Integrating Vocal and Musical Techniques - Columbus State University

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As singers participate in the above exercise, they will be forced to listen intentlyto those around them.As they attempt to match the pitch, dynamic, color, and resonanceof their fellow choir members, the tone will eventually become more unified.Eberhardt(1973) compares the exercise to a piano being tuned. It is not until all three chords(above the assigned hammer) of a specific pitch are tuned alike that the desired sound isachieved.Resonance, dynamics, and color of tone among individual singers can best beunified by having them hum using the suggested consonant and vowel pattern (p. 11).Vowel production, another contributor to poor intonation, can also be addressedin a warm-up routine.To do so, the following is suggested:3EEEEmee. mch mah moh mooExample 6: Vowel Consistency, for Intonation(Brinson, 1996, p. 192)This exercise is designed to make the singers aware of the differences in vowelproduction between individual singers. It features a simple, melodic pattern of thirdswhich students from young to old should be able to sing after a short demonstration.Also, a director can instruct the ensemble on the correct pronunciation of the five purevowel sounds.If an ensemble is able to perform the above exercise with ease, a director maywant to go a step further by having the choir in four parts (SATB).18
'" S A—0—r—J——Jr rjj^4M- —p —-J-hr=p=moo moh mah meh4- jrmeeIIExample 7: SATB arrangement for Vowel Consistency(Brinson, 1996, p. 192)Though the intervals of the exercise have changed, the five pure vowels are stillrepresented. This will give the ensemble an opportunity to align their vowels, while atthe same time, paying attention to tone, breath, tempo, and resonance.19
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Page 4 and 5: The undergsigned, appointed by the
Page 6 and 7: Table of ContentsAbstract i i iTabl
Page 8 and 9: I. IntroductionThere are literallyh
Page 10 and 11: Name of work(s) to be rehearsedRehe
Page 12 and 13: II.Body, Mind, and VoiceThe most ef
Page 14 and 15: James Jordan (2005) considers the i
Page 16 and 17: the choir is made to focus on the i
Page 18 and 19: III. Breath"Because breathing is th
Page 20 and 21: singers will leap from the tonic {d
Page 22 and 23: exercises, in their original form,
Page 26 and 27: V. Improving Resonance"...the end r
Page 28 and 29: VI.Extending the Vocal Range"Singin
Page 30 and 31: VII.Sight-Singing as a Warm-Up"Sigh
Page 32 and 33: Appendix A:Elementary Rehearsal Gui
Page 34 and 35: m,
Page 36 and 37: Name of work(s) to be rehearsedHow
Page 38 and 39: to gain understanding of the differ
Page 40 and 41: i ri"ifMrMlifeee eh ah oh oo. ee eh
Page 42 and 43: Name of work(s) to be rehearsedMay
Page 44 and 45: will also be a visual aid to help t
Page 46 and 47: ee eh ah oh oo. ee eh ah oh oo.Exer
Page 48 and 49: Appendix B:Middle School Rehearsal
Page 50 and 51: IiifHTTirDoo ba doo ba dooDoo ba do
Page 52 and 53: Name of work(s) to be rehearsedHand
Page 54 and 55: similarity to the melody.Because th
Page 56 and 57: General Exercises:One physical acti
Page 58 and 59: fczfp^p-s>-Dec doh dec doli dec dec
Page 60 and 61: Name of work(s) to be rehearsed3. H
Page 62 and 63: Appendix C:High School Rehearsal Gu
Page 64 and 65: 1&—mdec dec dec dee dec dec dec d
Page 66 and 67: Name of work(s) to be rehearsedIris
Page 68 and 69: support throughout the ensemble (p.
Page 70 and 71: f1wm £mLoo loo loo loo loo loo loo
Page 72 and 73: Name of work(s) to be rehearsedSalm
Page 74 and 75:
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Page 76 and 77:
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Page 78 and 79:
Appendix D:List of Repertoire72
Page 80 and 81:
Appendix E:Additional Resources74
Page 82 and 83:
Bibliography76
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Integrating Vocal and Musical Techniques - Columbus State University

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