“Retooling Your Conducting Gesture: Fundamentals of the Conducting Gesture” Carol J. Krueger, Emporia State ity ckruegermusie@gmail.com 1. Posture and physical stance: role model for singers ‘+ Feet: six inches apart, toes pointing forward, left foot slightly ahead of right (keep you from swaying, balances an extended right arm/hand), weight slightly forward, equally distributed + Relax knees slightly; do not pulse the beat with either knee or toe. + Hips: place hands over the hipbones with thumbs forward; rotate hips slightly under by tucking buttocks in—straightens spine + Raise sternum: hands aver head, lower arms to shoulders, rll thumbs back * Shoulders back and down + Elevate head + Do not be afraid to move the feet to tur to face a particular section of the choit + FACE: vitally important part of leadership and musical interpretation + DO NOT mouth the words or sing when conducting; Hard habit to break! 2. Arm and hand positioning + shoulder is the ball; major pivotal point for the movement of the arm * upper arm extends outward and slightly forward (shake hands) + elbow is elevated to four or five on clock; dropped elbow restricts motion on the horizontal plane; elbow joint must be free of tension ‘+ forearm is parallel to the floor on the horizontal plane ‘+ _ wrist is important in establishing the precision of the ictus; not rigid but firm for marcato-style technique; flexible but never floppy; The more the arm/shoulder motion, the less the wrist motion, and vice versa. + hand: natural extension of the arm, one unit with the arm, Palm should usually face downward + thumb rests atthe side of the hand against the first finger; the hand should not rotate so that the thumb moves up or down (negative effect on the conducting plane) 3. Vertical and horizontal planes: conducting gesture is superimposed on these planes. Where the vertical and horizontal planes intersect is the point of the downbeat ictus. * vertical plane is an imaginary line extending from top to bottom directly in front of the right shoulder; extends in front of the shoulder at a comfortable distance (1 foot) * horizontal plane is parallel to the floor at the “breath belt”. Extends forward about a foot and from side to side in front of the torso, 4, Delineation of the ictus (beat): exact moment the beat occurs; the point at which the hand rebounds from the horizontal plane; “touching-springing” action; the wrist must spring slightly before the upward movement of the hand. Keep hand moving constantly. Pretend arm is heavy or hold a weight in hand and beat will have ‘more of the “heft” and “bounce”. Exercise: flatten top of a music stand and adjust to the level of your horizontal plane intersects, plane; tap lightly on the top of the music stand for each ictus, 5. Preparatory gesture and downbeat + Four messages: dynamic level-(height), tempo (speed), articulation style (roundness or angularity), the preparatory ictus and the downbeat ictus, + Time between the preparatory ictus and the downbeat ictus sets the tempo. vertical + Process: + Mentally determine the tempo, dynamic level, and articulation before the gesture is given, Don’t be in a huny. + Starting the sound + Set" + Appropriate conductor's alignment * No motion, begin from a stable point 1+ For the prep to have meaning, it must have stillness first + Raise the arm/hand and head simultaneously, scan the group for readiness, and keep eye contact throughout the preparatory gesture and downbeat. + Preparation: + Rhythmic breathing motion: Breathe with the preparatory gesture for all groups, even those that do not use breath energy to produce the tome. Do not breathe through the nose, drop the jaw visibly and silently. + Begin the preparatory gesture with a downward movement at the speed of the initial tempo, The shape of this downward movement should correspond to the desired articulation. + Indicate the preparatory ictus on the horizontal plane with a rhythmic pulse of the wrisvhand and rebound to the top of the vertical plane (same height as the prep gesture began). + Complete prep gesture with a downward stroke on the vertical plane to the horizontal plane, which is the point of the downbeat ictus. + Start at and return to the plane + Each ietus on the same plane + Exercise: Instructor sets the tempo by counting | 23 4 and the preparatory gesture should be given in time; vary dynamic level; variation: tap the stand + Setting up expectation in the ensemble Some common problems + Not breathing: noisy breath + Looking down + Going “through” the