Integrating Vocal and Musical Techniques in the

Transcription

Columbus State University
CSU ePress
Theses and Dissertations
5-2007
Integrating Vocal and Musical Techniques in the
Choral Rehearsal
William W. Rayfield III
Columbus State University
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Columbus
State University
Integrating Vocal and Musical Techniques
in the
Choral Rehearsal
A Graduate Music
Project Submitted in Partial
Fulfillment of the Requirements for the
Degree of Master of Music
in
Music Education
William W. Rayfield
May 2007
III
The undergsigned, appointed by the Schwob School of Music at
Columbus State University, have examined the Graduate Music Project
Integrating Vocal and Musical Techniques
in the
Choral Rehearsal
presented by William
W.
Rayfield
a candidate for the degree of Master of
Music
and hereby
it
certify that in their opinion
(Project Advisor)
//
is
in
III
Music Education
worthy of acceptance.
titled
Abstract
The vocal warm-up is an aspect of the choral rehearsal which is many times seen
as nothing more than a brief period in which a singer in an ensemble "warms''' his or her
vocal mechanism in preparation for singing. It is also considered by many to be separate
from the review of literature to be performed. However, if a conductor plans carefully
for the warm-up period, it can serve to teach both vocal technique and the repertoire to be
reviewed. There are numerous aspects of vocal technique that should be addressed
during the choral warm-up.
Among
these
extending the vocal range, and sight-singing.
introduced during this time.
is
posture, breath, intonation, resonance,
Also, aspects of the repertoire should be
With careful planning,
a conductor can teach proper vocal
technique and introduce choral literature fairly quickly during the warm-up process.
in
Table of Contents
Abstract
i i i
Table of Contents
i
v
I.
Introduction
2
II.
Body, Mind, and Voice
6
III.
Breath
12
IV.
Intonation
17
V.
Improving Resonance
20
VI.
Extending the Vocal Range
22
VII.
Sight-Singing as a
VIII.
Conclusion
25
IX.
Appendices
26
A. Elementary Rehearsal Guides
26
B. Middle School Rehearsal Guides
42
C. High School Rehearsal Guides
56
D. List of Repertoire
72
E.
X.
Warm-Up
24
74
Additional Resources
Bibliography
76
IV
It is
As soon
not technique that
as the soul can
is
the essence of
communicate
a complete musical effect
is
created.
art,
but the soul.
freely, without obstacles,
Technique sufficient for
free manifestation of the child's soul can easily
under a good leader
in
be mastered
any school.
-Zoltan Kodaly-
(Legany
(ed.),
1975, as cited in
Hassemann
& Jordan,
1991, p.lj
I.
Introduction
There are
choral rehearsal.
hundreds of things to take into consideration when planning a
literally
It
seems
ensembles are always pressed for time
in
completing
There are even times when "perfecting" every aspect of a one-
preparation for concerts.
hour program can seem
that
such a monumental task that
like
thorough warm-up routine. As a
result,
some
directors
we do
may have
not see the point in a
the tendency at times to
rush through a series of monotonous, generic vocal exercises in order to begin the "real
rehearsal."
H
ifa
f
Example
Anyone who has ever
with the above example.
It is
1:
ensemble
true that this exercise can be
many
times
we
is
undoubtedly familiar
used as an important part of a
see this as the routine
itself.
Each
of an ensemble prepares his or her voice for singing through mindless repetitions
of this exercise, but what puipose does
process?
"The Broken Triad"
participated in a choral
thorough warm-up routine; however,
member
m
fet
f
Carl
Eberhardt (1973) says
it
serve outside of that?
in
his
book,
A
What
is
learned in the
Practical Guide for Choral
Rehearsals, that "choral directors do not sufficiently recognize the importance of general
voice training and also of
warming up"
(p. 8).
valuable parts of a rehearsal (Boyd, 1970,
p.
The choral warm-up
103).
It
is
is
one of the most
not merely a cue for the
beginning of a rehearsal, but should be used as a
way
of teaching the literature to be
reviewed and introducing choir members to proper vocal technique.
According
to
James Jordan (2005), author of The Choral Warm-up: Methods,
Procedures, Planning, and Core Exercises, there are two main points when considering a
choral warm-up: what
is
the purpose for
mentioned above, time
is
always an
how does one conduct
a thorough
issue.
it,
and what should be taught during
This being the case,
warm-up
I
As
propose a third point:
The answer
efficiently?
it.
is,
meticulous
planning.
"When
the
the director
work
is
thoroughly prepared, the rehearsal will be better,
will require less time to leam,
and the
and secure performance. Remember
result will be an artistic
that the choir
the consequences of each sin of omission
on the part of the director."
(Ehmann, 1968,
The
will
director
must suffer
as cited in Jordan, 2005, p. 206)
must have a plan for every aspect of each rehearsal. Though there
always be unforeseen problems that must be resolved, he or she must have an outline
of objectives to be achieved. This,
repertoire thoroughly
(Lamb, 1974,
first
and foremost, requires
p. 27).
Assuming he has
a
that the director
The
the
comprehensive knowledge
of the music, he can develop a rehearsal guide that will assist in keeping the
process well-organized and effective.
know
warm-up
rehearsal guide should include everything that
will take place during the rehearsal, including: the
name
of the works to be rehearsed, the
order in which those works will be reviewed, and the vocal and physical exercises that
will be
used during the warm-up.
These guides should be extremely
even the smallest details of the rehearsal. The following
is
specific, including
an example of such a guide.
Name
of work(s) to be rehearsed
Rehearsal Date
General Exercises
'-'
Exercises for Awakening the
Mind and
'-'
Support
Imagination
'-'
Relaxation of
Breathing: Exhalation, Inhalation and
Body
Resonance and Dynamics
n
Posture
'-'
Five Pure Vowels (without diphthongs)
D
Expanding the Vocal Tract
'-'
Finding Head Voice (yawn-sigh)
'-'
Relaxation of Jaw, Tongue and Lips
'-'
Range Extension and Register Consistency
'-'
Diaphragm Activity
'-'
(also use to
Flexibility (runs)
improve consonants)
Exercises from
Group Vocal Technique Cards
(core exercises, can be filed
Card Number:
Specific Exercises
D
Example
(Haasemann
2:
Rehearsal Guide
& Jordan,
1991,
p.
27)
on individual cards)
There are numerous ways
to outline a choral rehearsal.
example of a guide which has proved
be used, as long as
There
is
it
aids the director in transitioning
states
is,
the
issues,
directors.
Any
more time
a director can spend on vocalises.
to sing, listen,
warm-up period
is
merely an
format
may
smoothly throughout a rehearsal.
one being the length of the rehearsal
that "a brief, ten-minute
members
many
no consensus on how long a thorough warm-up routine
depend on a number of
rehearsal
to be helpful to
The above
that is
itself.
will be.
It
will
The longer
the
Sandra Stegman (2003)
focused on prepajing chorus
and leam establishes the direction of the rehearsal and furthers
ongoing vocal and musical development"
(p. 1).
II.
Body, Mind, and Voice
The most
effective choral rehearsals include
to prepare the voice to
meet the demands of the
warm-up
literature to
routines that serve not only
be reviewed and performed,
but also to prepare the students' minds and bodies to recognize and produce desirable
When
choral tone.
preparing the voice, a director must promote proper vocal technique.
This can be a difficult task when working with younger singers.
The
task
is difficult
because, in most cases (unless a student receives private voice lessons) v the choral
rehearsal
the only place in which vocal instruction
is
requires activities both physical and mental.
is
given.
Warming-up
the
mind
Hopefully, these exercises will bring the
This must
students to a place where they are completely focused on the tasks at hand.
include a varied repertoire of vocalizes and discussion of aspects of the music to be
performed. Finally, the physical warm-up must address posture, relaxation, and, for
younger students, an excess of energy.
"Gymnastics and game sports should be encouraged, because they
produce the
flexibility
and relaxation needed for singing."
(Ehmann
& Haasemann,
Physical exercises should be a part of every rehearsal.
1981,
p. 3)
Ehmann and Hassemann
(1981) state that physical activity promotes body awareness and body-mind coordination,
and
it
also strengthens muscles
important for students
at the
needed for singing
(p. 3).
