Integrating Vocal and Musical Techniques - Columbus State University

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a3^2^:Ncc.noo.ncc.zz: ?£"Making Space on Upward Leap"(Shenenberger & Jordan, 2004, p. 4)General Exercises:To begin a rehearsal of Mendelssohn's chorus, How Lovely Are The Messengers,a period of stretching should take place.As mentioned before, this is only to release anytension that may be built up in the body.To ensure that the choir achieves a unified sound, itwill be beneficial to reviewthe proper pronunciation of the pure vowels.This is easily done by having the ensemblesing in unison (octaves) on a single pitch while moving together from vowel to vowel atgiven times.Nasals consonants can be used at the onset of each vowel to establishplacement of tone.Specific Exercises:The legato and octave leap exercises indicated in the rehearsal guide above haveboth been discussed previously and need no further explanation here.However, they arerelevant to Mendelssohn's chorus as the melody requires the singers to execute a numberof leaps while maintaining a flowing, legato line."Making Space on Upward Leaps" is an exercise suggested by Shenenberger andJordan (2004) which will help the students realize that singing in their upper registers is70
made easier when open vowels are used.When this point has been made throughexplanation and demonstration, vowel modification may then be discussed.There maybe a need to modify certain vowels in the text of the piece.If explained properly, thesingers should be able to apply their knowledge of vowel modification to their entirerepertoire.71
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Table of ContentsAbstract i i iTabl
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I. IntroductionThere are literallyh
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Name of work(s) to be rehearsedRehe
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II.Body, Mind, and VoiceThe most ef
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James Jordan (2005) considers the i
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the choir is made to focus on the i
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III. Breath"Because breathing is th
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singers will leap from the tonic {d
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exercises, in their original form,
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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 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 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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