Hello everyone,
Today is Wednesday, October 28, 2015.
There are (not counting today and not counting concert day) 36 days remaining in our epic group project.
Actually, honestly, it's more like 26 days. By November 23 (date of our first dress at St. J.), it's best if you are completely comfortable with everything you're doing.
Doc and I will give some instructions for being a good neighbor at St. Joseph - let me open the ground and pre-soak here:
1. This year 2015 marks the 25th anniversary of our concerts in that location.
2. If you were in choir last year, you will remember most of this - if not, please read carefully and take it completely to heart. Our reputation and (indeed!) the future of our concerts at this location depend upon us following all of the church's instructions and regulations to the letter.
Here are the THOU SHALT NOTs -
THOU SHALT NOT bring or consume food or drinks of any kind inside the upper level of the church (the narthex/"lobby" OR the nave and transepts. Only water in closed containers may be ingested while in the upper level of the church.
If driving, THOU SHALT NOT park in an area the church officials refer to as "the sidewalk." This is a parking space-sized area right in front of the church. If you will examine it closely, you'll see that there is a drop-off of approximately 1 inch down to the street level. Extend an imaginary line from the curb down 18th Avenue E and this distinction will become clear. PARK ONLY IN THE STREET.
If driving, THOU SHALT NOT park in the loading zone. This area is in front of and slightly to the right of the parish hall. It is marked by signs.
When arriving at the church for our pre-concert activities/set up, etc. THOU SHALT NOT GO INTO THE UPPER LEVEL OF THE CHURCH. Go directly into the lower level "social hall." You enter the social hall through the church parking lot., which faces 19th avenue across from Tully's Coffee (which THOU SHALT NOT bring into the nave).
In the social hall:
THOU SHALT NOT TALK LOUDLY OR MAKE OTHER NOISE IN THE HALLWAY OUTSIDE THE SOCIAL HALL. The church allows homeless men to sleep in the gymnasium opposite the social hall. They have an early bedtime (compared to our rehearsal times) and we MUST be very quiet.
THOU SHALT NOT MAKE OR LEAVE A MESS. Pack out what you packed in. Help check pews for lost objects, rehearsal orders, etc. after we are done. Don't assume "somebody" will do these things. We're in this together, We are those somebodies!
Wednesday, October 28, 2015
Tuesday, October 20, 2015
FWC Approaches!
Hello everyone,
WOW, what a fabulous party on Friday! Y'all made "mandatory fun" a thing of beauty and excitement!
In conclusion - (Jake, thank you for inspiring this part of my post!)
Accept (welcome!) the things that will not change - the concerts are Friday 10/23, and we're shifting from impulse power to warp drive about now ;-)
Change the things we can/need to change and continue reinforcing the things we are doing well - Everybody stay on top of your music study and physical prep. Take care of your body - eat well, sleep at least 6 hours a night, stay away from people who are "contagious" with germs, stay hydrated, and please-please-please DO NOT GO DRINKING OR PARTY INTO THE WEE HOURS ON THURSDAY EVENING.
This said, I now put my Auntie Lee hat back in the closet -
Wisdom to know the difference - Well, wisdom often comes after errors in judgment have been made. That said, vicarious learning is often underrated ;-)
Trust me - you need extra attention to self-care and patient, determined review of your individual parts and the choral recordings right along through here.
Doc and I received word about an hour ago - 250 tickets have been issued for EACH concert!! We're good, and we're famous, and we're going to be famously good on Friday - IF everyone does their part.
Practicing Tip -
Pay special attention to all first entrances (example - Soprano 1 in Telfer Gloria!)
First entrances are super-important. We can only begin each piece ONE TIME on Friday. Make sure you're breathing correctly and 'on-point' for that very first tone.
WOW, what a fabulous party on Friday! Y'all made "mandatory fun" a thing of beauty and excitement!
In conclusion - (Jake, thank you for inspiring this part of my post!)
Accept (welcome!) the things that will not change - the concerts are Friday 10/23, and we're shifting from impulse power to warp drive about now ;-)
Change the things we can/need to change and continue reinforcing the things we are doing well - Everybody stay on top of your music study and physical prep. Take care of your body - eat well, sleep at least 6 hours a night, stay away from people who are "contagious" with germs, stay hydrated, and please-please-please DO NOT GO DRINKING OR PARTY INTO THE WEE HOURS ON THURSDAY EVENING.
