Integrating Vocal and Musical Techniques - Columbus State University

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Name of work(s) to be rehearsed3. Hallelujah, Bum Again (from Three Canons for Voice)Vincent Persichetti , Elkan-Vogel Inc.General Exercises'-'Exercises for Awakening the Mind andXBreathing: Exhalation, Inhalation andImaginationSupport*-*Relaxation of Body'-'Resonance and Dynamics'-'Posture'-'Five Pure Vowels (without diphthongs)DExpanding the Vocal Tract'-'Finding Head Voice (yawn-sigh)Relaxation of Jaw, Tongue and Lips'-'Range Extension and Register ConsistencynDiaphragm Activity (also use to'-'Flexibility (runs)improve consonants)"TheCall"Specific ExercisesX Minor Scale (raised 6)DD54
General Exercises:The genera] exercises selected for this particular warm-up are the "call" and abreath exercise featuring dynamic contrasts. Because the third installment ofPersichetti's Three Voices for Canon, Hallelujah, Bum Again, features enormouscontrasts in dynamic levels (pp tofff), itwill be beneficial to have the singers call loudly.Because calling is a natural part of life, proper support is naturally used (Hasseman &Jordan, 1991, p. 44). When this concept is learned by the students, they can then transferthat knowledge to the musical setting.'Taught correctly and used correctly, the call canserve as a vehicle for forte singing..."(Hasseman & Jordan, 1991, p. 44).Specific Exercises:The melody of the canon isin the minor mode and features a reoccurring raisedsix scale degree.Addressing this in a warm-up routine can be done easily by having thechoir sing a minor scale on the syllable "oo."When this is done to the satisfaction of thedirector, he or she can then explain the raised sixth scale degree and have the ensemblethen observe it in following repetitions. This will be difficult for the group, but withthorough explanations and demonstrations, they should be able to experience somesuccess.55
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Table of ContentsAbstract i i iTabl
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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 58 and 59: fczfp^p-s>-Dec doh dec doli dec dec
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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