These exercises
are especially
elementary level because they allow them to
bum
excess
energy and help them focus on the music. Though any type of movement will promote
and require some
(1981),
may
flexibility, the
following exercises, given by
be helpful with younger groups:
Ehmann and Hassemann
.
•
Lay down and press
the baek to the floor
•
Pair off the singers.
The couples stand back
to back, pressing at various points
up and down the back.
•
Churning
butter,
crawling on
all
fours, rocking
back and forth
in a chair,
playing
leap frog, and playing dead (p. 3)
Older groups however,
more
subtle approach.
members
(i.e. late
For these ensembles, a director
turn to either side
may
Older students
massage of
more
much
stress
built-up energy as
and tension
more than
the shoulders will
such problems.
may choose
in the
in front of
them.
younger students, but they
span of a day.
A
light
will
and gentle
likely be beneficial in ridding these students of
also gives these older students a chance to
It
appreciate a
have the choir
to
and massage the shoulders of the student
not have as
definitely experience
may
middle school and high school singers)
meet new friends
ensemble or briefly converse with those friends they already have.
in the
Following the
shoulder massage, a director can lead his or her ensemble in a number of stretches which
will further its
members
flexibility
Another aspect related
and relaxation (Brinson, 1996,
to the physical
correct breathing and vocal production.
This
warm-up
is
is
p. 129).
that of posture,
which
of course something that
is
facilitates
not instantly
mastered by students, and will more than likely need to be attended to periodically during
a
warm-up,
as well as throughout a rehearsal.
Webster's
New World
Dictionary of the American Language (1964) defines
posture as "the position of the body and
constantly
address
However, there
are
their
some
ensembles'
its
parts."
positioning
that suggest that the
Directors throughout the world
by merely
mentioning the
word should be abandoned
all
word.
together.
James Jordan (2005) considers
the issue in his book,
The Choral Warm-up: Method,
Procedures, Planning and Core Vocal Exercises, saying that
own
ideas of
good "posture," most of them
'alignment' instead
human body,
In the
(p. 39).
are incorrect.
when
He
students recall their
suggests using the term
there are six points of alignment: the
By
base of the neck, the shoulders, the waist, the hips, the knees, and the ankles.
addressing each of these areas of the body, any misconceptions of alignment conducive to
good singing can be
corrected.
teaching correct alignment.
There are a couple of approaches
Among
these are
that can- be
"Body Mapping," which includes
used
in
the above
mentioned alignment points, and 'The Alexander Technique."
The Alexander Technique was developed by nineteenth-century,
Frederick Mathias Alexander.
During Alexander's years on the
stage, he
stage actor
found
that his
voice became hoarse easily and often. After numerous visits to various doctors proved to
be no help
with the
in
diagnosing or solving his chronic condition, Alexander began to experiment
way he
delivered his lines.
After years of experimentation, he concluded that
voice quality was completely dependant upon the coordination of the entire body.
concept behind the Alexander Technique
toe
must function
in a specific
manner.
is
that
When
every muscle
the
body
is
in the
body from head
perfectly coordinated,
of performance, such as alignment and breathing, will benefit (Pawley, 2000,
Body Mapping,
like
the
perceptions of correct posture and
performance.
Alexander Technique, deals
how
these perceptions are
These misconceptions can lead
technical, vocal problems.
with
many
The
an
all
to
areas
p. 1).
individual's
times damaging to
to fatigue, vocal strain, as well as other
These two approaches could not possibly be
available on the subject (see Additional Resources
number of sources
suggested
fully explained here, but there are a
No
reading).
encouraged by the director
matter
at all
approach
the
times, as
for
should
be
alignment
proper
used,
Appendix
can contribute to proper breathing and vocal
it
production.
Because the scope of
volume
this
is
the choral
warm-up,
I
will not address the
physical aspects of an entire rehearsal. However, physical gestures and
valuable in teaching a
number of concepts throughout
movement can
be
a rehearsal period and should not
be confined to the warm-up only.
"When
students need to listen carefully and think about the
and varied exercises, they are
activity
and
their
minds
likely to be
more involved
will be challenged
new
in the
and focused."
(Brinson, 1996,
In order to accomplish any musical task, a choir
warm-up period of each
mentioned
warm-up
"warm
for
many
the voice,"
pattern so
many
choirs
is
129).
If
it
every rehearsal.
This, though
for this preparation.
it
may
know what
I
be a quick way to
Singers have heard this repeated
requires no thought in order to participate.
must vary the exercises used
the students do not
means
times the arpeggiated, major chord serves as the
detrimental to mental preparation.
times that
situations, a director
at
many
129)
must be mentally prepared. The
rehearsal should be used as a
in the introduction that
p.
is
coming
9
in daily
To
avoid such
warm-ups (Brinson, 1996,
next, they will have to
pay
attention!
p.
If
the choir
is
made
to focus
on the instructions of the
director, less time will be
wasted
throughout the rehearsal.
may
This time of mental preparation
concepts.
For example,
Sebastian Bach,
it
may
if
a high school choir
led in a
manner
is
to rehearse a piece written
by Johann
be beneficial to discuss the Baroque period and the specific
tendencies of that composer.
discussion and not bore
also include instruction of various musical
its
One must be
members with
careful though to include the
a lecture in
music
history.
that directly relates to the repertoire at hand,
ensemble's attention, but intrigue them as well.
A
it
ensemble
If the
in the
discussion
is
will not only focus the
director should also
make an
effort to
design vocalizes that address specific difficulties in the repertoire and specific problems
that the
ensemble may be experiencing.
Finally, mental preparation
exercises.
These can ensure
may
be achieved through the use of sight-singing
that the participants are truly
process. This will be discussed in
more
engaged
in the rehearsal
detail later.
"Choirs. ..can and should be provided with regular
instruction concerning the basic principles of vocal technique."
(Hassemann
The choral warm-up must prepare not only
also the vocal
mechanism. Though
this is
process needed to achieve such a task
that this process
should be used
in
may
the
obvious to
& Jordan,
mind and body
all
1991,
It
is
11)
for singing, but
choral directors, the
not be so clear.
p.
method
or
also important to state
order to teach good vocal technique for singing.
If the
only concern was "warming" the vocal folds, then surely daily conversations that take
10
place before a rehearsal
special skills
these skills.
if
done
would be
correctly.
However, singing
sufficient.
sequential, and based on foundational concepts.
of these foundational concepts are easily understood by the
way
that reflect life experience.
laughing (Haaseman
Among
& Jordan,
this list
1991,
Examples of
& Jordan,
Many
members of an ensemble
this are
if
yawning, crying, and
p. 11).
of foundational concepts
range extension (Haaseman
a process that requires
So, there must be a process of explaining and teaching
The process must be
presented in a
is
1991,
is
p. 11).
11
breathing, intonation, resonance, and
III.
Breath
"Because breathing
is
the basis for
good
singing,
concentrated breath exercises are essential."
(Ehmann
Nearly every aspect of singing
is
& Haasemann,
controlled by the breath.
If the
1981,
p. 5)
members of an
ensemble do not have a thorough understanding of the breathing process, as well as
complete control of
many
that process, technical
result.
Among
these
technical problems are poor intonation, lack of resonance, and vocal strain.
Though breathing
is
one of the most natural parts of
singing
is
not the
same
as
normal breathing
author of The Diagnosis
difference between the
two
in
everyday
and Correction of Vocal
is
the
life,
The reasoning behind
address the issue in a choral warm-up.
46).
problems will surely be a
there
is
advantageous
natural as breathing in everyday
a need to
this is that breathing for
James McKinney (1994),
life.
Faults,
that
states
the essential
amount of conscious control used during singing
Both inhalation and exhalation must be consciously controlled
breath support that
is still
to
good
life, it
tone.
in
(p.
order to achieve
Until breathing for singing
must be discussed during rehearsals
becomes
in
as
order to
achieve a desired sound.
To begin each
lip trills,
to
rehearsal,
many
directors choose to use
common
improve or maintain proper breath support within
their
exercises, such as
ensemble.
This
exercise allows a singer to focus on supporting a tone while facing resistance from two
sources: the vocal folds and the
lips.
The process usually
simple progression of pitches (broken chords,
vibrate.
This can be effective and time
efficient.