This said, I now put my Auntie Lee hat back in the closet -
Wisdom to know the difference - Well, wisdom often comes after errors in judgment have been made. That said, vicarious learning is often underrated ;-)
Trust me - you need extra attention to self-care and patient, determined review of your individual parts and the choral recordings right along through here.
Doc and I received word about an hour ago - 250 tickets have been issued for EACH concert!! We're good, and we're famous, and we're going to be famously good on Friday - IF everyone does their part.
Practicing Tip -
Pay special attention to all first entrances (example - Soprano 1 in Telfer Gloria!)
First entrances are super-important. We can only begin each piece ONE TIME on Friday. Make sure you're breathing correctly and 'on-point' for that very first tone.
Tuesday, October 13, 2015
Congratulations, everyone!
Congratulations to everyone for a productive and timely dress rehearsal!
Keep working on your music - difficultiesWILL yield before a determined, informed, tireless, patient assault ;-)
Kickoff Dinner this Friday, October 16 - in Casey Commons!
Pictures begin at 5:30 p.m., food at 6.00, and then Special Activities And Very Special Things to follow...
------
Practice Tips for everyone and everything
Now is a good time to begin singing with the choral recordings of your pieces for FWC.
Play the recording and just listen.
Play the recording and track your part in the score.
Play the recording, sing and track your part in the score. Have you marked cues from other parts?
Play the recording and sing.
Play the recording again.
If you'll be walking while singing something, practice this combination maneuver.
-----
Mastery in Numbers:
Why not get together with one or more people and run your music?
Go into a practice room, pull up a choral recording or voice part recording on your smartphone, and sing with it.
Sing for each other, record yourselves, and then work through feedback:
Feedback Tips:
1. Basic Accuracy: Rhythm, pitch, note lengths and rests, dynamics.
2. Text: Diction, proper shaping of vowels, consonants, shadow vowels, pitched consonants, etc.
3. Line, phrasing, tapering, etc. What are the phrase shapes? Pay attention to your "support system" when you manage breath and tone through long phrases.
4. Timing of onsets, off-sets, rests, breaths. If you're working through a section that doesn't have a definitely marked breath, where DO you take your breaths? Mark them and practice them! Do you know where you are NOT supposed to breathe? Mark those places! (NB, dotted curved line).
-----
A Little Inspiration for Chamber Singers
Dufay Gloria with voices singing the ostinato:
Gospel inspiration from the divine Aretha. My, my, my, this woman can SING.
Total Praise with 1500-voice gospel choir in Stockholm, Sweden. I really love this version - the guitar solo is something else!
Hey everyone: know this. Gospel music is for everybody. It is NOT about your "paint." It is about your soul. If it speaks to you, then it is yours.
Inspiration for those who are singing chant: Just play this "in the background," letting it soak through the crevices to water your soul.
Here's some chant expanded into organum - a Kyrie. Men's Chorale: if you sang J. Edmund Hughes' "Steal Away/Kyrie" last year, you will recognize this chant!
(by the way, that movie was totally AWFUL - read the book, instead).
More organum for your delectation: Sederunt by Perotin (The Great), 13th century!
Keep working on your music - difficultiesWILL yield before a determined, informed, tireless, patient assault ;-)
Kickoff Dinner this Friday, October 16 - in Casey Commons!
Pictures begin at 5:30 p.m., food at 6.00, and then Special Activities And Very Special Things to follow...
------
Practice Tips for everyone and everything
Now is a good time to begin singing with the choral recordings of your pieces for FWC.
Play the recording and just listen.
Play the recording and track your part in the score.
Play the recording, sing and track your part in the score. Have you marked cues from other parts?
Play the recording and sing.
Play the recording again.
If you'll be walking while singing something, practice this combination maneuver.
-----
Mastery in Numbers:
Why not get together with one or more people and run your music?
Go into a practice room, pull up a choral recording or voice part recording on your smartphone, and sing with it.
Sing for each other, record yourselves, and then work through feedback:
Feedback Tips:
1. Basic Accuracy: Rhythm, pitch, note lengths and rests, dynamics.
2. Text: Diction, proper shaping of vowels, consonants, shadow vowels, pitched consonants, etc.
3. Line, phrasing, tapering, etc. What are the phrase shapes? Pay attention to your "support system" when you manage breath and tone through long phrases.
4. Timing of onsets, off-sets, rests, breaths. If you're working through a section that doesn't have a definitely marked breath, where DO you take your breaths? Mark them and practice them! Do you know where you are NOT supposed to breathe? Mark those places! (NB, dotted curved line).