plane + Stopping on the plane + Too many preparatory beats: Do not prep the prep + Unclear speed in preparatory beat + Poor conductor alignment Stopping the Sound “Set” Preparation: prepare to stop the sound Starting at and returning to the plane Setting up expectation in the ensemble After stopping the sound + Release with breath; slight rebound ‘The various metric patterns Shape * Standard Patterns + Basic Metric Patterns: 1, 2,3, 4,5, 6, 9, ete. + Asymmetrical Patterns: 5,7, 9, 10, 11, etc + Mixed Meter + Subdivided Patterns Guidelines + Distinguish between “beat” and-“ictus” + Beat is the space between the ictus: + Clarity is important so simplify the pattern + Crescendos/decrescendos, etc. happen between the iti, + Eliminate extrancous “stuff” + Wrist vs, elbow vs. shoulder + Stabilize elbows, fulerum/hinge + Use corner of music stand + Stabilize wrist, hand position + Use large spoon+ Maintain a constant speed through the beat + All beats should bounce at the same level + Glide beat for long notes * Be aware of the relationship of dur + Articulation + Legato: curviness of rebound; rounded rebound motions; pull flat for placid sound; + Uninterrupted flow of movement ‘+ Mareato: angularity of rebound; deep angular rebound motions that move in decisive, aecented fashion; almost no wrist action, wrist and arm become unified; momentary stop of the rebound action between beats + Uninterrupted flow of movement: suspension + Yo-yo, bouncing ball, rubber bands around leg/knee + Staccato: angular rebound motions; checkmark fashion; soft music the motion comes from a ‘wrist action that springs or snaps on the ictus; loud musie, the wrist gesture must be combined with a greater use of the forearm + Stressed and unstressed beats/sy lables + Negate beat + Inactive beat pattern + Dynamics: size of beat pattern + Crescendos/deerescendos, ete. happen between the ict. + Subdivision/division of beat Internal releases on various beats and final cutoff + “Set” + Preparation + Moving out of the plane ‘+ Example: Interne! release on 3: LH at attention, hold beat 1 & 2 prep, touch on 3 (breathe on release). Your release is your prep for beat 4 + Final cutoft/release: prep is the “hand” of the three; lifts from the horizontal plane but immediately begins a counterclockwise movement and finishes parallel to the horizontal plane; should end straight out brief pause before hand is lowered. *+ Setting up expectation in the ensemble + Afier stopping the sound; + “Cut off” vs. “Release” + LHand RH releases + Bring RH into background o bring attention to LH + Some common problems + LHisn’t “ser” + No eye contact + Looking down + Unclear preparation * Stopping at the point of release + What is necessary: Only do what is absolutely necessary: Keep ft simple and clear Dynamics: crescendo, decrescendo, and su + RH dynamie changes maybe shown by increasing/decreasing the size (amplitude and breadth) of the pattern; + Must show dynamic changes on the beat prior to the change. + Large prep gesture for forte + Small prep gesture for piano ‘+ Accents are short volume changes yn and space10. Starting the sound on each half beat (or portion of the beat) of the measure [Anacrusis] + Gesture: + Preparatory gestures for a pickup note move rightward + Preparatory gesture For a leftward beat moves rightward + Preparatory gesture for a rightward beat move leftward + Preps must move in tempo and communicate dynamic level and articulation + Preps require eye contact and rhythmic breathing motion, 11, Fermata: Three Types (determined by length of break after fermata) + Long Break: + Musical indicator: caesura or rest after Fermats + Stop on fermata + Use final release gesture and stop + Give new prep for music fo continve + Short Break + Musical indicator: ( breath mark + Release is prep + Stop on fermata + Give intemal retease and move up and away (prep) from next beat of music + Breathe on ictus of release + Give ictus on next beat + No Break + Musical indicator: stur, or no rest or other break indicated + Stop on fermata eno release + Prep next beat by moving up and away from next beat + Give ictus on next beat NOTE: prep for music to continue must be in tempo 12, Left Hand Positions + Resting down at side when only the right hand is needed + Resting a little above the waist (close to the body) when it is not being used but will be used shortly ‘+ Extending into the conducting area to indicate “attention,” to mirror, or to show dynamic levels + Extending beyond the normal conducting area for cues. 