in conjunction with lowering of the diaphragm. As the
breath stream is utilized for phonation, there should be
little tension in the larynx itself. Sometimes, in an attempt
to increase loudness (projection), a well-trained singer
may over-support or “push” the airstream. This extra
effort may affect vocal quality by producing undesirable
harmonics.
3. HARD GLOTTAL OR "ASPIRATE" ATTACK:
“Attack” or “onset” (a preferable term for singers) occurs
with the initiation of phonation. Some singers (possibly
related to poor speech habits) use a glottal attack, which
is too hard (produced by to much tension in closure, hyper adduction). Vocal cord nodules may develop with
habitual use of a hard glottal attack. The opposite problem is the “aspirate” attack, in which excessive air is released prior to phonation. While this type of attack rarely
damages the vocal cords, it causes a breathy tone quality.
(This technique may, however, be utilized to help correct
a hard glottal attack.)
4. POOR TONE QUALITY: Many terms are commonly
used to describe a singer's tone, and among those familiar
to singers are: clear, rich, resonant, bright, dark, rough,
thin, breathy, and nasal. Although “good tone” is highly
subjective, according to the type of singing and personal
preference of the listener, in general, a tone that is
“clear” (without extra “noise”) and “resonant”
(abundant in harmonic partials) is acknowledged as
Page 6
“healthy” and naturally will have sufficient intensity for
projection without electric amplification. Opera singers
strive to develop a “ring” (acoustic resonance at 2,5003,000 Hz), that enables the voice to project over a full
orchestra, even in a large hall. However, for other styles
of singing, the use of amplification may allow a singer the
choice of employing a less acoustically efficient vocal tone
for reasons of artistic expression. A breathy tone, for
example, may be perceived by the listener as “intimate”
or “sexy,” and even a “rough” sound, such as was used
by Louis Armstrong (false vocal cord voice), may represent a unique persona of a performer.
5. LIMITED PITCH RANGE, DIFFICULTY IN REGISTER TRANSITION: All singing voices exhibit an optimal pitch range. Typically, untrained voices have narrower pitch range than trained singers, due to lack of
“register” development. The term “register” is used to
describe a series of tones that are produced by similar
mechanical gestures of vocal fold vibration, glottal and
pharyngeal shape, and related air pressure. Some common designations of registers are the “head” register,
“chest” register, “falsetto.” etc.
Singing requires transitions from one register to another;
each of these transitions is a called a “passaggio,” Italian
for passageway. Lack of coordination of the laryngeal
musculature with the breath support may result in a
“register break,” or obvious shift from one tone quality
to another. Untrained male voices and female “belters”
tend to “break” into falsetto/head voice in the upper
range. Regardless of the style of singing, a “blend,” or
smooth transition between the registers is desirable.
6. LACK OF FLEXIBILITY, AGILITY, EASE OF
PRODUCTION, ENDURANCE: Traditional voice training in the 18th-19th century “bel canto,” Italian for
“beautiful singing,” method places emphasis on vocal
flexibility or agility -- for example, the singer’s ability to
execute rapid scales and arpeggios. Virtuosic technique
demands excellent aural conceptual ability, coordination
of an abundant airstream with energetic diaphragmatic
support (sometimes perceived as “pulsations of the epigastrium”), and clear, resonant tone quality. The use of
rapid melodic passages in vocal training helps to develop
a relaxed, yet vital voice production, that contributes to
the development of increased vocal endurance.
7. POOR ARTICULATION: Pronunciation with
excessive tension in the jaw, lips, palate, etc., adversely
affects the tonal production of the voice. Problems of
Forward Motion
articulation also occur when singers carry certain speech
habits into singing.
The longer duration of vowel sounds in singing necessitates modification of pronunciation; the increased
“opening” of certain vowels in the high soprano voice, or
elongation of the first vowel in a diphthong, are examples.