-----
A Little Inspiration for Chamber Singers
Dufay Gloria with voices singing the ostinato:
Gospel inspiration from the divine Aretha. My, my, my, this woman can SING.
Total Praise with 1500-voice gospel choir in Stockholm, Sweden. I really love this version - the guitar solo is something else!
Hey everyone: know this. Gospel music is for everybody. It is NOT about your "paint." It is about your soul. If it speaks to you, then it is yours.
Here's some chant expanded into organum - a Kyrie. Men's Chorale: if you sang J. Edmund Hughes' "Steal Away/Kyrie" last year, you will recognize this chant!
(by the way, that movie was totally AWFUL - read the book, instead).
More organum for your delectation: Sederunt by Perotin (The Great), 13th century!
Friday, October 9, 2015
FWCDR1 101215
Family Weekend Concert
Dress Rehearsal #1
October 12, 2015
------------
Guidelines for our time in St. Ignatius Chapel
1. Food/Beverages - In a word, NO. We are allowed to bring in water, in closed containers. All other beverages (coffees, pop, juice bottles, etc.) cannot be brought into the Chapel "in the open." If you have a bottle of juice in your backpack, that's okay - but you may not consume anything but water in the Chapel building. You may want to pack a small snack for yourself, as the rehearsal will be lengthy. No problem - but it must NOT be consumed inside the Chapel building. Food and all beverages except water must be consumed OUTSIDE.
2. Altar Platform Decorum - In two words, RESPECTFUL DISTANCE. I suggest everyone imagine a zone of 6 inches extending outward from the altar on all 4 sides.
Do not "handle" or lean against the altar.
Do not put ANYTHING upon the altar, including your hands.
3. Clean-up - It takes a village; everybody can help by taking out what they brought in.
Take out everything you brought in, PLUS rehearsal order or any other paper you were given when you came in.
A few people should stay to help check all pews, etc. after rehearsal.
What do the pros do in rehearsal?
Pros are off-book, but they don't leave the book at home; Bring your binder!!
1. A professional is ON POINT at all times: focused, quick-moving when directed, silent unless directed to sing.
2. A professional stays focused when not actively singing - if another group is working out some problem, the professional is IN THE MUSIC: reviewing, quietly tapping rhythm and mouthing text, audiating problem spots, etc.
3. A professional helps others to stay focused by not distracting THEM with side conversations.
?If you were being paid for your performance at rehearsals, what would your work be worth?
?If you were paying others for THEIR performance at rehearsals, what would their work be worth?
--------------
Chamber: Practice Tip for Praetorius Resonet
There are quite a few places where a voice part "sits out" for a few beats and then re-enters on a different pitch.
You can practice this by eliminating the rests for a few repetitions. Sing the bit before the rest and immediately go to the next entrance. Do this a few times, then add in the rest one beat at a time until you're the correct "distance" from the next entrance.
SUBDIVIDE.
Draw lines connecting your part with parts that are in unison with you or doubling you at the octave. Draw a line from your part to a part that "gives" you the pitch for an entrance after you've been sitting out a rest.
Sing your part with the choral recording.
Sing your part with the voice part track for a different part.
Some of the text accents may seem "counter-intuitive." Practice chanting the text in rhythm (actually tap the beats as you chant).
Chamber: Practice Tip for the "Walking" Chants
Well, this one's self-evident, yes? Practice singing the chant while walking!
Walking, how? At a steady, controlled pace suitable for moving up a very long aisle.
Tip for chants in general: The rhythm of Gregorian chant is a wonderful clue to how ecclesiastical Latin must have been spoken back in the day.
- Study the translation. Know it word-for-word.
- Practice speaking the chant text, expressively.
- Sing the chant, expressively.
- Sing with the choral recording!
Men's Chorale: Practice Tip for Omnes de Saba
Women's Chorale: Practice Tip for Dufay Gloria
SOLFEGE YOUR PART!
Chant text in rhythm, tapping out the quarter note beats. This is another piece with "counter-intuitive" text accents.
Sing your part with the choral recording.
Sing your part with your voice part recording.
Sing your part with the track for whatever voice part is directly "above" or "below" yours.
Best Tip: Form a small practice ensemble (at least 1 person per part) and sing it TOGETHER.
Another Best Tip: Record your practice ensemble, listen to what you did, and share feedback. Then, sing it again!