12
etc.) or
Even
requires a vocalist to sing a
sustained tones while the lips
singers with relatively
little
choral
this exercise
experience are familiar with
and can be expected
without the director having to waste time on lengthy instructions.
is
also limited in
registers,
its
As
range.
to
Because
they will experience difficulty.
cannot create sufficient space
sound
the pitches involved
become
implementing
in the
mouth
move
to
perform
this task
However, the exercise
into the ensemble's higher
must touch, the singers
their lips
for singing high pitches.
This can cause the
Other vocal issues of which a director must be aware when
shrill.
rehearsal are: tension in the jaw, in the tongue, in the lips, and
lip trills in a
a raised larynx (Jordan, 2005, p. 72).
^^
eh}
Dee doh
3e a
dec
p^=
r
r
Example
3:
"Upward Leaps on
(Shenenberger
The above exercise
to teach vocalists to sing
entitled
closely
"on the breath."
p. 63).
and a sustained, low pitch which
manage
the
controlled properly,
exercise.
& Jordan,
amount of
it
is
air
used
in
the Breath"
2004,
Upward Leaps on
saying breath support (Jordan, 2005,
large leaps,
dec dec dec dec dec
dec dec dec dec dec
doll
p. 3)
the Breath
is
an exercise intended
merely another way of
"On
the breath"
The
exercise features a rather slow tempo,
is
will require the singers of an
each repetition.
If the
release of air
likely that a singer will run out of air before
Another possibility
sag due to a lack of support.
is that
The
the sustained tonic at the
ensemble
is
not
completing the
end of the exercise, may
exercise also alternates the syllables dee and doh.
13
to
The
from the tonic {dee)
singers will leap
to the
dominant {doh). This pattern of alternating
more space
syllables facilitates a singer's need to create
in the
mouth by releasing
the
communicated with
the
jaw.
The concept of singing on
addition of physical gesture.
(palm up)
at
waist level.
The
exercise, the student should
(down
into the
palm of
A
the breath can be further
director can ask his or her singers to place the left
right
move
hand should be made into
his or her right
the left hand).
consistent throughout the exercise.
The
hand
size
In the
fist.
in a circular,
and speed of the
hand
tempo of
the
"kneading" motion
circle should stay
This can be used as a visual representation of the
constant flow of breath (Jordan, 2005,
p. 65).
This exercise can be used universally to emphasis the importance of breath
support, however,
it
can also be altered to relate specifically to the music being rehearsed
and performed. For instance, the leaps
match prevalent
is
beginning of the exercise can be changed to
intervals occurring in the repertoire to be
also true of the syllables used.
will
at the
If there are
words
in a
reviewed
in the rehearsal.
This
song's text that a director feels
pose a problem to his or her ensemble, they can be substituted for the given syllables
dee and doh. One must be careful though
to use
open syllables for the higher pitches as
not to hinder the singers' ability to release their jaws.
Another approach may be
the air over a specified
to
amount of
have an ensemble take
in a
deep breath and release
time, using different consonants to stop the breath
along the way.
14
J
t J
t J
s
f
s
Example
i
»
U U >U >U
f
4: Interrupted
more
doing
difficult task
articulate the "s"
this exercise, the singers
when dynamics
p.
16)
must conserve the breath. This becomes
are considered.
and "f consonants, the more
'
The louder
The above exercise can
the group
rs
dynamic
breath support at
all
dynamic
also be used with singers of
all
levels,
a
asked to
their breath support will be tested.
several repetitions of this quick exercise, at various
become aware of the importance of
*
f
s
Breath Exercise
(Eberhardt, 1973,
When
f
s
J
After
singers should
levels.
ages.
Because
it
does not
involve pitch, even the youngest choirs can experiment with variations of the interrupted
breath exercise with relative ease.
One such
This exercise demonstrates the difference
in
variation
is
You
called "Hiss Till
normal exhalation and exhaling over a
longer period of time by having young singers hiss like a snake (Edwin, 2001,
Again, the importance of breath support
young children must be
children to truly benefit.
take
more
time.
These explanations
after a
complete several repetitions of
that
will
need
to
A
p. 49).
director of
and purpose for the
be quite specific, which will
few rehearsals, even young children should be able
this exercise fairly quickly.
comes with seeing who can
The examples given above
to teach the
louder dynamics will be evident.
careful to thoroughly explain the process
However,
and friendly competition
at
Can't."
are just a
They
will enjoy the challenge
hiss the longest.
few of hundreds of exercises
importance of breath support or singing "on the breath."
15
to
that
can be used
Though
these
exercises, in their original form, have proved valuable over the years, a director should
feel
free to
experiment with them, and make them more specific to the music their
ensembles are reviewing.
16
IV. Intonation
"At the center of the
ability to sing in tune
the coordination of the ear
is
and the voice."
(Grant, 1987,
Intonation
(p.
137).
is
defined by
The concept
is
simple enough- sing
aspect of choral singing that
diligently pursue
Ehmann and Haaseman (1981)
is
not easily achieved.
good intonation on
as "accuracy of tonality"
However, good intonation
in tune!
Even
the
is
an
most successful choirs must
There are many factors
a daily basis.
p. 5)
that
can
prevent an ensemble from singing in tune including: lack of breath support, fatigue,
inconsistent registration, improper vowel modification, and hearing deficiency (p. 137).
No
matter the cause of poor intonation,
it
is
an issue that should be addressed
in
each
rehearsal.
As mentioned above, one major
deficiency
among members
of a choir.
around him, he cannot possibly expect
to sing are inseparable.
choral
warm-up
IE
The following
contributor to poor intonation
If a
singer cannot hear what
to sing in tune.
are a
The
few exercises
is
ability to hear
that
may
ie
IE
331
na.
ill
Example
5:
Exercise for Intonation
(Eberhardt, 1973,
17
p.
11)
a hearing
taking place
and the
ability
be implemented
to further a choir's ability to sing in tune.
IE
is
IE
in a
As
to those
singers participate in the above exercise, they will be forced to listen intently
around them. As they attempt
match the
to
dynamic, color, and resonance
pitch,
of their fellow choir members, the tone will eventually
become more
(1973) compares the exercise to a piano being tuned.
It
is
Eberhardt
unified.
not until
all
three chords
(above the assigned hammer) of a specific pitch are tuned alike that the desired sound
achieved.
Resonance, dynamics, and color of tone among individual singers can best be
unified by having
them hum using
the suggested consonant
Vowel production, another
in a
is
warm-up
To do
routine.
and vowel pattern
(p. 11).
contributor to poor intonation, can also be addressed
so, the
following
is
suggested:
3EEEE
mch
mee.
Example
6:
Vowel Consistency,
(Brinson, 1996,
This exercise
is
designed
to
make
the
production between individual singers.
which students from young
moo
moh
mah
to old
p.
singers
for Intonation
192)
aware of the differences
in
vowel
features a simple, melodic pattern of thirds
It
should be able to sing after a short demonstration.
Also, a director can instruct the ensemble on the correct pronunciation of the five pure
vowel sounds.
If
want
to
an ensemble
is
able to perform the above exercise with ease, a director
go a step further by having the choir
in four parts
18
(SATB).
may
'"
S A
—0—
—J——J
r
r
^4M-
j
j
r
4-
—p—
-J-hr=p=
r
moo moh mah meh
Example
7:
SATB
j
II
mee
arrangement for Vowel Consistency
(Brinson, 1996, p. 192)
Though
the
represented.
the
same
intervals
of the exercise have changed, the five pure vowels are
still
This will give the ensemble an opportunity to align their vowels, while
time, paying attention to tone, breath, tempo, and resonance.
19
at
V. Improving Resonance
"...the
end
result of resonation
be, to
make
is,
or should
a better sound."
(McKinney, 1994,
Assuming
posture, breath, and intonation are
abilities of
each individual
Also, the methods by which each singer achieves a desired
voice will differ greatly.
will differ.
explaining to the singers
120)
under the control of an ensemble,
The resonating
the issue of resonance can then be settled.
amount of resonance
all
p.
how
However, choral resonance can be encouraged by
the vocal
mechanism works and by using simple vocal
exercises.
It
common
is
mask." This refers
the head voice.
to hear voice teachers
one gets
to the vibrating sensation
This sensation
is
usually a
and choral directors
in the sinus cavities
good indication
Getting everyone to experience this sensation
their sound.
exercises, such as
humming,
are utilized.