13, Funetions of the Left Hand + Minroring: the hands must never cross + Reserve for musical or geographical reasons + May pass pattem between if something musically is happening exclusively on the left side of ensemble and needs special attention. + Indicate Dynamic Levels (Remember size of RH beat must also change) + Palm down for soft; parallel to the floor for PP; 45 degree angle for P; almost vertical and palm more ‘open for MP + Palm up for loud (elbow must be drawn in more toward the body in order to turn the hand upward); parallel to the floor for MF; 45 degree angle for F: almost vertical and palm more open for FF + Show Crescendo and Decrescendo + Palm upward and rising to indicate a crescendo + Remember to keep arm slightly bent at peak of gesture & elbow tucked in + Raise to app. eye level + Long crescendo: raise left arm/hand for the first part, stop the gesture midpoint while RH continues to enlarge the pattern, then raise LH again to complete the crescendo gesture + Palm downward and lowering to indicate a deerescendo + Begin at eye level and arm extended forward + Gradually lower and pull back the LH to the horizontal plane 414, Cues: help performer feel the moment of entrance a shade more precisely; + Drill: Hold left palm upward and outward on horizontal plane for four counts; raise arm/hand on four ‘counts (cresc); hold peak for four counts; turn hand over on the “and” of beat four and lower it four counts (decres.); hold in piano position two counts and turn hand over on the “and” of beat two, hold for beats three and four, and begin the crese,/decresc. pattern again, Practice first with only the LH and then add the RH. * Drill: practice a longer crescendo with both hands. Raise LH four count and stop at midpoint while RH enlarges the four pattern. Continue to raise the LH four counts to the peak. ‘The “hot touch” or palm outward (briefly) to indicate a slight lowering of the dynamic level + LH must arrive exactly on the beat of the dynamie change Sustaining Gestures for Musical Phrasing + Horizontal Sweep used for legato phrasing (Middle Position/Sweep to Left) + Larmis extended in front of the body with the hand open and thumb up (handshake style). Armi/hanid sweeps right to lef as pulling through a heavy liquid. The greater the feeling of resistance in the flow of the gesture, the greater the communication of a sustained legato. + Forward Sweep used to indicate continuous phrasing unbroken by a breath, + Larm in handshake style sweep slowly forward and gives a little push at the point where the phrase is not to be broken with a breath wereases performers confidence, shows that the part is important, Performer must be ready to come in with or without a cue. Sec? + Cues must be prepared and put in motion on the pulse preceding the entrance of sound. Preparation + Usually you take a breath as you give the “prep” for a eue (not always). Move slightly out of the plane; After the initiation of the sound; + Forward motion; slight rebound Guidelines + Cues must be in tempo, character, and dynamic of the entrance sound. + Eye contact is essential! Look at the person of section being cued. * Cue difficult entrances or parts that have been counting bars for extended periods of time. + Don’t cue across your body. Use the appropriate hand. + Don’t cue when entrances come thick and fast—simply give a clear beat pattern; + Cue musically important entrances—not everything in the seote, + Cue directly in front of you for scrambled seating, Drill: conduct a4 pattern and give a cue on beat one of every measure. Repeat and give cue on beat two. Repeat and give cue on three, ete. Use dynamic changes only after cue motions feel secure. Drill: conduct a 3 pattern and give a cue on beat one. Repeat and give cue on beat two. Repeat and give ‘cue on beat three, Use dynamic changes only after cue mations feel secure. Drill: conduct and give cues marked by ~ using suggested dynamics. Play “Bop” game.Sraporia Sak Vaiversity Tesi of Chal Actives shanegeusiegemall com SELECTED BIBLIOGRAPHY Articles: ‘Aptelstadt, Hilary, “Choral Music in Motion: The Use of Movement in the Choral Rehearsal." Choral Journal, May 1985. Bosanguet, Catone R. “The Alexander Principle and lis Importance to Music Education,” British Jounal of Music Education. § (3) 229-242. Calder, Lei. “The Alexander Work." NATS Journal, 42 nuaryFebrary: 19-21. Dickson Joa, “The Training of Choral Conductors Through the Methodology of Kinesthetis” Choral Joumal, March 1992 Glover, Sally Louis. “How and Why Vocal Solo