Integrating Vocal and Musical Techniques - Columbus State University

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i ri"ifMrMlifeee eh ah oh oo. ee eh ah oh oo.Exercise 1:Arpeggiated Chord|I*yy||'W tlfatI r*'I9-jee ah ee aheeahExercise 2: Octave LeapsGeneral Exercises:The general exercises listed for Fare You Well by Ruth Elaine Schram, include agame to teach the concept of rubato, a breathing exercise, and the vocal "siren."The rubato activity should be used to teach the students that a steady beat (whichis taught on a daily basis in the elementary classroom) may at times, slow down or speedup. The instructor should emphasize the importance of watching the conductor. The ideaof the game is simple. In unison, the young ensemble should sing even quarter notes thatreflect the conductor's gestures (clapping, conducting, etc.).After a steady beat has beenestablished, the conductor should begin to make his or her gestures faster or slower.Thiswill ensure that the students are aware that the tempo may fluctuate throughout the piece.Also, the singers will see the importance of focusing on the conductor.To make certain34
that the students are indeed watching, audible cues such as clapping and snapping maywant to be avoided.The breathing exercise mentioned above should be done to make the studentsaware of breath support and phrase length.The students should be asked to sing togetherin unison. The instructor can then indicate dynamic changes through gestures or verbalcues.One might consider having the ensemble hold this pitch at a specific dynamic levelfor the duration of a majority of the phrases in Fare You Well (four measures). „The "siren" has been previously explained above, and will not be furtherexplained here.Specific Exercises:The arpeggiated chord (Exercise 1) should be used first so that the students canexperience the tonality of the piece to be rehearsed. It will also introduce the openingphrase of the piece as it is simply an arpeggiated chord (this pattern repeats with eachverse).Following the above exercise, should be a series of octave leaps (Exercise 2).Keeping a desirable tone during this exercise and tuning the interval involved will bechallenging for students of this age, so the expectations of the director must be carefullyexplained. Because the octave leap is a prevalent interval in the melody of Fare YouWell, this exercise, if done carefully, should benefit both the students and the rehearsalperiod.35
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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 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 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 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: 1mLa la la la la la la la la la la
Page 76 and 77: a3^2^:Ncc.noo.ncc.zz: ?£"Making Sp
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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