It
that
is
that hopefully
warm
accompanies
it,
the
it
when
resonance
is
in the
utilizing
present in
relatively easy if the right
also beneficial to have a choir sing
is
sustained pitches while using nasal consonants (see example
opportunities to experience the sensations
say, "Feel
common
to
5).
If
a choir
good resonance, and
more comfortable they
will be in
is
given daily
the full
sound
producing a rich and
sound.
It is
important to note that there are opinions about
on resonance.
It is
a step in the
rehearsal period that follows.
warm-up process
Some have even been
20
that, if
when
best to instruct a choir
omitted, can hinder the entire
so specific as to say resonating
exercises must take place directly after breathing exercises (Jordan, 2005,
21
p. 73).
VI. Extending the Vocal
"Singing
Range
in the
upper range
is
an acquired
The vocal
skill.
technique required must be built over a long period of time."
(Jordan, 2005,
As
need
to
the vocal
demands of
work on extending
above, singing
in the
a choir's repertoire grow, there will at
upper register
extremes of the range.
As Jordan
the vocal range of the ensemble.
is
an acquired
The process of extending
must be handled carefully
to
This
skill.
is
some
p.
93)
point be a
states in the quote
also true of the lower
the vocal range, both high
and low,
avoid technical problems and possible harm to the vocal
mechanism.
When
the pitch.
extending the range upward, the larynx will have the tendency to
Because of
this,
it
is
rise
with
better to begin vocal exercises within the comfortable
range of the singers before working up to the extremes. This can easily be done through
a
number of
other exercises, even those designed to address other aspects of singing.
After the voice
is
ready to be tested, vocal exercises that focus on the area just above the
choir's middle register should be used. This area will differ
and choirs as a whole, but usually
G
and
B
for
low voices.
characterized as "softer and
it
will be
between
The sound produced
C
and
in
E
for high voices
and between
register can
generally be
this
more buoyant" (Robinson, 1977,
exercise that focuses on these elements:
22
between individual voices
p. 12).
The following
is
an
Example
8:
(Shenenberger
As you can
(if
Range Extension
& Jordan,
melody
see, the exercise features a
not lower) range of the singers.
triplet
perfect for extending the range upward.
move
4)
is
middle
simply an arpeggiated tonic
As simple
rhythm.
The
p.
that begins well within the
The second measure
chord (do-mi-sol-do-sol-mi-do) with a
requires the singers to
2004,
as the passage
leap from sol to high
do
in
is, it is
measure two
out of the middle register while keeping the tone consistent
with that of the previous measure.
conducive to the space needed
As with
other exercises shown, the syllables given are
After several repetitions, moving
to sing higher pitches.
up by half step each time, the choir members
will be
prepared to sing
in their
higher
registers without straining.
All of the
above can also be applied
to
the
extension of the vocal range
downward. However, when using descending melodic patterns
must be careful
in
making sure
that the choir's
members should be encouraged
possible (Jordan, 2005,
to utilize
23
warm-ups, the director
placement remains high.
head tone
p. 93).
as
in their
Also the choir
lower range as much as
Warm-Up
VII. Sight-Singing as a
"Sight-singing
much
skills, like
vocal techniques, are as
a part of the training of singers as are the
rehearsing of pieces to be performed....
(Brinson, 1996,
Teaching a student
also difficult
director
may
mistake.
If
song
to sight-sing is of the
utmost importance, unfortunately,
and time consuming. Because the process
be tempted to leave
it
p.
is
131)
it
is
often long and complicated, a
out of a choir's daily routine.
This
is
a terrible
singers are never taught to read music they will be reduced to learning every
in their repertoire
by
However,
rote.
necessary to teach this invaluable
skill,
if
a director
is
willing to spend the time
he or she will find that the ensemble will actually
save time in the long run.
There are many different ways
Some
and
instructors choose to write their
intervals.
Others
may choose
to incorporate sight-singing into a choral
own
challenging and efficient
As music
way
exercises that feature various melodic patterns
to use familiar folk
another option would be to introduce a
new
songs or church hymnals.
piece as the exercise
to incorporate sight-singing in a
educators, our
first
concepts needed to become musically
of an ensemble's daily routine,
warm-up.
itself.
Still
This can be a
warm-up.
responsibility should be teaching our students the
literate.
we can be
By
using sight-singing exercises as a part
sure that they are well on their way.
24
VIII. Conclusion
The choral warm-up
is
a process that prepares the
Because there are so many aspects of
mentally, physically, and vocally.
development
that
must be addressed during a warm-up period,
consuming process.
choral
However, through
warm-up can be both
Among
intonation,
sound from a
extending
resonance,
hectic performance schedules of
If
all
may seem
many
can
times be a time
at
singers.
the aspects to be addressed during a choral
developing
it
to
the
warm-up
vocal
are: breath support,
and
range,
sight-singing.
be a monumental task when considering the
choirs, but they are necessary
if
we
are to achieve
choir.
choral directors will take the time to teach the necessary skills for
production
we
will surely find that
not only capable of
a singer's
the meticulous planning of the conductor, the
and enjoyable for
efficient
Addressing each of these issues
a desired
members of an ensemble
making
it
is
worth the
effort.
We
beautiful music, but they are
trained, musically literate individuals.
25
will find that
on the road
to
good vocal
our singers are
becoming well-
Appendix A:
Elementary Rehearsal Guides
26
Name
Danny Boy- Ruth Elaine Schram, BriLee Music Publishing Co.
General Exercises
X
"
Mind and
Support
Imagination
X
Relaxation of
D
Body
Posture
Expanding
'-'
W
^
X
the Vocal Tract
^
n
Diaphragm Activity
^
1=1
(also use to
Flexibility (runs)
improve consonants)
•
Various Stretches, physical movement
•
"Siren"
•
Sight Singing,
o
{"oo")
introduce melody
Solfege and Hand Signs
Specific Exercises
X
Major Scale
D
27
tm rm
<!.
i
i
ij
,
i
^ft
j
j
1
1
nm nn
i
,
.^
Loo.
Loo_
Exercise
1:
Major Scale
General Exercises:
Physical
will be
movement
will be
used
at
the beginning of the
expected to mimic the instructor's movements.
warm-up. The students
These movements
will include
various stretches such as neck rolls and toe touches.
Following the physical exercises will be a brief period of sighs, yawns, and
"sirens." This opening vocal exercise gives the students an opportunity to experience the
natural breath support that occurs in everyday
By having
calling.
life
through such activities as yawning and
the singers carry out the siren exercise using the "oo" vowel, they will
also have to drop or release their jaws during the process.
Also, during this process the
students will have the chance find and practice using their head voices.
should briefly explain the feeling of head voice and
the
piece.
However,
to
its
The
instructor
importance to the overall sound of
avoid confusion, the instructor should speak plainly and
demonstrate for the students.
The melody of
the piece can be introduced as a sight-singing exercise.
utilizing solfege syllables
and the accompanying hand
slowly introduced to the melody of the piece.
demands
their concentration.
melody of
It
signs, the
28
young ensemble can be
This will be a challenging exercise that
will also excite the students
the song to be performed.
By
when
they realize
it is
the
Specific Exercises:
The above exercise (Exercise
the choir
on the syllable "loo" This
easily executed
1) is
will
simply a major scale to be sung
more than
likely
by upper-elementary aged children.
in
unison by
be a standard exercise that
By adding
is
a crescendo to the
tone in their upper
ascending
line, the
registers.
This directly relates to the repertoire as the dynamic level should grow as the
melodic
students will be able to maintain a beautiful,
full
line rises.
Though
there
are
only a few exercises given above, they should serve to
thoroughly prepare a young ensemble to rehearse Schram's piece for unison voices,
Danny Boy. Considering
the age of the students (between third
a quick yet challenging routine.
29
and
fifth grade),
it
will be
Name
How Can I Keep From Singing, Ginger Littleton, BriLee
Publishing Co.
