Integrating Vocal and Musical Techniques - Columbus State University

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fczfp^p-s>-Dec doh dec doli dec dec dec dec dec dec dec dec dec dec\\y :Ai' \\^ir p p"Upward Leaps on the Breath, with Line"(Shenenberger & Jordan, 2004, p. 3)General Exercises:The text of Persichettfs Preface to Canons written by Herman Reichenbach, isaperfect way to both introduce the form of the piece as well as the methods of rehearsingit.The following is the text of the piece:'The primary element of a canon is not the scorebut the melody. The canonic setting should not betried before the melody is completely mastered.It isdeplorable if a piano is necessary for studying the tune:itis entirely out of the question to use the piano forthe polyphonic set-up. This has to be done a cappella. ,,(Persichetti, 1947, p. 4-5)This text can be used to challenge to the students. The challenge is to learn the melodywithout the use of piano accompaniment. Hopefully, this will motivate the students toput forth their best efforts in the following sight-singing exercise. Solfege syllablesshould be used to further facilitate the students in the process. This exercise must becarefully planned if itis to move quickly <strong>and</strong> without trouble.52
"Hiss Till You Can't" will serve in once again reminding the students of properbreath support. This support will be needed in the fast-paced, relentless eighth notesfeatured in the piece.Specific Exercises:"Upward leaps on the breath, with line,"suggested by Shenenberger <strong>and</strong> Jordan(2004) will further emphasize breath support (p. 3). The kneading motions ..mentionedabove (III.Breath) may be incorporated as visual representation of the movement of thebreath.53
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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 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 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.
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Page 72 and 73: Name of work(s) to be rehearsedSalm
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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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Integrating Vocal and Musical Techniques - Columbus State University

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