Retroflex and velar consonants (such as the American “r”
and “l”) need careful modification to allow sufficient pharyngeal opening for best resonance, and the overanticipation of nasal consonants (“m,” “n,” “ng”) may
result in a "stiff" soft palate and unpleasant tone.
8. LACK OF DISCIPLINE, COMMITMENT, COMPLIANCE: As any athlete knows, regular practice is essential
for optimal development and performance. Unfortunately, the need for disciplined training is not always apparent to singers. Furthermore, “artistic temperament”
may contribute to a lack of compliance with the advice of
teachers on issues of vocal technical development. When
a teacher’s advice is contrary to a singer’s own established ideas and work habits, the singer may tend to overwork, over-perform, or simply “try too hard” in practice.
The singer’s practice and performance regimen must be
sensible, productive, and acceptable to both teacher and
student alike.
tion— phlegm, for example— can result in momentary
loss of voice (even in the greatest of performers!), singers
often feel that they are always in a state of vulnerability.
Despite unpredictability in vocal performance, the singer
does gain confidence through repeated performance and
increased self awareness.
Teresa Radomski, MM, is an accomplished operatic soloist and Assistant Professor of Voice and Theatrical Singing at Wake Forest University. In addition, Ms. Radomski is a consultant for the Center For Voice Disorders.
Her column, "A Singer's Notes" will appear as a regular
feature of THE VISIBLE VOICE. Ed. For more information, visit The Wake Forest University Baptist Medical Center web site.
17 Tips for Effective Leadership
•
Be compassionate.
•
Have a good sense of humor.
•
Stick to things until you finish them.
•
Show enthusiasm.
9. POOR HEALTH, HYGIENE, VOCAL ABUSE: Many
students ignore common sense and good vocal hygiene.
The physical demands of singing necessitate optimal
health, beginning with adequate rest, aerobic exercise, a
moderate diet (and alcohol consumption), and absolute
avoidance of smoking. College voice students often test
the limits of their vocal health by overindulgence in
“partying,” alcohol or drugs, and by screaming at sporting events. Many singers are careful with their voices but
abuse their voice by employing poor speaking technique
(for example, Bogart-Bacall Syndrome).
•
Have high expectations of people.
•
Be willing to work hard at first, smart later.
•
Have patience.
•
Don’t let little things bug you.
•
Love what you do.
•
Credit your people.
•
Give responsibility.
Professional singers who travel are confronted frequently
with changes in their sleep and eating patterns.
(Specifically, singers should avoid talking excessively on
airplanes that are both noisy and dry). Performing in
dry, dusty concert halls, or singing over the din in smokefilled clubs increases the risk of vocal fatigue and infection. A minor cold or allergy can be devastating to a professional singer, who is obliged to perform with swollen
(edematous) vocal cords. Good vocal hygiene, good travel
habits, and vigilant protection of one’s instrument (good
judgment) is an important responsibility of every singer.
•
Accept blame for problems.
•
Be fair.
•
Cultivate generosity.
•
Trust your people.
•
Get and stay organized.
•
Be a good listener.
10. POOR SELF-IMAGE, LACK OF CONFIDENCE:
Although many singers appear to have “healthy egos” and
may display the aggressive behavior that is known as
“prima donna” temperament, such behavior is a cover-up
for anxiety and/or insecurity. Since the slightest aberra-
March 2009
For more inspiration check out Stephen R. Covey’s book
The Seven Habits of Highly Effective People (first pub-
lished in 1989). A subsequent book lists an eighth habit:
“Find your voice, and inspire others to find theirs.”
Page 7
MAINTAINING VOCAL HEATH
by David Otis Castonguay, Radford University
For many school-aged singers, the choral director is the
only significant source of professional instruction and
advice they will ever receive about their voice. The choral director is their first line of defense for vocal health.