-----------------
Art Links for Rachmaninoff Bogoroditse
Chorale - Y'all, your performance of this piece at yesterday's noon section in Campion was GORGEOUS BEAUTIFUL.
I thought the ikon reproductions might help us all get even more into the mood.
The prints I brought were of two very famous ikons:
Our Lady of Czestochowa
Theotokos of Vladimir - This ikon has lived in Moscow for hundreds of years. I am certain that Rachmaninov knew of it and perhaps even paid his respects.
There is a Russian Orthodox cathedral here in Seattle, within walking distance of SU.
More about ikons in the Orthodox church:
A tour of a Greek Orthodox church:
Dress Rehearsal #1
October 12, 2015
------------
Guidelines for our time in St. Ignatius Chapel
1. Food/Beverages - In a word, NO. We are allowed to bring in water, in closed containers. All other beverages (coffees, pop, juice bottles, etc.) cannot be brought into the Chapel "in the open." If you have a bottle of juice in your backpack, that's okay - but you may not consume anything but water in the Chapel building. You may want to pack a small snack for yourself, as the rehearsal will be lengthy. No problem - but it must NOT be consumed inside the Chapel building. Food and all beverages except water must be consumed OUTSIDE.
2. Altar Platform Decorum - In two words, RESPECTFUL DISTANCE. I suggest everyone imagine a zone of 6 inches extending outward from the altar on all 4 sides.
Do not "handle" or lean against the altar.
Do not put ANYTHING upon the altar, including your hands.
3. Clean-up - It takes a village; everybody can help by taking out what they brought in.
Take out everything you brought in, PLUS rehearsal order or any other paper you were given when you came in.
A few people should stay to help check all pews, etc. after rehearsal.
What do the pros do in rehearsal?
Pros are off-book, but they don't leave the book at home; Bring your binder!!
1. A professional is ON POINT at all times: focused, quick-moving when directed, silent unless directed to sing.
2. A professional stays focused when not actively singing - if another group is working out some problem, the professional is IN THE MUSIC: reviewing, quietly tapping rhythm and mouthing text, audiating problem spots, etc.
3. A professional helps others to stay focused by not distracting THEM with side conversations.
?If you were being paid for your performance at rehearsals, what would your work be worth?
?If you were paying others for THEIR performance at rehearsals, what would their work be worth?
--------------
Chamber: Practice Tip for Praetorius Resonet
There are quite a few places where a voice part "sits out" for a few beats and then re-enters on a different pitch.
You can practice this by eliminating the rests for a few repetitions. Sing the bit before the rest and immediately go to the next entrance. Do this a few times, then add in the rest one beat at a time until you're the correct "distance" from the next entrance.
SUBDIVIDE.
Draw lines connecting your part with parts that are in unison with you or doubling you at the octave. Draw a line from your part to a part that "gives" you the pitch for an entrance after you've been sitting out a rest.
Sing your part with the choral recording.
Sing your part with the voice part track for a different part.
Some of the text accents may seem "counter-intuitive." Practice chanting the text in rhythm (actually tap the beats as you chant).
Chamber: Practice Tip for the "Walking" Chants
Well, this one's self-evident, yes? Practice singing the chant while walking!
Walking, how? At a steady, controlled pace suitable for moving up a very long aisle.
Tip for chants in general: The rhythm of Gregorian chant is a wonderful clue to how ecclesiastical Latin must have been spoken back in the day.
- Study the translation. Know it word-for-word.
- Practice speaking the chant text, expressively.
- Sing the chant, expressively.
- Sing with the choral recording!
Men's Chorale: Practice Tip for Omnes de Saba
Women's Chorale: Practice Tip for Dufay Gloria
SOLFEGE YOUR PART!
Chant text in rhythm, tapping out the quarter note beats. This is another piece with "counter-intuitive" text accents.
Sing your part with the choral recording.
Sing your part with your voice part recording.
Sing your part with the track for whatever voice part is directly "above" or "below" yours.
Best Tip: Form a small practice ensemble (at least 1 person per part) and sing it TOGETHER.
Another Best Tip: Record your practice ensemble, listen to what you did, and share feedback. Then, sing it again!
-----------------
Art Links for Rachmaninoff Bogoroditse
Chorale - Y'all, your performance of this piece at yesterday's noon section in Campion was GORGEOUS BEAUTIFUL.
I thought the ikon reproductions might help us all get even more into the mood.