General Exercises
X
X
Mind and
Support
Imagination
'-'
Relaxation of
a
Body
l
1
^
Posture
1=1
'-'
'-
Diaphragm Activity
,
-
X
'-'
*-*
(also use to
Flexibility (runs)
improve consonants)
•
Improvisation with Orff instruments
•
"Siren"
•
"Hiss Till You Can't"
y
{
'oo")
Specific Exercises
X
Pentatonic Scale
30
Do
mi
re
sol
Exercise
1:
mi
sol
la
do
re
Pentatonic Scale
General Exercises:
The melody of
pentatonic scale.
the
Quaker
How Can
I
Keep from Singing,
This alone offers a number of warm-up possibilities.
elementary school choir director
common
tune.
may choose
to
have
is
based on the
For instance, an
his or her choir
improvise on
Orff instruments such as the xylophone. This serves not only as a good physical
activity for the students, but also to introduce the choir to the pentatonic scale.
this exercise
must be carefully planned.
unneeded bars removed) the exercise
at
the beginning of the
warm-up
If the
instruments are not prepared (in place with
will take a great deal of time.
as not to waste valuable time
Again, the vocal "siren," on the syllable "00,"
voice.
However,
is
It is
best to have this
moving equipment.
used
to aid in finding the
head
Students should be given the chance to experience the vocal freedom of yawning,
sighing, and imitating a siren.
It
also gives
them
a
chance to release some energy before
rehearsing the repertoire.
Finally,
the
ensemble should be made aware of the importance of breath.
Finishing the rather long phrases featured in
extremely
difficult for a
the "Hiss Till
You
young singer
if
How Can
attention
is
I
Keep from Singing could be
not paid to breath support.
By
using
Can't" exercise, the students will become more familiar with the
concept of breath support. They should also be asked to "hiss"
31
at
various dynamic levels
understanding of the differences between breathing for fortissimo and pianissimo
to gain
singing.
Specific Exercises:
After the students experience the pentatonic scale by playing the related pitches
on the xylophone, they can then be asked
above).
The
tonality will then be
accompanying hand
signs.
Using "00," the students
more
to sing the scale in
evident.
The exercise may
unison (see Example
1
Solfege can be used along with the
also be performed using the "00" syllable.
will
have to release the jaw creating sufficient space for proper
pronunciation of the syllable.
Also, the rounded shape of the lips will assist in keeping
the tone
warm.
Littleton includes
These notes support the need for
be easily incorporated
louder on the
way up
in the
performance notes for
slight
How Can
I
Keep from
crescendo as the melodic line ascends. This can
pentatonic scale exercise by having the choir
the scale
Sitiging.
and softer on the way down.
32
members
sing
Name of work(s) to be rehearsed
Fare You Well- Ruth Elaine Schram, BriLee Music Publishing
Co.
General Exercises
X
Exercises for
Awakening
the
X
Mind and
Support
Imagination
^
Relaxation of
^
Posture
D
Expanding
Body
^
'-'
'-'
X
the Vocal Tract
'-'
'-'
Diaphragm Activity
'-'
(also use to
improve consonants)
•
Rubato, Game
•
Breath Exercise, Unison
•
"Siren"
u
(
"la'
oo")
Specific Exercises
X
Arpeggiated Chord (Major)
X
Octave Leaps
D
a
a
a
33
Flexibility (runs)
life
ee eh ah oh
ee eh ah oh
oo.
Exercise
i
r
i
ee
|
I
Arpeggiated Chord
1:
*yy
"ifM
|
ah
ee
Exercise
'W
M fat
tl
r
|
ah
oo.
I
*
ee
-j
r
I
9
'
ah
Octave Leaps
2:
General Exercises:
The general
game
to teach the
You Well by Ruth Elaine Schram, include
activity should
be used to teach the students that a steady beat (which
taught on a daily basis in the elementary classroom)
up.
The
of the
instructor should
game
is
a
concept of rubato, a breathing exercise, and the vocal "siren."
The rubato
is
exercises listed for Fare
may
at
times, slow
down
or speed
emphasize the importance of watching the conductor. The idea
simple. In unison, the young ensemble should sing even quarter notes that
reflect the conductor's gestures (clapping, conducting, etc.).
established, the conductor should begin to
will ensure that the students are
aware
make
that the
After a steady beat has been
his or her gestures faster or slower. This
tempo may
fluctuate throughout the piece.
Also, the singers will see the importance of focusing on the conductor.
34
To make
certain
indeed watching, audible cues such as clapping and snapping
that the students are
want
to
be avoided.
The breathing
exercise mentioned above should be done to
make
aware of breath support and phrase length. The students should be asked
in
unison.
cues.
may
The
instructor can then indicate
One might
consider having the ensemble hold this pitch
"siren"
has
to sing together
dynamic changes through gestures or verbal
for the duration of a majority of the phrases in
The
the students
at a specific
dynamic
Fare You Well (four measures).
been previously explained above, and
will
level
„
not
be further
explained here.
Specific Exercises:
The arpeggiated chord (Exercise
1)
should be used
experience the tonality of the piece to be rehearsed.
phrase of the piece as
it
is
It
simply an arpeggiated chord
first
so that the students can
will also introduce the
(this pattern repeats
opening
with each
verse).
Following the above exercise, should be a series of octave leaps (Exercise
Keeping a desirable tone during
this exercise
and tuning the
2).
interval involved will be
challenging for students of this age, so the expectations of the director must be carefully
explained.
Because the octave leap
Well, this exercise,
if
done
is
a prevalent interval in the
melody of Fare You
carefully, should benefit both the students
period.
35
and the rehearsal
Name
May the Road Rise to Meet You- Ruth Elaine Schram, BriLee
Publishing Co.
General Exercises
X
Mind and
'-'
Support
Imagination
X
Relaxation of
Body
'-'
'-'
'-'
Posture
'-'
'-'
'-'
Diaphragm Activity
X
'-'
(also use to
Flexibility (runs)
improve consonants)
Stretches,
o
Physical Movement
Trace Phrases Throughout Warm-up
Sight-Singing, Follow Hand Signs of Director
Specific Exercises
X
Arpeggiated Chord 1-3-5-1
X
"Legato at a Slow Tempo"
36
§fe
ee eh ah oh
cc eh ah oh
oo.
Exercise
1:
oo.
Arpeggiated Chord, 1-3-5-1
A
noo
noo
noo
Exercise
2:
noo
noo
"Legato
(Shenenberger
at a
noo
noo
Slow Tempo"
& Jordan,
2004,
p. 1)
General Exercises:
A
series of stretches will be
done
at the
will give the students an opportunity to loosen
long day of sitting
instruct the
still
in a desk.
members of
elbows, neck, shoulders,
demonstrate
it
There
ensemble
the
etc.).
for the singers.
is
no
beginning of the warm-up process. This
up muscles and
a bit of energy after a
set routine for this process, but
to focus
Whatever
bum
on the joints
in the
the stretch being used,
it
body
may be
it is
wise to
(i.e.
wrists,
beneficial to
This will help the students to avoid any injuries due to
over extending any joint or muscle.
Another physical
phrases with their fingers.
activity
A
from which the young singer can
profit
is
tracing
melodic pattern can be introduced, and after demonstrating
the process, the students can follow the phrase helping
37
them
to internalize its contour.
It
will also be a visual aid to help the students
avoid accenting notes involved
in larger
leaps.
Since the melody of
moves by
step in
singing exercise.
May
most cases,
The
it
the
may
Road
Rise to
Meet You by Ruth Elaine Schram,
be possible to introduce the melody with a sight-
director can introduce the
melody by using Kodaly hand signs and
having the students sing the corresponding pitches. This will of course take time, but
will greatly benefit the singers in the learning process.
method of assessment
it
This can also be- a possible
for the teacher.
Specific Exercises:
May
legato.
the
Road
Rise to Meet You
is
a piece in
This can be addressed using Exercise
must be told
When
doing
may
is
asked to sing
this exercise, the singers
that the leaps in the vocal line, especially that of sol to
Again, tracing the melody with the finger
To
1.
which the choir
do must be smooth.
be helpful in this exercise.
further emphasize the legato line, one can use the "Legato at a
Slow Tempo"
exercise (Exercise 2) suggested by Marilyn Shernenberger and James Jordan (2004) in
their
book, The Choral Warm-up, Core Vocal Exercises. Though the exercise
for older singers,
it
is
can be advantageous
not difficult technically.
in the
If
intended
explained in the right way, the exercise
elementary choir rehearsal.
38
is
Kyrie Eleison- Sonja Poorman, BriLee Music Publishing Co.