and Choral Warmvans Differ” Choral Jownal, October 2001 -MeCoy, Cire. "Eurythmics: Enhancing the Musie-body-Mind Connection in Conductor raining,” Choral Jourel, December 1994 ‘Mead, Virginia Hoge. “More than Mere Movement: Daleroze Bushythmics” Muse Biuators Journal, February 1986, Rosch, Eleanor. “Alexander Techngue: Notes on «Teaching Method" Contact Quarterly, Fall 1981 Conducting Books: ‘Atherton, Leonard, Vertical Plane Focal Point Condueting. Ball State Monograph Number Thiry-Toree, Muncie, Indiana, 1989. Decker, Harold and Collen Kit, Choral Conducting: Focus on Communication, Waveland Press Decker, Harold and Jui Herfor, editors, Choral Conducting Symposium. Prentice Hall, Englewood Clif, NJ Demaree Robertand Don Moses. The Complete Conductor. Premise Hal Garotson, Rober L. Conducting Choral Music. Allyn and Bacon. Glenn, Ceol editor Jn Ques of Answers. Hinshaw Music, Chapel Hil, NC, HMBI8L Gordon, Lewis. Choral Direcor's Rehearsal and Performance Guide. Paker Publishing Groen, Elizabeth, The Modern Conductor, Prentice Hall. Jordan, James. Evoking Sound: Fundamentals of Choral Conducting and Rehearsing. GIA Put Lamb, Gordon H. Chora! Teohnigues. McGraw Hill. abut, Joseph A. Basie Conducting Techniques. Prentice Hall McPlheran, Brock. Condheting Technique. Oxford University Press. ‘Noble, Weston H., Paul Salmamunovich & Steven M. Demorest. Creating the Special World: A Collection of Lectures. GIA Publications ISBN-10: 1579995152 Philips. Kenseth. Basie Techniques of Conducting. Oxford University Press Robinson, Ray and Allen Witold. The Choral Exporience, Waveland Pes. Simons, Haeriet, Chorai Conduenng: A Leadership Teaching Approach. Mask Foster Santon, Roytl, The Dynamic Choral Conductor. Shawnee Pres. 71917 “Thurmond, Janes Morgaa, Note Groupings. Meredith Musi Publishing, Gatesville, MD, 1982, ISBN: 094282003, Webb, Guy B, editor. Up Front! ECS Publishing Willetts, Sandra. Upbeat Downbeat: Basie Conducting Patterns and Techniques, Abington Press.ao 3. Kreger napa Ste Univeny Decay of Choral Aes sherounicomileon Willett, Sandra, Beyond the Downbeat: Choral Rehearsal Skills and Teoliques, Abington Press. Choral & Vocal Pedagogy Books: arharn, Tery J. Sirategies for Teaching Junior High and Middle School Male Singers. Santa Barbara Music Publishing, 2001 Bluestine, Eric (1964). The Ways Children Learn Music, Chicago, Ik GIA Publications. Brinson, B.A. Choral Music: Methods and Materials. New York, NY: Schitmer Books, 1996, Carter, Tom, Choral Charisma: Singing with Expression. Senta Barbara Music Publishing, Inc, SBMP $72 ISBN: 0-9648071-57 ‘Chosky, Lois (1981). The Kodaly Conte. Upper Salle River, NI: Prentice Hall, Collis, Don L. Teaching Choral Musie. Upper Saddle River, New Jersey: Prentice Hall, 1999, Decker, William, Julius Herford, editors. Choral Conducting Sympostum. Buglewood Cliffs, NI: Prentice Hall Dehning, William. Chorus Confidential: Decoding the Secrets of the Choral At, Bavane Publishing: GK 08301689; ISBN 0-634-05843-6 Ehmann, Wi jel, and Frauke Haasemann, Voice Building For Choirs. Chapel Hill, NC: Hinshaw Musi, 1981 Estelin, Gerald, Components of Vocal Blend. Stage’ Publishing, Woodland Hills, California. ISBN: 1-886209-30-8 Hylton, Jon B. Comprehensive Choral Music Education, Englewood Cliffs, NI: Prentice Hall, 1995), Glenn, Carole, editor. Jn Quest of Answers. Chapel Fil, NC: Hinshaw Music, HMB 181 Gurun, Alan 3. The Choral Director's Cookbook Meredith Music Publications; BBN: 1574630784 Miller, Richard. The Structure of Singing. New York: Schirmer, 1986, Miller, Richard, Training Tenor Voices. New York: Schirmer, 1993, Milone, Michael. An Ineroduction to Modaitty Based Instruction. Columbus, OH: Zaner-Bloser, 1979. ‘Neuen, Donald. Empower the Choir! Concepts fr Singers, Choral Excellence Robinson, Russell and Jay Althouse. The Complete Choral Warm-Up Book. Van Nuys, CA: Alfred Publishing, 1995. Saaloff, Robert Thayer. Vocal Health and Pedagogy: Sclence and Assessment. Plural Publishing, 2006 Schafer, R, Muray, The Thinking Bar. Toronto: Arcana Editions, 1988, ‘Smith, Brenda and Robert Thayer Sataloff, Choral Pedagogy. San Diego: Singular Publishing Group, 2000. ‘Stunt, Royal. The Dynamic Choral Conductor. Shawnee Press. ‘Sweats, Linda. Teaching the Elementary Scliool Chorus. West Nyack, NY: Packer Publishing, 1985, ‘Telfer, Nancy. Success! Warmups, Book | and 2. San Diego: Kjos Music Company, 1995, Dito Wall, Caldwell, Gavilanes, Allen, Dition For Singers, Pst...In, Dalla, Wall, Joan. lternational Phonetic Aiphabet for