Integrating Vocal and Musical Techniques - Columbus State University

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VII.Sight-Singing as a Warm-Up"Sight-singing skills, like vocal techniques, are asmuch a part of the training of singers as are therehearsing of pieces to be performed....(Brinson, 1996, p. 131)Teaching a student to sight-sing is of the utmost importance, unfortunately, it isalso difficult and time consuming. Because the process is often long and complicated, adirector may be tempted to leave it out of a choir's daily routine. This is a terriblemistake.If singers are never taught to read music they will be reduced to learning everysong in their repertoire by rote. However, if a director is willing to spend the timenecessary to teach this invaluable skill, he or she will find that the ensemble will actuallysave time in the long run.There are many different ways to incorporate sight-singing into a choral warm-up.Some instructors choose to write their own exercises that feature various melodic patternsand intervals. Others may choose to use familiar folk songs or church hymnals. Stillanother option would be to introduce a new piece as the exercise itself.This can be achallenging and efficient way to incorporate sight-singing in a warm-up.As music educators, our firstresponsibility should be teaching our students theconcepts needed to become musically literate.By using sight-singing exercises as a partof an ensemble's daily routine, we can be sure that they are well on their way.24
VIII.ConclusionThe choral warm-up is a process that prepares the members of an ensemblementally, physically, and vocally. Because there are so many aspects of a singer'sdevelopment that must be addressed during a warm-up period, it can at times be a timeconsuming process. However, through the meticulous planning of the conductor, thechoral warm-up can be both efficient and enjoyable for allsingers.Among the aspects to be addressed during a choral warm-up are:breath support,intonation, developing resonance, extending the vocal range, and sight-singing.Addressing each of these issues may seem to be a monumental task when considering thehectic performance schedules of many choirs, but they are necessary if we are to achievea desired sound from a choir.If choral directors will take the time to teach the necessary skills for good vocalproduction we will surely find that it is worth the effort. We will find that our singers arenot only capable of making beautiful music, but they are on the road to becoming welltrained,musically literate individuals.25
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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 24 and 25: As singers participate in the above
Page 26 and 27: V. Improving Resonance"...the end r
Page 28 and 29: VI.Extending the Vocal Range"Singin
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
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Page 48 and 49: Appendix B:Middle School Rehearsal
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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
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Page 66 and 67: Name of work(s) to be rehearsedIris
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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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