General Exercises
^
Exercises for
Awakening
the
X
Mind and
Support
Imagination
Relaxation of
Body
Posture
a
Expanding
D
a
Diaphragm Activity
the
Specific Exercises
X
X
Arpeggiated Chord 1-3-5-1
'-'
improve consonants)
•
'-'
'-'
(also use to
"Siren"
X
Vocal Tract
•
"-1
D
39
Flexibility (runs)
ee eh ah oh
ee eh ah oh
oo.
Exercise
1:
oo.
Arpeggiated chord, 1-3-5-1
Un
noo
noo
noo
Exercise
2:
noo
noo
"Legato
(Shenenberger
at a
noo
noo
Slow Tempo"
& Jordan,
2004,
p.
1 )
General Exercises:
The general exercises
are the "siren"
and "Hiss
that begin the rehearsal of
Till
You
Can't."
Kyrie Eleison by Sonja Poorman,
Both have been explained previously and
require no further explanation here.
Specific Exercises:
Poorman's
suggested by the
setting of Kyrie Eleison calls for a legato line.
text, but also
suggested
in the
warm-up
routine.
The
is
not only
tempo marking, Gentle and Flowing. To
ensure that the students fully comprehend the concept of legato,
the
This legato
it
should be addressed
in
arpeggiated, major chord (Example 1) will give the singers the
opportunity to experience a legato line while singing leaps of thirds and fourths.
This
exercise will also familiarize the students with bits and pieces of the repertoire as each
phrase begins with a major triad in
first
inversion.
40
Because the
text is in Latin,
it
may be
a
good idea
to
have the ensemble do
this exercise
create an opportunity to explain the text and
"Legato
at a
Slow Tempo," may
how
carefully
it
This will
must be pronounced.
also be used to further the discussion of legato.
Again, the director's expectations should be given.
in
using the five pure vowels.
using this exercise
41
Demonstrations will also be helpful
Appendix B:
Middle School Rehearsal Guides
42
Name
How Old Do Ya Have To Be To Sing the Blues- Russ Robinson,
Galleria Press
'
General Exercises
X
Exercises for
Awakening
the
^
Mind and
Imagination
X
Relaxation of
Support
Body
Posture
'-'
Expanding
the
Vocal Tract
'-'
1=1
'-'
D
Diaphragm Activity
'-'
(also use to
Flexibility (runs)
improve consonants)
Jazz Discussion
o
Rhythmic Qualities
Incorporate Movement, Swaying to Jazz Rhythm
Specific Exercises
X
5-1,
X
Arpeggiated Triad (major)
Blues Rhythm
D
43
iifHTTir
Doo ba doo
Doo
ba doo
Exercise
5-1, with blues
1:
ba doo
swing
B
%k$
\h
i*
i
I
Doo ba doo ba doo
Doo ba doo ba doo
Exercise
ba doo
2:
Arpeggiated Triad (major)
General Exercises:
The general
exercises involved in preparation to rehearse
How
To Be To Sing The Blues by Russ Robinson, include discussing
blues and jazz, swinging rhythm, and
calls for a
movement
manner
swinging rhythm which must be explained
that reflects the
if
attention, as well as giving
Ya'
Have
the characteristics of
The piece
the singers are to understand the
move
(i.e.
sway, clap,
rhythmic characteristics of the piece. This will serve
1
the students
Do
for further understanding.
written music. Furthermore, the singers should be asked to
a
Old
them an opportunity
in
etc.) in
keeping
to get out of their seats
and
move.
Specific Exercises:
The two
scale
many
from
vocalises seen above (the arpeggiated major chord and walking
5 to 1) are easily executed
times before, however they are
by students of
this age.
made much more
44
down
the
They have heard them
interesting
when
the swinging
rhythm
is
incorporated.
By
taking a familiar exercise (which will
integrating a
new element such
lose interest.
The
as swinging rhythm, the students will not be as likely to
simplicity of the pitches will allow the singers to focus on the rhythmic
qualities of the exercises.
syllables
save time) and
doo-ba as they are
It
may
be effective to carry out these exercises using the
common
throughout
The Blues.
45
How Old Do
Ya'
Have To Be To Sing
Hand n Hand- Arr Dick Averre, Belwin Mills Publishing Co.
x
.
General Exercises
X
Exercises for
Awakening
the
X
Mind and
Support
Imagination
Relaxation of
D
'-'
^
Body
Posture
'-'
'-'
^
Diaphragm Activity
'-'
(also use to
improve consonants)
•
Game,
Identify the Meter
Specific Exercises
X
Third Leaps (solfege
X
1-5
(Humming)
46
Flexibility (runs)
mi
do
mi
fa
re
Exercise
sol
fa
*
^r
re
do
3^
Third Leaps, (solfege)
1:
%k$
H'Yfl
I
J
J
Hmm
Hmm.
Exercise
2: 5-1,
humming
General Exercises:
To break
the
monotony of day-to-day warm-up
routines,
it
is
a
good idea
to
prepare the minds of younger singers with something more than triads and other repeated
Hand
patterns.
utilizing
In
Hand
arranged by Dick Averre lends
meter changes before each phrase.
significantly effect the vocal lines,
music.
A
When
the director
of changing meters, he or she
be discussed
is
at this
may
is
such activities by
these meter changes do not
a great opportunity to teach yet another aspect of
game can be developed
simple
changing meters.
it
Though
itself to
to
have students identify and demonstrate
satisfied that the students understand the concept
then proceed in the
warm-up
routine.
point as the meter changes indicate the onset of a
Form can
number of phrases.
Specific Exercises:
The group
piece.
The
first,
vocalises
shown above
are
good way
suggested by Barbara Brinson (1996,
47
to prepare the voice for this
p. 192),
also
can be used for
its
similarity to the melody.
thirds,
it
Because the melody of
will benefit the students
Finally, the students
by hearing
humming
Hand in Hand
features a
number of
this particular interval.
pitches (from scale degree 5 to scale degree 1) will
allow the students to experience a feeling of resonance
in their voice.
It
should be easy
to
maintain the placement of the sound since the ranges of the vocal lines are fairly narrow.
48
-
1. Should Fancy Cease (from Three Canons for Voice)
Vincent Persichetti, Elkan-Vogel Inc.
General Exercises
'-'
Exercises for
Awakening
the
Mind and
'-'
Imagination
X
Relaxation of
X
Posture
I
-
1
'-'
Expanding
Support
Body
Diaphragm Activity
Various Stretches
Address Posture
"Siren"
Specific Exercises
X
Octave Leaps
*-'
'-'
improve consonants)
Arpeggiated Triad (minor^
D
(also use to
X
1=1
X
the Vocal Tract
o
49
Flexibility (runs)
General Exercises:
One
posture.
physical
This
ensemble of
activity
not yet discussed
discussing and establishing good
is
an aspect of singing that should be emphasized frequently to an
is
this age.
I
only mention
it
here because of the moderately
of the theme featured in Persichetti's Should Fancy Cease.
If
demanding range
good posture and
sufficient
breath support are not used by the singers, the tone will surely be lacking in quality.
Specific Exercises:
Because the arpeggiated
discussed previously,
I
will not
triad
list
and octave leap exercises have been shown and
them again
arpeggiated triad should be in the minor
the onset of the
exercise.
The
theme
is
mode
a perfect octave
syllables "oo"
here.
However,
I
will
mention
that the
to reflect the tonality of the piece.
which
justifies the
Also,
following octave leap
and "ah" should be used during the octave leap exercise.
This not only allows the students to create sufficient space in their mouths, but
directly relates to the text of the piece.
50
it
also
2. Preface to Canons (from Three Canons for Voice)
Vincent Persichetti, Elkan-Vogel Inc.
General Exercises
X
X
Mind and
Support
Imagination
^
Relaxation of
^
Posture
Body
'-'
'-'
Diaphragm Activity
'-'
1=1
n
'-'
'-
(also use to
,
Flexibility (runs)
improve consonants)
•
Discuss Text
o
Discussion of Form
•
Sight-singing, melody (using solfege!
•
Specific Exercises
X
"Upward Leaps on Breath.
.
.