The prints I brought were of two very famous ikons:
Our Lady of Czestochowa
Theotokos of Vladimir - This ikon has lived in Moscow for hundreds of years. I am certain that Rachmaninov knew of it and perhaps even paid his respects.
There is a Russian Orthodox cathedral here in Seattle, within walking distance of SU.
More about ikons in the Orthodox church:
A tour of a Greek Orthodox church:
Monday, October 5, 2015
Mixed Meter Boil-down!
DIVIDE AND CONQUER
UNITE AND RULE
Here's an audio clip of my teacher from DMA days, Mr. Ralph Votapek, playing the Ginastera piece I mentioned in today's noon WC section:
http://www.ralphvotapek.com/selections/01%20Ginestera%20Sonata%20No.1,%20IV.%20Ruvido%20Ed%20Ostinato.mp3
The meter is 3/8 + 6/16.
There are either 3 or 2 "big beats" per measure, 16th notes are the constant.
I remember hearing Mr. V. practicing this piece. Yup, subdivisions to the 16th, AND metronome!
This sounds like it would be immensely tedious, but I have done it for years upon years, and it actually takes LESS time than doing stop/start/stop/fall on the hurdle stuff in practice. Every incorrect repetition adds to the problem. Practice really begins once you've gotten the thing right!
Working with subdivided beats at a moderate (or moderately slow) tempo gives you TIME - time to see what's up ahead (your eyes should ALWAYS be ahead of your voice); time to fully comprehend what you're doing, and even time to keep a mistake from happening in the first place!
The neatest thing about subdividing madly in practice, happens when you have truly internalized the subdivisions. You then shift your awareness to the big beats, and THEN you shift your awareness to groups of MEASURES. The "macro" view, let's say.
Very interesting things surface from the Telfer Gloria when one gets to the "macro" level.
Y'all, I have learned ENTIRE PIECES using the metronome to click once for every note in a subdivided beat. As mastery increased, I would go "up" one level in rhythmic feeling until I was sailing along with the metronome clicking only once or twice per measure. THIS WORKS! IT WORKS! IT WORKS!
It doesn't work only with instrumental music. It works with vocal music!! It works with choral music! It will work with you. If you do it.
If anyone's interested in a personal demo of this method, email me. I will be happy to show you exactly how the monitored-subdivision practice method works.
UNITE AND RULE
Here's an audio clip of my teacher from DMA days, Mr. Ralph Votapek, playing the Ginastera piece I mentioned in today's noon WC section:
http://www.ralphvotapek.com/selections/01%20Ginestera%20Sonata%20No.1,%20IV.%20Ruvido%20Ed%20Ostinato.mp3
The meter is 3/8 + 6/16.
There are either 3 or 2 "big beats" per measure, 16th notes are the constant.
I remember hearing Mr. V. practicing this piece. Yup, subdivisions to the 16th, AND metronome!
This sounds like it would be immensely tedious, but I have done it for years upon years, and it actually takes LESS time than doing stop/start/stop/fall on the hurdle stuff in practice. Every incorrect repetition adds to the problem. Practice really begins once you've gotten the thing right!
Working with subdivided beats at a moderate (or moderately slow) tempo gives you TIME - time to see what's up ahead (your eyes should ALWAYS be ahead of your voice); time to fully comprehend what you're doing, and even time to keep a mistake from happening in the first place!
The neatest thing about subdividing madly in practice, happens when you have truly internalized the subdivisions. You then shift your awareness to the big beats, and THEN you shift your awareness to groups of MEASURES. The "macro" view, let's say.
Very interesting things surface from the Telfer Gloria when one gets to the "macro" level.
Y'all, I have learned ENTIRE PIECES using the metronome to click once for every note in a subdivided beat. As mastery increased, I would go "up" one level in rhythmic feeling until I was sailing along with the metronome clicking only once or twice per measure. THIS WORKS! IT WORKS! IT WORKS!
It doesn't work only with instrumental music. It works with vocal music!! It works with choral music! It will work with you. If you do it.
If anyone's interested in a personal demo of this method, email me. I will be happy to show you exactly how the monitored-subdivision practice method works.
Telfer Gloria and Dufay Gloria tips - WC
Telfer Tip #1 - Count eighth notes, count eighth notes, count eighth notes!!
#2 - In pencil, draw thin lines connectingyour part with other parts that are in unison with it or doubling it at the lower or upper octave.