A conductor's skill at diagnosis of vocal faults must be
matched by a willingness to refer students to the proper
health care professional. This is a copy of a handout
presented to students in choral conducting and vocal
pedagogy classes at Radford University. In addition to
the sources cited in the bibliography, and my own experience, this material is drawn from the work of Van
Lawrence, M. D., Otolaryngology and Paul Brandvik.
1. Try your best to maintain good general health.
Avoid viral colds (a regimen of washing hands has
been shown to reduce the transmission of cold viruses). Some advocate vitamin C and zinc lozenges.
While I find these effective, I would recommend
their use only after the student has consulted a
physician.
2. Emotional and physical stress both contribute significantly to vocal distress. Exercise regularly. Using your major muscle groups in jogging, etc. is an
excellent way to diminish stress. NOTE: extensive
power weight lifting will place some wear on the
vocal folds. This should be avoided during times of
extended vocal use or vocal fatigue.
3. Eat a balanced diet. At times of extended vocal use
avoid large amounts of salt and refined sugar, spicy
food such as Mexican, Szechuan Chinese, as well as
excessive amounts of food and/or alcohol. One may
note hoarseness in the larynx or dryness of the
throat after drinking significant amounts of alcohol, caffeinated, as well naturally or artificially
sweetened beverages. The body needs water to metabolize these foods and beverages. Excessive consumption of these items will reduce the amount of
water available to hydrate the voice.
4. Maintain body hydration (at least 7-9 glasses of
water a day) and avoid known dietary diuretics
such as caffeine and alcohol. Moisture is a necessary lubricant of the vocal folds. When one's body
is dehydrated laryngeal lubrication diminishes and
wear takes place at a much greater rate than normal.
5. Avoid dry, artificial interior climates. Laryngologists recommend a humidity level of 40-50%. Much
body moisture is lost while breathing air in low humidity climates, i.e. air conditioned or heated
rooms (routinely 10-20% moisture), cars, buses,
etc.
6. Avoid smoking cigarettes, cigars, pipes. These are
bad for the heart, lungs, and vocal tract of not only
yourself, but others around you as well. Avoid
Page 8
other irritant inhalants, i.e. marijuana. In addition
to the debilitating effect on the vocal tract, you need
your head on straight when you sing.
7. Avoid breathing smoggy, polluted air, i.e. car exhausts, smoky bars and lounges, when you are vocally tired.
8. Avoid the use of local anesthetics (Chloroseptic,
Parke-Davis Throat Discs, etc.) when you are singing. The anesthetic effect masks any signs of injury,
therefore encouraging further abuse of the folds. Additionally, singing under their influence is like playing the piano while wearing gloves.
9. Question the use of progesterone dominant birth control pills. These cause a virilization of the female larynx and a decrease of range in your upper register.
There may be no other solution for your particular
situation, however. The treatment of endometriosis
often includes pharmaceuticals which cause permanent vocal changes. Inform your doctor that you are
a singer if you are undergoing treatment for this disease.
Vocal Use Practices
1. Avoid hyperfunctional use of your voice, i.e. learn to
use your voice with as little effort and tension as possible. A high school or collegiate singer in training
should be able to sing for three-four hours per day
(when healthy) without debilitating the next day's
singing activity. If one cannot sing for this length of
time without some disablement, then one should consider a reevaluation of present singing or speaking
habits.
2. Keep in mind that the degree of individual vocal conditioning and innate vocal capacity to endure wear
and tear relate directly to the amount of singing or
speaking one can do each day.
3. Avoid singing in a tessitura which is continually near
the extremes of your own range (both high and low).
Carefully pace the use of register extremes (such as
pushing the chest voice into the upper range for effect, i.e, belting). MISUSE OR OVERUSE HERE
CAN BE VOCAL SUICIDE.
4. Before singing or using the voice in unusual ways
(public/dramatic speaking), do some vocal warm-ups.