Singors.Pst..Ine, Dallasane Dinter gr Eee srt Actes siaucgemusicotgo ‘Translations and Annotations ‘Translations and Annotations of Choral Repertoire: Ron Jeffers, Earthsongs | Vol. 1: Secred Latin Texts | Vol. 2: German Texts | Vol. 3: French & Kalan Texts | Vol. 4: Hebrew Texts ‘itn Chao, nd Arsibequs Chaos. “Dly Workout for a Heil Vole.” Sia Barbar CA: Sata Babar Mie Paiing 1991 lichens Rodney, “Etancng Msaliy trough Move” Santa Bath CA: Soi Paar Misc Pubing, 201 flcenore, Rodney, “What They Ses What You Gt" Chapel NC: isa Mss, 199, rer, Pack “Sous or Adoleset Sings” (OVD) Choral ExcelenIn 203; 1SBN 0.974607.) Johnson, Jefferson. “Ready...Set..Sing: Activating the Mind, Body, and Voice.” Santa Barbara, CA: Sante Barbara Musie Publishing, 2000. Leck, Henry. “Voeal Techniques for the Young Singer” Colla Voce, IND: Indianapolis, 1995. Leck, Henry. “The Boy’s Changing Voice.” Hal Leonard, WI: Milwaukee. Leck, Henry & R. J. David Frego. “Creating Artistry Through Movement: Daleroze Fushythmis inthe Choral Setting.” Hal Leonard, ISBN: 08744511 ‘Neuen, Don. Artistic Musical Conducting, Vol1& Ui. Choral Excllees (2 DVD'S) "Neuen, Don. Choral Techies and! Methods, Choral Excellence Series, ($ DVD's). [Nable, Weston. Choral Perspectives: Weston Noble Pepstua Inspiration (DVD). Quaid Schott Media Productions, H1L-08745497 Noble, Weston. Achieving Choral Blend Through Standing Position, (DVD) GIA Publications ‘Rounds, Canon, Partner Song Collections Bolkovec, Edward and Judith Johnson. 150 Rowuds for Singing and Teacking. Boosey & Havikes, 1996 Boyer-Alexander, Rene. Expressions of Freedom (Anthology of African-American Spititals). For al ages. Hel Leonard: 09970232— ‘Volume I; 09970233 Volume I; 09970234—Volume II; 09970235-—Compete Edition. The King's Singers Book of Rounds, Canons and Partsongs. Hal Leonard: HI. 08743259 Jeffers, Ron. Five Concert Canons, (3-$ voices) Earthsongs, B08 Liebergen, Patrick M. Classic Cantons, Tae Developing Church Choir Series (4253). Altted Publishing Co., lnc. (lacludesaltemate secular tex, Liebergen, Patrick M. Classic Canons I. Aled 18915 Miller; Cristi Gary- Pentatonie Partners (A: Collection of Songs and Activities) Hal Leonard: 09970253- (Grades 2-6) Wilson, Harry R. Old and New Rounds and Canons. Harold Planes Music, G-5002Basic Conducting Patterns Legato LL -chash, den Asymmetrical Pattern: te a217645 32d G7249 faster faster rebound pe a LG ai SS (Le 133 322 a5 3e2+7 | Peas 24372 IRight Hand Internal Release @ =ictus {top or touch downbeat) ———— =pattern changeDivided Beat PatternsDuple, Triple and Quadruple Patterns Poo, ooo 4 J=104 tel gute eed otter ep ge) ey felt et ‘up leave f mf arcane pio Poon, sy poy mp mf marcato d=60 ogjiclig wig nA, wp 4 mp tea nf on “Moderato (4 =¢ 108) ad tO = 2 Seer aaa p,m yy Allegro matt gl lglg gOAy yo) ag mf legato po Gee ne DadeCompound Meter: One, Two, Three, and Four Patterns Andante cantabile Polish Laileby DG.alFine Allegro moderato Johan Sans (1866-1889) =. + ] Moderato, Manx Gaelic Allegretto, Scotti 12‘Andante con moto Talian Latlaby 7Conducting Changing Simple Meters Krueger eee + tego 5 ‘ 76 marco “ Lie 2 5 marcato 4 Sega 7 os F GHEE 1 pao eee 6 tegao 7 : . } marcato 2 3 legato 4 5 marcato 6 7 legato 8 i é i i i i I 1 marcato 2 3 legato 4 5 marcato 6 7 legato 5Anacrusis: Entrance on a complete beat Menuetto W.A. Mozart (1756-1791, String Quartet K, 168 an ~ é Andante ()=58) Franz Joseph Haya (1732-1809) The Creation (Adapted) oS Sane eee Ziemlich schnell Franz Schubert (1797-1828) Frstarrung from Wintereie, Op. §9,No.4 _—————. — Ludwig van Beethoven (1770-1827) Symphony No.5, 0p. 67 ‘Allegro W.A. Mozart (1756-1791), Hora Concerta in D Major, K. 412/514 ‘Menuetto (Allegretto) W.A. Mozart (1756-1791) Sting Quartet, K.421 15Allegro con brio Ludwig van Beethoven (17704827) Violin Sonata,Op. 30, No.2 Say, Andante cantabile Franz Toseph Hayila (1732-1808) String Quartet, Op. 3, No. — ~ ee dolee <—~ > aa Presto ‘Georg Philipp Telemann (1681-1767), Six Canons Mélodioux, TWY 40 121 e v e Gavotte Il 4.8, Bach (1685-1730) Cello Suite No.5, BWV 1011 Allegretto 1,8. Bach (1685-1750) Gavotte in G Minor SS ea a , =~ oy Pe IP ea J St 16‘Teadtional: “Londonderty Ait? Allegretto ‘Franz Josep Haydn (1732-1809) Symphony No, 15 (Il, Romance Espressivo J. Sibelius, Finkandia 7Five and Six Patterns d= 108 agltOO Alii isi fj) 4 mf marcas segato TTL A dy marcato legato Allegro (MLM. J = 120) mqll Miu k wl mi Wd af mf Pp dass gl SL Ry i je ted Bega subio-p tfModerato mpi tpt diy oy ly ~~ —— = Pp —== mp eletedd tetas dete 1 eg Rp.) gg mp mf Joist Pyot lyich Tehaikovsky, Symphony No.4, (1) Peer eee Allegro giusto Modest Mussorgsky, Pictures at an Exhibition f Moderato (d= 34) D. Shostakovieh, Symphony No. 12 (0) Mf expr sete bFermatas Moderato (J. 108) f Pp en ee B aN 2 a nf mp mp legato Mmmm yemmin 4 mf marcato Sere Bd ade ae AWW wo any d=t04 Ms a os BO aon) omy Po op ft tesco P nasato Af tego P 20Dynamics, Articulation ‘Moderato (J =<. 