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Contents:
  1. MA in Choral Studies
  2. Alberni Classical Concerts - Port Alberni
  3. Reward Yourself
  4. Choral technique and interpretation

The 21st Century Singer. Susan Mohini Kane. Text and Tune. Paolo Canettieri. Lucien Stark. Vesper and Compline Music for Multiple Choirs. Jeffrey Kurtzman. The Singer's Repertoire, Part V.

MA in Choral Studies

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Item s unavailable for purchase. Please review your cart. You can remove the unavailable item s now or we'll automatically remove it at Checkout. Remove FREE. Unavailable for purchase. Continue shopping Checkout Continue shopping. Chi ama i libri sceglie Kobo e inMondadori. That being said, there are things that can be taught within the teaching of the music without taking ample amounts of time to teach things such as the difference between simple and compound meter.

While rhythm make be tricky, there are few ways to help choirs with rhythm.


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Clapping the rhythm before singing can be especially beneficial. They can feel the rhythm in their bodies before even singing. If there is a hard section of rhythm but they have the notes, have the singers "bop" the notes. By doing this, the singers can see where each note starts. Choirs will have a tendency to drag on softer, more melodic pieces and will rush on faster, more spiritual-like pieces. In order to prevent this, making the choir aware of the inner pulse is incredibly helpful.

Even though the entire piece may be in half notes, there is a pulse inside that of quarter notes. Being aware of the inner pulse of the piece will not only help the choir maintain the correct tempo, but it will also help them be more rhythmically accurate. For example, when holding a note, the choir will occasionally need to cut off early in order to breathe before the next measure.

Without an inner pulse, the chances of the choir cutting off in the same spot would be slim; however, if everyone is aware of the inner pulse, they will all be able to agree to cut off on the last subdivided note of the measure, whatever form that note may come in quarter, eighth, etc. Also helpful for cutting of is the placement of diction.

Choral Techniques and Methods with Donald Neuen

Blend The blend for your particular choir will vary depending on its size, vocal makeup, and how your singers are arranged. There are many factors that can cause a badly blended ensemble, and several solutions and techniques to mend these problems. As a director you must always remember how easy it is to grow accustomed to the sound of your ensemble in the normal rehearsal space.

A good solution to help you and your singers hear things differently, is to change the way you stand in the normal space or, if possible, change the rehearsal space.

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One simple way to break up the monotony is to literally mix the voice parts. It is as simple as directing your choir to go and stand in a place they normally do not stand and next to other singers that are not of their part. This not only helps singers with the blend by listening to others they do not normally hear, but indirectly helps singers become more independent with their part.

Alberni Classical Concerts - Port Alberni

As a director it helps to hear particular sections that still need work, as well as things that would normally be masked by other sections. Another blending issue deals with mix-matched vowels and usually occurs in the extreme realms of range and dynamics. Intonation The intonation of any ensemble can immediately begin to suffer in a rehearsal.

What better place to begin fixing the pitch than to expect in tune singing during warm ups! There are many factors that can contribute to bad intonation including weather, the temperature of the room, the time of the year, and the physical shape your singers are in on that particular day.

Warm up exercises should explore all tonal worlds and, as a director, you should not limit yourself to singing in just major mode. Also, encouraging your singers to use proper breath control, correct vowels, and resonance will help with correct intonation. Another warm-up technique to help with intonation is the use of quarter tones.

While singing typical warm up scales with correct technique, if your singers become comfortable on particular scales begin to employ the use of quarter tones from one pitch to another using phrasing. A separate technique that will help not only intonation but general musicianship is by phrasing the individual notes of the warm up scale without changing pitch.

Intonation can also be affected by the conducting. The style you conduct or what attitude you portray can negatively affect the tuning of the choir.

Also, singers will be prone to "tenoritis" reaching their chin up high to get notes or "bassosis" bringing their chin down far to reach low notes. Both of these afflictions affect the intonation of a choir.

Reward Yourself

Females can also catch these maladies. As a choir director, your purpose varies from job to job. In order to understand your purpose as the director of your group, you need to first fully know and understand the dynamics of the group you are working with. The job of a choir director is not always to get perfect pitches, unmatchable blend, perfected performances, and bragging rights higher than any other group; however, it also is not always about creating a community in which every singer, no matter how talented, feels like a super star.

The job and purpose you must accomplish will change depending on the group, the musical abilities, the size, and the day. If you are becoming a choir director, you must be prepared to take on a different purpose every day. If you are working with a grade school choir middle or high school your purpose as a director is far different than if you are working with a church choir. As a grade school level director, your purpose is always to increase the musical abilities of your students, teach proper singing techniques so they can advance in choirs later in life, and strengthen their ability to read and sing music properly so they can do well in solo and ensemble competitions.

However, you face another vital purpose as well - one that isn't quite so cut and dry as teaching music theory to a bunch of kids going through puberty. This purpose reaches across the boundaries of simply directing and teaching and into the area of forming relationships. If you are directing a grade school aged group, you must form a relationship with your students that lets them feel comfortable and safe in your choir room.

Your purpose is to build their confidence and be a friend when they are being teased for being in choir, or when they are struggling with more outside stressors than any adolescent should. The choir room in grade school is often viewed as a safe haven for adolescent aged individuals and you are their guardian.

At this stage in life, your purpose for them is never to tear them down and make them feel awful; middle and high school does enough of that on its own. Your purpose, rather, is to show them that you are a friend and are there to lend listening ears. As a church choir director, your purpose is similar but not the same. You still must form a relationship with your members, as they are volunteers and can leave you without a choir any day of the week, but you are not looking to create perfect singers who will win at contests.

As a church choir director, your purpose is to create a fun environment that members of the church enjoy coming to and feel like they are contributing to the service. As you rehearse your pieces with your church choir, you must pick and choose which mistakes you want to focus on because the pieces will rarely be perfect. Your goal in rehearsals is to make them feel like rock stars, even if they are not.

You have to understand that your purpose is to create an environment of fellowship and worship for your members, and to let them know every day how much you appreciate the fact that they are in those seats doing all that they can do. Working with college and professional choirs is different still, with a bit more attention to detail. When you are working with a college choir or a professional choir, the musical abilities are more prevalent, and you are more able to focus on perfecting the pieces of music rather than always blowing up the ego of your singers. This is not to say that you can always criticize and tear down your members, but you are able to point out smaller mistakes and work more towards a great performance.

As a director of a more advanced choir, your purpose is to grow the musical knowledge of your members, teaching them higher vocal techniques, rhythm, and performance techniques phrasing, breathing, adjusting tempos, etc. You are still going to create a relationship with your members because it is difficult to have a choir follow you if they do not trust or like you, but that is not always your highest purpose.

With these choirs, the purpose is more musically centered with relationships adding to the chemistry of your choir. With any choir, your purpose will change daily. You may walk into a rehearsal and see that everyone's eyes are glazed over from exhaustion and have to readjust your rhythm centered purpose to a more "let's just get through a few songs and boost their confidence a bit" purpose.

No choir director's purpose is set in stone every day.

Choral technique and interpretation

Just as educators must have flexibility in their lesson plans; choir directors must be flexible in their goals for the group. The director's purpose is at the mercy of the group, not the other way around. When going into a choral rehearsal, the director must be prepared for anything; yes, anything. While it is wise to have two or three songs already chosen to be worked on during that rehearsal, the director should know that things do not always go as planned, and the rehearsal could utilize completely different songs.