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REHEARSAL TECHNIQUES. Rehearsal. Visual Tools: You will see many rehearsal techniques through the use of toys and puppets. These provide a visual companion to auditory modeling that helps many students.
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Rehearsal Visual Tools: You will see many rehearsal techniques through the use of toys and puppets. These provide a visual companion to auditory modeling that helps many students. Especially beneficial are when the visual aids in rehearsal translate to conducting gestures in performance. These techniques reinforce the good vocal technique practiced in warmups: breathing, articulation, pitch accuracy, vocal flexibility, etc. The visual tools are primarily from Lee Gwozdz’s Vocal Toy Box.
Rehearsal TRANSFER!! While my singers are elementary and middle school, many of the concepts may transfer to higher levels. As you explore the use of these tools for voice, consider in what ways you may adapt them for instrumental rehearsal.
Rehearsal “Hashivenu” This song has beautifully elongated phrasing, but can be challenging for breath control. Pinched or strained sound toward the end of phrases can be caused by improper posture or breathing that adds tension to the vocal cords To correct posture and prepare the phrases, use the collapsing poodle and the Hoberman sphere.
Rehearsal Collapsing Poodle The entire body is the instrument; so posture affects the sound. Nonverbally and quickly remind students about posture by collapsing the poodle and extending it. A little practice allows you to collapse the entire puppet or just the head.
Rehearsal Breathing Hold the Hoberman sphere at diaphragm level and expand to represent an appropriate breath before singing This transfers readily to a conducting gesture for an entrance.
Rehearsal Phrasing Breathing and phrasing work together in rehearsal. The yo-yo can be extended slowly to show a lengthened phrase. This also transfers readily to conducting gestures. It is especially good at showing legato sound over a controlling rhythm.
Rehearsal Vowel Sounds How do computers synthesize vowels? They cannot change the shape of their mouths like we do. Importantly, they reproduce the overtone signatures created by the shape of our mouths. Since overtone signatures are sound waves at higher frequencies than the fundamental, different vowel shapes can make a choir sound out of tune with itself – even if the singers are physically generating the same fundamental tone. Most noticeably, this is recognized simply as varied intonation among the singers. Basic vowels – ee, eh, ah, oh, and oo – should be relaxed and open. Use “Mr. Pooch.”
Rehearsal Mr. Pooch Easy to make and use, Mr. Pooch helps students visualize a relaxed, open vowel sound.
Rehearsal Vowel Tips and Pitfalls Other descriptions include using a “North-South” sound vs. “East-West” sound. Also, having the vowels “stand up” as they pass through the resonance areas helps students visualize and explore. Breathe in through the vowel you will sing. Sing the consonant on the same pitch as the vowel that follows it. Relaxed jaw and tongue are important; if students try to pull open the vowels, they can in fact close or pinch the sound. Dipthongs (“light,” “noise,” “late,” “house”) require special treatment. Typically allow the initial vowel to lengthen or maintain prominence. However, the opposite is true for “view”; the secondary sound has prominence.
Rehearsal Open Tone Openness is important to intonation. Listen for pinched, tight, or forced tone, especially at extremes of lower and upper registers. Allow students to explore and discover that smooth use of the vocal cords throughout the vocal range is natural.
Rehearsal “Rex” What does it look like you can use him to demonstrate??
Rehearsal The Hammer What about this? It makes an audible “chirp” when the pink springs strike a surface.
Rehearsal Dynamics Like smooth intonation throughout the vocal range, it is important to develop comfortable use of crescendo and decrescendo. The rainbow slinky provides an excellent visual cue and transfers readily to conducting gestures. Alternately, the Hoberman sphere can be used.
Rehearsal Syncopation To encourage students to feel the beat during a syncopated entrance, the ball strikes the target on the beat. This is especially fun when students demonstrate. Transfer to conducting a strong ictus.
Rehearsal Ready to Record Use this tool to stimulate the energy and excitement of a performance. Allow students to experience the adrenaline response in a safe environment so that it they understand and work with it rather than allowing uncontrolled response as in stage fright. At the same time, use a digital audio recorder to encourage reflection upon achievements and help students meet curriculum objectives in self-assessment.
Determining Vocal Range(March, et. al) • Sing the first four measures of Jingle Bells in Bb, starting on D. • Students notate which pitches are easy to sing. • Modulate upward by a half step and repeat. • Continue modulating and notating for an octave. • Students mark the pitches that were easy to sing on a staff. This is their vocal range.
State Choral Events • Apply annually by September 15. • NC Honors Chorus: An auditioned choir at elementary, middle, and high school levels. • Elementary auditions are recorded and mailed to adjudicators. Middle and High School auditions are live and include sight-singing. • These choirs perform at the NCMEA annual conference • All State Chorus • An unauditioned choir at the Middle and High School levels. • Teachers receive a number of slots based on their choral enrollment.
Rehearsal Parting Thoughts Great rehearsals start with great preparation; mark your scores. Laughter releases tension and models diaphragmatic movement. What is at the center of reHEARsal? HEAR. Listening is one of the most important rehearsal skills. Singers must listen to themselves, others’ singing , instruments, and the sound of the room.
Rehearsal Parting Thoughts Success comes in cans...
Rehearsal Parting Thoughts Not in cannots.
References Albrecht, Sally K. Hashivenu. Alfred, 2000. LeDoux, Joanne Brown. Sing It. Lorenz, 1991. Lightfoot, Mary Lynn. Pie Jesu. Lorenz, 1996. March, Hunter C., Will Schmid, and Sandra Stauffer. Silver Burdett Making Music Resource Book, Teacher’s Edition Part Three Grade 7. Pearson, Glenview, IL: 2005.