108) medtdis J yids ids yd ditty Se —=_ > J=96 mg pL i | SS d=? eeu J Se ecee rea eee eee (————"» Lids. J. Ji J Jy deta Mid plezats — = = f ee eeeJ-¢0 at cr oe doa Ty ty dow. any den Peco Reto cee Gaeeaea 7Anacrusis, Incomplete Beat ‘Wolfgang Amadeus Mozsrt (1756-1791), Symphonie Concertante K. 510 Allegro vivace Franz Schubert (1797-1828), Rosamuado, Overture _— Presto ma non troppo 1809), Sonata f ff Alllegro vivace Franz Schubert (1797-1898), Syenphony No. (V) — 4.8. Buch (1685-1750) Brandenburg Concert No. 2,BWY 1047 23Giuseppe Verdi (1813-1901), Rigoleto Allegro 'W.A, Mozart (1756-1791), Horn Concerto in D Major, K. 412/514 W.A. Mozat (1756-1791), Hora Coneerte No.2, K.417 (Waldhora) eeee le ES Presto Feanz Joseph Haydn (1732-1808), Symphony No. 100 (IV) 24Allegro di molto Franz Joseph Haydn (1732-1800), Symphony Allegro G. F Handel, Water Musie Suite, Bourée Presto Franz Joseph Haydn (1732-1809), Symphony No. 15 (1V)Rejoice In The Lamb Conducting Patterns, m 19-61 Benjamin Britten 24243 20 a 2 23 343 20 51 2424243 32 24243, 243 ae 35 24243 36343 7 58 2424243 3924242 40 343, 4134343 2 2424243 43 243 4 242424243 45 24243 45 7 243 as 343 o 50 51243 2 2H 43242 5 34342 $5242 56 24243 57 343, $8 50 60 243 or 24242. 26oe = da jd... Jat, I my 27 pO ty pA A dy pItA Ads Athi t Ay pot eA Ay pA. Ply 4 JAA Es WRIT WATE OR SUAS daa aan |“ 4 — “ft 4 4 I] 1 ry ae fut tly lg ide d sg A004 4 te TOA Tas em HMA TORIC aaa paROTUIOD adn | vopug uruciiog. (is-9ru og do ‘quiny ayy uy arofoyTORTAIpANG MORAG WOT (erZ-T+2) Jaw peomnomnssy | DORTAIPASHOINTAIC “WOISHAIpans/UORIE womRehearsal Process | : ___ Phase 4—Refine © Move ftom solfoge to neutral 10 ext * Harmony Skills Solfege) + Intonation © Balance’ #_Phrasing =_Blend Phase 3—Integrating Tonal and Rhythm Patterns Phase 3B: Reading ‘+ Using tonal syllables end patsching the beat, rad melodic pattems; read from seote Phase 3A: Reading Readiness or Preparation + Sing melodic patems by rote using tonal sylables while patsching the beat +__Sing vocel-pitch exercises integrating ¢ variety of rhythm patterns; palsch beat, use hand signs ae Phase: 2—Symbolic Association 7 ; fe Visual Representation of Pitch and Rhythin D. Students read tonal only in score D.. Students ead rhythm only in score C. Teacher sings pater/stadents find in score . ‘Teacher sings pattern/students find in score BB. Read tonai pattems on tonal sylsbles from board | B. Read rhythm pattems on ryt sylabes from boa A. Visually associate tonal symbols (notation) with | A. Visuellyesociat rhythm symbols (aotaton with the sign (onal syllables + sound) the sign rhythm syllables sound) _ Phase 1—Reading Readiness or Preparation Process centers around rote learning (emitation) Phase 1C: Generalization—Verbal cine Aurally recognize known ton and rhythm pater in music chor sings tonal patterns on neutral syllable; | Teacher chants rythm pattems on neutral sylabler students echo on tonal sylables students echo on rythnn slates + Read from hand sigs, onal adder, melodic contour (pitch recall) Phase IB: Verbal Association Tonal and rhythm syllables give names to the sounds (Sound + Names = Sign) ‘Teacher sings tonal patterns on vonal syllables; “Teacher chants ehythm pattems on rhythm syllables; students echo on tonal syllables students echo on raythm syllables Always establish tonality, use hand signs. Always establish meter, patsch the beat Vocal Pitch Exercises Phase LA: Auralforal skill development “Inthe ear and out the mouth” cher sings tonal palierns on neutral syllable; “Teacher chants thyihin pation 0 students ecino on neural syllable students echo on neutal sy Always establisi tonality, use hand signs bays establish meter pase Se ocal Warm-Up = General—develop voice ‘= Specifie—develop skills necessary to sing music Write Objectives on Boardior Verbally State Object & Prior Knowledge and Skills > _ Read major scale stepwiseltonio triad skips Read simple meter: whole, half. quarter, eighth 29tes Class Period: Chorus Rehearsal Lesson Plan Da 30 Vocal Warm-Ups Studens Objective: Students will consistently vocal tome and continue to den Exercises 1 characteristics