#3 - When something is being bounced between parts, look to see if all parts are bouncing the exact same bit. If so, indicate this in your score.
#4 - Say you're resting while another part is singing. Do you know whom to listen to in order to establish your cue for re-entry? Indicate this in your part.
#5 - Have you highlighted expression markings, dynamics, meter changes, etc.?
Note re, highlighters - The Telfer score belongs to you. You're authorized to mark it in any way that helps you to learn it. If you color-code highlighters to indicate the changing rhythms (6/8 in blue, 9/8 in orange, 7/8 in yellow or some such) - go for it!
Personal choice aside, EVERYONE MUST NUMBER ALL MEASURES OF THE "GLORIA."
---------------
PRACTICE TIPS - TELFER
- Divide a short section into even smaller sections (Telfer Gloria has 57 measures, how about 19 x 3, with each 19-measure section further subdivided)
- RHYTHM FIRST
...neutral syllable
...chant - ta ta ta ta ta
...On to pitch - listen / track / chant rhythm
...Pitch - listen / track / try it a phrase at a time.
..."Chewing" - 6/8 and 9/8 sections are compound duple (triple) - this means they'll divide quite neatly into pieces of 3 eighth notes per piece. Two pieces for each bar of 6/8, three pieces for each bar of 9/8.
TO CHEW:
Sing 1 piece (3 eighth notes) - PLUS first eighth note of next grouping.
Repeat several times at varying speeds (slow to moderate).
Sing next piece (3 eighth notes) - PLUS first eighth note of next grouping.
Repeat several times, und so weiter...
Now, you have seven notes (two "pieces" plus the first note of next "piece").
Sing all 7 notes.
Und so weiter, until you're done with the phrase.
Yay. Have a spoonful of non-mucus-forming sorbet.
Continue.
PRACTICING DUFAY
Y'all, when the going gets tough, the tough SUBDIVIDE LIKE MAD GIN-SU KNIVES.
Count quarter notes!
Divide into shorter sections for practice (a phrase at a time, yes!) - follow basic procedure listed in Telfer tips, above.
Did you copy the "cheat sheet" stuff from the whiteboard at noon section today?
Write the C major (actually, C-Ionian mode) scale on a Post-it and tack it to your music so you can solfege this. Sing it with solfege, on a neutral syllable, sing the ACTUAL NOTE NAMES (whoo hoo, get double value from reading practice!)
I'm still getting the hang of this blog post thing - my next goal is to understand how to post PDFs. Stay tuned and stay on schedule!
How many days until the Family Weekend Concerts?
Counting today and not counting concert day,
19
#2 - In pencil, draw thin lines connectingyour part with other parts that are in unison with it or doubling it at the lower or upper octave.
#3 - When something is being bounced between parts, look to see if all parts are bouncing the exact same bit. If so, indicate this in your score.
#4 - Say you're resting while another part is singing. Do you know whom to listen to in order to establish your cue for re-entry? Indicate this in your part.
#5 - Have you highlighted expression markings, dynamics, meter changes, etc.?
Note re, highlighters - The Telfer score belongs to you. You're authorized to mark it in any way that helps you to learn it. If you color-code highlighters to indicate the changing rhythms (6/8 in blue, 9/8 in orange, 7/8 in yellow or some such) - go for it!
Personal choice aside, EVERYONE MUST NUMBER ALL MEASURES OF THE "GLORIA."
---------------
PRACTICE TIPS - TELFER
- Divide a short section into even smaller sections (Telfer Gloria has 57 measures, how about 19 x 3, with each 19-measure section further subdivided)
- RHYTHM FIRST
...neutral syllable
...chant - ta ta ta ta ta
...On to pitch - listen / track / chant rhythm
...Pitch - listen / track / try it a phrase at a time.
..."Chewing" - 6/8 and 9/8 sections are compound duple (triple) - this means they'll divide quite neatly into pieces of 3 eighth notes per piece. Two pieces for each bar of 6/8, three pieces for each bar of 9/8.
TO CHEW:
Sing 1 piece (3 eighth notes) - PLUS first eighth note of next grouping.
Repeat several times at varying speeds (slow to moderate).
Sing next piece (3 eighth notes) - PLUS first eighth note of next grouping.
Repeat several times, und so weiter...
Now, you have seven notes (two "pieces" plus the first note of next "piece").
Sing all 7 notes.
Und so weiter, until you're done with the phrase.