"
D
51
D
fczf
p^p
Dec doh
\y Ai'
:
\
\\
^
dec
-s>-
doli
dec dec dec dec dec
dec dec dec dec dec
p
p
i
r
"Upward Leaps on
(Shenenberger
the Breath, with Line"
& Jordan,
2004,
p. 3)
General Exercises:
The
perfect
it.
way
text of Persichettfs Preface to
to both introduce the
The following
is
Canons
written by
Herman Reichenbach,
is
a
form of the piece as well as the methods of rehearsing
the text of the piece:
'The primary element of
a
canon
is
not the score
The canonic setting should not be
melody is completely mastered. It is
but the melody.
tried before the
deplorable
it
is
if
a piano
is
necessary for studying the tune:
entirely out of the question to use the piano for
the polyphonic set-up. This has to be
done
,,
a cappella.
(Persichetti, 1947, p. 4-5)
This text can be used to challenge to the students.
without the use of piano accompaniment.
The challenge
is
should be used to further
facilitate the students in the process.
carefully planned
move
it
is to
melody
Hopefully, this will motivate the students to
put forth their best efforts in the following sight-singing exercise.
if
to learn the
quickly and without trouble.
52
Solfege syllables
This exercise must be
"Hiss Till
breath support.
You
Can't" will serve
in
once again reminding the students of proper
This support will be needed
in the fast-paced, relentless eighth notes
featured in the piece.
Specific Exercises:
"Upward
leaps on the breath, with line," suggested by Shenenberger and Jordan
(2004) will further emphasize breath support
above
(III.
Breath)
may
(p. 3).
The kneading motions ..mentioned
be incorporated as visual representation of the
breath.
53
movement
of the
3. Hallelujah, Bum Again (from Three Canons for Voice)
Vincent Persichetti Elkan-Vogel Inc.
,
General Exercises
'-'
Exercises for
Awakening
the
X
Mind and
Support
Imagination
*-*
Relaxation of
'-'
Posture
D
Expanding
Body
the Vocal Tract
n
Diaphragm Activity
"The Call"
Specific Exercises
Minor Scale (raised
'-'
'-'
'-'
'-'
(also use to
improve consonants)
X
'-'
6)
D
D
54
Flexibility (runs)
General Exercises:
The genera] exercises
exercise
breath
Three
Persichetti's
contrasts in
Jordan, 1991,
that
p. 44).
knowledge
levels (pp tofff),
a natural part of
is
to the
When
this
contrasts.
Canon,
Voices for
dynamic
Because calling
dynamic
featuring
warm-up
selected for this particular
it
Hallelujah,
Bum
proper support
is
is
the
third
Again,
will be beneficial to
life,
concept
Because
are the "call" and a
installment
features
have the singers
naturally used
of
enormous
call loudly.
(Hasseman
&
learned by the students, they can then transfer
musical setting.
'Taught correctly and used correctly, the
can
call
serve as a vehicle for forte singing..."
(Hasseman
& Jordan,
1991,
p. 44).
Specific Exercises:
The melody of
six scale degree.
the
canon
Addressing
is in
this in a
the
minor mode and features a reoccurring raised
warm-up
choir sing a minor scale on the syllable "oo."
routine can be done easily by having the
When
this is
done
to the satisfaction of the
director, he or she can then explain the raised sixth scale degree
then observe
it
in
following repetitions.
and have the ensemble
This will be difficult for the group, but with
thorough explanations and demonstrations, they should be able to experience some
success.
55
Appendix C:
High School Rehearsal Guides
56
Name
How Can I Keep From SingingAlliance Music Publications
Randall Stroope,
Z.
General Exercises
n
Exercises for
Awakening
the
Mind and
'-'
Imagination
Relaxation of
Support
X
Body
Posture
D
X
Expanding
'-'
X
X
the Vocal Tract
Diaphragm Activity
(also use to
Flexibility (runs)
improve consonants)
•
Resonance: Humming, Various Patterns
"Siren,
"
Yawn,
Sigh
Specific Exercises
X
"Range Extension Upward"
X
"Legato Line"
D
D
57
(Triads)
m
doh
dec dec dec dee dec dec dec dec dec dec
Exercise
1
:
(Shenenberger and Jordan, 2004,
y
/!L
p. 3)
\>
>
i
\&\
\y
-W-
>
—
6
<sf
noo
&—
1
noo
noo
S
1
!
noo
Exercise
2:
—*
-
'
»
f
—6'
noo noo noo noo
-
noo
"Legato Line
(Shenenberger and Jordan, 2004,
p. 3)
General Exercises:
It
will be beneficial to the students to begin the rehearsal of Stroope's
Keep From Singing by
this piece.
the
briefly reviewing the concept of resonance
Having the students hum pitches
vibrating sensations
that
and the need for
in various patterns will
accompany resonant sound.
How Can
allow them to
The resonance
it
to use, but
common
moving by
pattern with
step
from the
which the students
fifth scale
degree
are probably already familiar.
opportunity to incorporate any number of motives from the piece
Yawns,
sighs,
down
exercises
58
in
to the tonic is a
This
may be
itself.
and sirens suggested above have been discussed previously and
will not be discussed further here.
in
feel
suggested in the rehearsal guide above does not give any specific, melodic patterns
which
I
an
Specific Exercises:
The vocal
this age.
their
Many
upper
lines of Stroope's
composition can be quite demanding for singers of
of the voices (especially the
registers.
first
tenors) spend a great deal of time in
This being the case, a director
extension exercises to prepare them for such occasions.
will
be useful
The
as they leap
from the dominant up
final exercise,
ensemble for the legato
"Legato Line,"
lines required in
consider using some range
As seen above,
the exercise titled
working the upper registers of the students,
Also, the change from dee to doh wilJ allow for
preparing them for these higher pitches.
more space
in
may
to the tonic.
will, as
with previous pieces, prepare the
How Can I Keep From
59
Singing.
Irish Prayer- Doug Andrews, Hal Leonard Corporation
General Exercises
n
Exercises for
Awakening
the
X
Mind and
Support
Imagination
X
*-*
Relaxation of
'-'
Body
'-'
Posture
D
X
^
X
n
Diaphragm Activity
(also use to
'-'
Flexibility (runs)
improve consonants)
Physical Warm-up
o
Various Stretches, Light Massage of Shoulders
Breath:
(Eberhardt, 1973,
4
s
J l J
f
s
p.
I
16)
it
I
» i
|
s
t
1
Specific Exercises
X "Repeated Tone with Cresc/Decresc" ^
X "Legato at Slow Tempo"
n
Major Chord (SATB)
D
X
60
ii
I
J
s
-h-4-
.
V
-__/
j j j j
j j j j
i
Mcc.
j j j j
i
Meh.
Exercise
1:
jtjtj
j
i
Moh
Mali.
& Jordan,
2004,
Moo.
p. 1)
3=ZE
ZQI
JCH
Moo
Moh
Mali
-o-
-o-
-o-
Moo
Moh
Mali
-o-
-o-
-©-
^^
Moh
Mali
m
XE
Moo
Moh
Mali
S
;
Repeated Tone with Crescendo and Decrescendo
(Shenenberg
S
jT-j
Moo
Exercise
2:
Major Chord,
SATB
General Exercises:
A
routine of physical
warm-ups and
stretches should be
performed before singing
begins in the rehearsal. This will aid in relaxing the students during or after a long day of
classes.
Following the physical
carried out.
activities,
selected breath exercises will need to be
This attention to breath support
Doug Andrew's
Irish
Prayer due
rehearsal guide above, suggested
its
is
extremely important when considering
long phrases.
The breath exercise
by Eberhardt (1973),
61
listed in the
will help in establishing breath
support throughout the ensemble
exhalation should
test the control
(p.
Alternating the consonants s and
16).
of breath for each student.
A
/
during
predetermined number of
repetitions should be established before beginning the exercise so that the students can
manage
their exhalation accordingly.
Specific Exercises:
The
vocalises
The
intonation.
first
chosen
above
address
will
breath
line,
and
and decrescendo"
will
support,
exercise, "Repeated tone with crescendo
further the students understanding of breath support (Shenenberger
Adding
the element of crescendo
legato
& Jordan,
2004,
and decrescendo makes the process more challenging.
The students may need
brief coaching in order to find success in the exercise.
second exercise, "Legato
at
a slow
tempo" (Shenenberger
the students a chance to experience the legato
Finally, the
as a vocal
warm-up.
around them. This
chord.
creating
It
major chord
is
The
in
needed
& Jordan,
2004,
The
p. 1) will
give
in the piece.
four parts can be used as a listening activity as
much
students should be asked to pay close attention to the sound
will certain enable
them
to tune
also possible to have the sections
new chords with
p. 1).
contrasting values.
through the exercise.