of healthy te them throughout the rehearsal GPhonation |G Vowel Shapes Flexibility 1 Posture 1 Breathing Resonance CT Artculators. C1 Consonants Relaxation ‘Meter Dp I beat “Music Literacy Student Objective: Students will become independent reader Unison GSA OSSA OTB _OSAB OSATB rhythmic and melodic ixercises: at Key Signature 7 ai EMA CIM ire Melodie Movement Sait Ose OSkp 1D Simple rims aacnsin Do Regs SER DO 1D Compound 4 > zs DER Fi StL Do Re Mi Fa So Ra Me Se Le Te 5 oJ od olvd O Mixed Asymmetrical ‘Rehearsal of Literature Conect pitebes Intonation OPheesing Tempo ‘DAnticulations GCorrece rhythms Vowel ODietion (changes) Dynamics ‘Selection Pagets)imeasures to be rehearsed Student Objectives: Srudent wil, ‘Gran-singing Rhythmic Balance {D Diphihongs Integrity Pare ee ___fesponse Fempo Gani Dconeer rhythms — Vowel (Changes) Dynamies OPare-singing unification Text (wont | Rhythmic Balance Diphhongs and syllabic Integrity eseasaeeeeeEeE BEE gec gee ests) Pec Commons. stress) | response TiGereatpliches Intonation GPhrasing Tempe TArtculatons see di Correct tthe Vowel DDietion (changes) ODynamies Selection Page(aVmeasures w be rehearsed |} 6 Pon-singing CText (word Rhythmic Student Objectives: Stuaenss wil, TRalance ‘and syllabic Integrity sess) Materials Needed TESE/ESOL Modification: OUMnsic folder de DAPeerpartaer assigned OC-Oral test administered OF OB Estendedtesttime — OD -Seatinfrontof room CF. z (See back of lesson plan for spectic modifications on each student)Lesson Planning— Objectives 31 RECALLING — | UNDERSTANDING USING TAKING APART | CREATING NEW JUDGING Test Prescribe Select Formulate Revis Specify Recommend Report Derermine Produce Rate ‘Show Summarize Prepare Rank vii Classify Propose Measure Use Separate Plan Judge Transtare Question Organize Grade Sketch Cause & Effect Integrate Evaluate Schedule Inventory Generalize Estimate ‘Order Supporting Evidence Detect Determine Restate Operate “Inspect Design Critique Report Locate infer Create Choose Predict Incerpret Experiment Construct ‘Assess Interpret Itusirate Distinguish Compose raise Associate Differentiate Collect [Ean Select Distinguish Enploy Diagram Assemble Relate Estimate Dramatize Categorize “Arrange EVALUATION Recognize Demonstrate Detect Record Practice Debate Repeat Translate Soive Crticize "THESIS ‘ ; Remember Locate Complete Analyze SYNTHESIS SYNTHESIS Draw Express Predict t Cite Discuss Caleutate oo oe Apply ANALYSIS ANALYSIS. ANALYSIS a ‘ompue ' State Conmare =n Describe Classify Know Understand APPLICATION APPLICATION APPLICATI! APPLICATION Identify Define ee fared COMPREHENSION | COMPREHENSION | COMPREHENSION | COMPREHENSION | COMPREHENSION : = — } KNOWLEDGE KNOWLEDGE KNOWLEDGE KNOWLEDGE KNOWLEDGE, KNOWLEDGERehearsal Communication Use descriptive directions such as Posture + Sitas if you were going to zip up your jacket. + Sita + __ Stand as if you are ready to dive. a Breath = Breathe as if you had twenty noses around your belt, + Take a breath from your breath belt. + Vocal sound has a breath behind i, not init. Tone + Use your head voice while singing these descending notes. + Use Vibrato as a means of expression, not as a lack of technique, + Sing through the space of a yawn. + _ Hide vour lower teeth, create an arch sound, like a Gothic cathedral, Vowels + Criticize and purify your vowel sound. * The first step in getting a choir to sing well is to get them to sing softly. The second step is, the unification of vowel sounds. | + Your voice is what your vowel is; your vowel is your tone. | + Savor the sound of the vowel on each individual note. | + Precast the vowel by breathing through the mouth position for the vowel. + _“Let’s sing with the vowel sound we are trying to improve.” FI Diction | + Release your jaw | + Crisp consonants are like popping balloons | + It'sembarrassing to sit at a choral concert and understand only some of the words and the |___taces of the singers don’t reflect anythin Phrasing | ° “It's what happens between the notes.” Isaac Stem + Melodic energy is that which exists between two notes. | + Not crescendo but bloom. + Not speed up but urgency. + Crescendo during the rest. | | * A.superior choir is often distinguished from a good choir by the way it ends its phrases. | + Stretch the phrase. Don’t make it appear that you're in a hurry to get to the next note, | Enjoy the one you're on! + Conductor sings two examples; ask singers which example is more musical. [Expression | “Song is drama. It has an ‘argument.’ It has situation and story. Robert Shaw Singers should recite the text without the music and see how expressive they are, then put the same expression with the music Express the text with just your eves. Put all of the forte sounds in a smaller package to sing piano. The problem in performance is to give the audience nothing less than the meaning of the piece. Get the choir in love with the music. If the conductor loves the music, the choir will love it. IF the choir Toves I, the audience will too. IP's infectious and contagious. Ifthe artist is inhibited, he cannot express himself, Choir members should take classes in acting, movement and dance as well as classes in voice. Learn to express yourself, get your ideas out. Too many singers suffer from constipation of the brain, A conductor must do something about the expression on the faces of the choir: they must reflect the musie; they must look like the music. Alot of audiences can’t hear, but they can sure see: Look the part! ‘A great choir may be built without great voices, but never without great sensitivity Use negative modeling: “Listen to what this section sounds like with no express 32‘Score Beal/Rhythm | Musicianship Find the color-coded green part at leiter B (Highlight the choral parts for beginners; put an X in the front of the staff they should follow. The score should be in the head, not the head in the score (Singer and Conductor). “Tap the division of the beat on your neighbors shoulders Do the “heel march” to the beat (Only lift the heel and not your toes.) [A staccato is not just a short note, but a note that is shorter than its written value. “There is a world of difference between the theory of an eighth note and the experience of aneighth note. And rudely to paraphrase Sullivan's sentence, “You can't impart it unless you've had it."" Robert Shaw Don’t hum the pitch — think it Always give pitches from the lowest note to the highest (foundation). Bnsemble and Motivation Ifyou can hear yourself, you're too loud A choir is no better than its slowest/weakest learner. THINKHE There’s no substitute for intelligence. No snowflake in an avalanche ever feels responsible. Remember you don’t have to be a professional to sing like one. ‘The only difference between a professional and an amateur is that a professional always carries a pencil To be an artist is not the privilege of the few, but the necessity of all. ‘No artist is so accomplished that he cannot learn more than he already knows. Know your music, no one else can learn it for you. Practice without improvement is time wasted. ‘When you're average, you're as close to the bottom as to the top. If you don’t know your part in rehearsals, you're a vocal leech. A leech on somebody else's mind and vocal cords. Don’t compouind your error, compound your privilege of correction, Don’t compete, JOIN! Don’t be afraid of making a mistake, If you are too worried about the person behind you or in front of you, look at them, introduce yourself and vow to teach them that each mistake you make will be sung with loving tendemess. Sing each part as if it were the melody Madrigal singers are recorders with consonants. Synergy, combination of actions or individuals in such a way that the effect is greater than the sum of its parts, occurs in rehearsal when the conductor and ensemble perform as one. ‘Conductor “The ‘higher consciousness” of the great artist is evidenced not only by his capacity of organizing his experience, but also by having his experience.” Arthur Sullivan “We all know what down and yp means, but let's play as if there was only up, up, up!” James Levine “A young conductor is usually advised by veterans to develop an authoritative down beat. But, after a very short experience, he should lear that a down beat will take care of itself - (and) he should address himself to the much more difficult task of indicating the relative lightness (movement) of unaccented notes and especially of the upbeat.” Father Finn ‘The score should be in the head, not the head in the score (Singer and Conductor), ‘The weakest link in choral music is: weak conductors. Always give a reason for repeating, © “That was good enough to repeat.” One does not “follow” the conductor, one stays with him, A conductor spends 95% of his/her time telling the choir to read what’s already on the page. Teach them to read, to aurally differentiate (assess sound), how to fix the problem, and how to musically express the piece. If you see (hear) something wrong and don’t correct it, you have just set a new standard.” author unknown 33