As in any physical activity, the warm-up should proceed from general stretching through less strenuous
to more strenuous usage. Loud volume and high
range are the most strenuous of usages; therefore,
begin in the mid-range with easy production. At
every stage along the way, evaluate your present day
vocal condition, and adjust your rehearsal activity
accordingly. Every voice is different, but seven-ten
minutes of warm-up is usually the minimum.
Forward Motion
5. Reduce general voice use prior to a concert. While
riding the bus to the program, have a quiet period
when everyone can conserve energy for the task that
is at hand.
6. Avoid shouting, screaming, loud laughing, and heavy
throat clearing. Necessary coughing and sneezing
should be as gentle and as non-vocal as possible.
7. If it feels bad, don’t do it.
Common Signs of
Significant Vocal Abuse
1. Throat is tender to the touch after use.
2. Voice is hoarse at the end of singing.
3. Throat is very dry, with a noticeable “tickle” that is
persistent. Check dehydration.
4. Inability to produce your highest notes at pianissimo
volume.
5. Persistent hoarseness or an inability to sing with a
clear voice after 24-48 hours of vocal rest.
Treat your voice and body sensibly when you feel vocally
run down. This necessitates the development of accurate
perceptions by the singer of why the voice is feeling tired.
Accurate self-evaluation will lead one to therapeutic practices which will return you to vocal health in the shortest
period of time. In doubt? Seek professional help.
Recommended Reading
Brodnitz, Friedrich S., M. D. Keep Your Voice Healthy.
2nd ed. Boston: College Hill Press, 1988.
McKinney, J. C. The Diagnosis and Correction of Vocal
Faults. Nashville: Genevox, 1994.
Sundburg, Johan. The Science of the Singing Voice.
Translation of Röstlara. Dekalb, Illinois: Northern Illinois University Press, 1987.
Thurman, Leon. “Putting Horses Before Carts: A Brief
On Vocal Athletics.” The Choral Journal (March 1983):
15-21
Thurman, Leon. “Putting Horses Before Carts: When
Choral Singing Hurts Voices.” The Choral Journal (April
1983): 23-28.
The chart on the following page illustrates many of the
points outlined in this article. While the chart is largely
self-explanatory, three factors contributing to vocal distress taken from Thurman's articles perhaps need some
explanation. Disease Circumstances (such as allergies or
viral colds) and Aggravating Circumstances (such as lack
of sleep— and spending time in smoky or polluted air) are
factors which can cause vocal distress. Predisposing Circumstances include Psychological Stress Reaction - becoming emotionally upset. The emotional tension often
associated with such distress has a negative impact on the
voice. Persons who suffer from what is commonly called
“stage fright” experience the shortness of breath, “lump
in throat” and other symptoms which impair good vocal
production. Under Heredity, Thurman includes individuals whose vocal mechanism tires at an abnormally fast
rate.
March 2009
DCP ADVANCEMENTS
CERTIFIED DIRECTOR
Beverly Bruening, Dundalk Chorus, Region 19
Jennifer Cooke, Tune Town Show Chorus, Region 23
Engelina De Jong, Adelaide Sound Connection Chorus, Region 34
Teresa Hein, Evergreen Chorus, Region 15
Risa Page, Celebrity City Chorus, Region 11
Leah Rippetoe, Celebrity City Chorus, Region 11
Carol Thompson, Great Lake Sound Chorus, Region 3
CALL FOR SUBMISSIONS
Have something to add? Write an article to share
with your fellow directors and DCP participants.
Send your suggestions and submissions to:
[email protected]
This flow chart graphically depicts procedures for maintaining good vocal health.
David Otis Castonguay is Director of Choral Activities
at Radford University. In addition to supervising the
university’s five choral ensembles and graduate program in choral conducting, Castonguay teaches choral
conducting and applied voice. University choirs under
his direction present a wide variety of programs each
year including works with orchestra, the annual Madrigal Dinner as well as a holiday concert in St. Andrew's Church, Roanoke which is broadcast on affiliates of National Public Radio.
Page 9
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Forward Motion
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