62
any problematic intervals within the
(SATB) move up and down
This will
test their ears as
in pitch,
they proceed
Scaramella- Josquin des Pres, Fostco Music Co
General Exercises
X
Exercises for
Awakening
the
X
Mind and
Relaxation of
Support
Imagination
^
Body
D
Posture
^
X
'-'
Diaphragm Activity
Flexibility (runs)
(also use to
improve consonants)
Tactus
o
Clap Rhythm of Melody
Controlled Exhalation Over Specified Period of Time
Five Pure Vowels,
Single Pitch, Legato
Specific Exercises
X
Minor Scale in Sections
X
D
D
63
1
f
Loo
loo loo loo
loo
m
£
Loo
loo
wm
loo
loo loo
loo loo loo loo
loo
loo
loo.
fei
f
loo
m
£
loo loo
Exercise
1:
loo loo loo loo
Minor Scale
in
£
loo loo
loo loo
i
loo loo loo loo
Sections
General Exercises:
The
students'
minds should be engaged with
the concept of tactus
is
explain, a brief period of rhythmic
director can ask a student to set the ensemble's
and have the
a short discussion of tactus.
rest of the singers join in.
tempo based on
When
this
tempo
is
warm-up can
his or her
own
After
begin.
A
heartbeat,
firmly established, short,
predetermined melodies can then be performed.
Breathing exercises can be done by the choir quickly, and with relative ease.
Simply have the singers inhale and exhale on a fixed number of
beats.
This should get
the students thinking about controlling their breathing in preparation for the literature.
Because the
text of
Scaramella
is
in Italian,
time must be taken to establish
correct pronunciation of the text and unification of the five pure vowels.
will
more than
likely
need
to
These issues
be addressed throughout the rehearsal.
Specific Exercises:
Because of the polyphonic texture of the piece,
if
simple exercises are performed
in sections
it
will be beneficial to the students
(Exercise
1).
During
this exercise the
students should be instructed to crescendo as the pitch rises and decrescendo on the
64
way
back down the
scale.
It
should be pointed out
this is to
be done when rehearsing the
piece as well.
"Legato
mentioned
at a
slow tempo" has already been explained previously, but
that the director
it
should address the general articulation of the piece.
65
should be
Salmo 150- Ernani Aguiar, Earthsongs Inc
General Exercises
'-'
X
Mind and
Support
Imagination
D
Relaxation of
Body
'-'
Posture
1=1
^
X
'-'
O
'-'
Diaphragm Activity
'-'
'-'
(also use to
Flexibility (runs)
improve consonants)
Breath Support /Diaphragm Activity
•
Consonant Consistency during above exercise
Specific Exercises
X
"Singing on Breath.
X
Arpeggiated Chord
.
.
(Major;
66
\>
i
,
v
h 7
m
h 7
i
7
J
ft
dec
doll
P
Dee
V
:
g
<t
B
doh
7
Exercise
7
g
1:
t
h ^ r
?
I
p
p 7
;
7
i
|
p
l
doh
dec
7
k
=?
7
dec
»
7
j
|
Breath and Diaphragm Activity
(Shenenberger
& Jordan,
2004,
p. 2)
General Exercises:
In beginning a rehearsal of Ernani Aguiar's
to
be addressed.
Because of the piece's dynamic markings of forte,
relatively fast tempo, the students will
not prepared beforehand.
be helpful in
Salmo 150, breath support
this process.
The
more than
activity suggested
The exercise
articulation,
likely struggle through
its
utilizes a fast
tempo and quick, perforated
will require the singers to consciously consider their breath support
where
it
and
phrasing
above by Shenenberger and Jordan
which
comes.
need
will
if
will
leaps
and from
Also, consistency of consonants and articulation, throughout the
ensemble, should be paid close attention
prevalent throughout the piece,
it
may
at
this time.
be wise to use
it
Because the syllable
la is so
during the warm-up exercises.
Specific Exercises:
The
specific exercises to be used in the rehearsal of
the Breath through
these
Moving Eighth Notes" and
two exercises,
the arpeggiated,
the concept of breath will again be
qualities of the piece can be introduced.
Salmo 150
major chord.
67
By
using
emphasized and the rhythmic
The rhythmic motives of
addressed with the following exercise:
are "Singing on
the piece can be
1
La
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
m
La
By
la
la
la
la
using this exercise, the chorus will not only get a feel for the rhythm of the piece, but
also
become
familiar with hearing the differences in one another's parts.
This will be
challenging to some students, therefore the exercise should begin slowly and gradually
speed up.
As
the exercise proceeds, the director
syllable to ensure that
it
is
must pay close attention
properly pronounced by the choir throughout.
68
to the "la"
Name
How Lovely are the Messengers- Felix Mendelssohn, CPDL
General Exercises
'-'
Exercises for
Awakening
the
Mind and
D
X
X
Imagination
X
Relaxation of
Support
Body
'-'
Posture
'-
1=1
'-'
Diaphragm Activity
,
'-'
'-'
(also use to
Flexibility (runs)
improve consonants)
•
Various Stretches, Light Massage of the Shoulders
•
Five Pure Vowels, begin with nasal consonants "Mee" or
"Nee,
"
Single Pitch
Specific Exercises
X
"Making Space on Upward Leap"
X
Octave Leaps (Legato)
X
"Legato Line"
a
69
a
Ncc.
3^
noo.
ncc.
?£
zz:
2^:
"Making Space on Upward Leap"
(Shenenberger
& Jordan,
2004,
p.
4)
General Exercises:
To
begin a rehearsal of Mendelssohn's chorus,
a period of stretching should take place.
tension that
To
may
be built up
in the
How Lovely Are
As mentioned
before, this
is
The Messengers,
only to release any
body.
ensure that the choir achieves a unified sound,
the proper pronunciation of the pure vowels. This
sing in unison (octaves) on a single pitch while
given times. Nasals consonants can be used
is
it
easily
will be beneficial to
done by having the ensemble
moving together from vowel
at the
review
to
vowel
at
onset of each vowel to establish
placement of tone.
Specific Exercises:
The legato and octave
leap exercises indicated in the rehearsal guide above have
both been discussed previously and need no further explanation here. However, they are
relevant to Mendelssohn's chorus as the
melody requires
of leaps while maintaining a flowing, legato
"Making Space on Upward Leaps"
is
the singers to execute a
number
line.
an exercise suggested by Shenenberger and
Jordan (2004) which will help the students realize that singing
70
in their
upper registers
is
made
easier
when open vowels
are used.
When
this point
explanation and demonstration, vowel modification
may
made through
then be discussed.
be a need to modify certain vowels in the text of the piece.
singers should be able to apply their
has been
If
explained properly, the
knowledge of vowel modification
repertoire.
71
There may
to their entire
Appendix D:
List of Repertoire
72
List of Repertoire
Elementary Chorus:
Littleton, G. (2000).
How Can I Keep From
Singing? Nashville, TN: BriLee Music
Publishing Co.
Poorman,
S. (2001).
Kyrie Eleison. Nashville, TN: BriLee Music Publishing Co.
Schram, R.E. (2000). Danny Boy. Nashville, TN: BriLee Music Publishing Co.
Schram, R.E. (2001). Fare You Well. Nashville, TN: BriLee Music Publishing Co.
Schram, R.E. (1999). May the Road Rise
Publishing Co.
Meet You. Nashville, TN: BriLee Music
to
Middle School Chorus:
Averre, D.
(arr.).
(1987).
Persichetti, V. (1947).
Robinson, R. (1989).
Hand In Hand. Van Nuys, CA: Belwin
Mills Publishing Co.
Three Canons For Voice. Bryn Mawr, PA: Elkan-Vogel,
How
Old Do Ya' Have
to
Be
to
Sing the Blues?
Ft.
Inc.
Lauderdale,
Galleria Press.
High School Chorus:
Aguiar, E. (1993). Salmo
Andrews, D. (2004).
75(9. Corvallis,
Irish Prayer.
Mendelssohn-Bartholdy,
F.
OR: Earthsongs.
Milwaukee, WI: Hal Leonard Co.
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77

Integrating Vocal and Musical Techniques in the

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