Yay. Have a spoonful of non-mucus-forming sorbet.
Continue.
PRACTICING DUFAY
Y'all, when the going gets tough, the tough SUBDIVIDE LIKE MAD GIN-SU KNIVES.
Count quarter notes!
Divide into shorter sections for practice (a phrase at a time, yes!) - follow basic procedure listed in Telfer tips, above.
Did you copy the "cheat sheet" stuff from the whiteboard at noon section today?
Write the C major (actually, C-Ionian mode) scale on a Post-it and tack it to your music so you can solfege this. Sing it with solfege, on a neutral syllable, sing the ACTUAL NOTE NAMES (whoo hoo, get double value from reading practice!)
I'm still getting the hang of this blog post thing - my next goal is to understand how to post PDFs. Stay tuned and stay on schedule!
How many days until the Family Weekend Concerts?
Counting today and not counting concert day,
19
Friday, October 2, 2015
Pumping Vocalis! Video Links
Hello everyone,
Well, here we are - midway through the first FULL week of classes!
Not that last week wasn't "full," in its own sweet way ;-p
Today's post provides links and video clips of vocal anatomy, breathing techniques, and a quick and effective body warm-up routine.
VOCAL ANATOMY
1. Anatomy of the vocal folds and larynx - airway endoscopy of a 3-year-old child: http://emedicine.medscape.com/article/1948995-overview
This is part of an entire section on the site titled "Vocal cord and voice box anatomy." I found all of it extremely interesting and informative.
2. OMFMS, this is incredible! Video of FOUR people's vocal folds - a quartet of expert singers performing a Renaissance piece. Pick the folds that correspond to your voice part, and enjoy!
3. A short, animated silent film describing the anatomy and function of vocal apparatus. NOTE: Some of the sites I'm linking refer to "vocal cords," others to "vocal folds." Same thing, essentially.
4. My favorite explanation of basic vocal anatomy. The entire series by this presenter looks good.
5. Wonderful explanation, demonstration, and mini-master class presentation of diaphragmatic breathing!
BODY WARM-UP ROUTINE
I really like this one; it takes less than 90 seconds.
--------------------
Housekeeping!
CATCHING UP - ALL OF THE FOLLOWING SHOULD BE DONE!
1. Prepping the scores we're currently working on (all groups)
2. Checking out (bookmarking) Soundcloud and Dropbox
3. Practice, etc. for rehearsals
4. Turning in your Commitment Sheet (due Friday Oct. 2)
5. Turning in your choir fees for 2015-16 (due Friday Oct. 2)
6. Let your section leader know if you need a choir T-shirt, and if so, what size (sample S, M, L hanging from whiteboard in the choir room. We can get XL sizes and above - just ask.)
Well, here we are - midway through the first FULL week of classes!
Not that last week wasn't "full," in its own sweet way ;-p
Today's post provides links and video clips of vocal anatomy, breathing techniques, and a quick and effective body warm-up routine.
VOCAL ANATOMY
1. Anatomy of the vocal folds and larynx - airway endoscopy of a 3-year-old child: http://emedicine.medscape.com/article/1948995-overview
This is part of an entire section on the site titled "Vocal cord and voice box anatomy." I found all of it extremely interesting and informative.
2. OMFMS, this is incredible! Video of FOUR people's vocal folds - a quartet of expert singers performing a Renaissance piece. Pick the folds that correspond to your voice part, and enjoy!
3. A short, animated silent film describing the anatomy and function of vocal apparatus. NOTE: Some of the sites I'm linking refer to "vocal cords," others to "vocal folds." Same thing, essentially.
4. My favorite explanation of basic vocal anatomy. The entire series by this presenter looks good.
5. Wonderful explanation, demonstration, and mini-master class presentation of diaphragmatic breathing!
BODY WARM-UP ROUTINE
I really like this one; it takes less than 90 seconds.
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Housekeeping!
CATCHING UP - ALL OF THE FOLLOWING SHOULD BE DONE!
1. Prepping the scores we're currently working on (all groups)
2. Checking out (bookmarking) Soundcloud and Dropbox
3. Practice, etc. for rehearsals
4. Turning in your Commitment Sheet (due Friday Oct. 2)
5. Turning in your choir fees for 2015-16 (due Friday Oct. 2)
6. Let your section leader know if you need a choir T-shirt, and if so, what size (sample S, M, L hanging from whiteboard in the choir room. We can get XL sizes and above - just ask.)
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