Knudson The Engaging Choral Classroom ?· The Engaging Choral Classroom Sandy Knudson TCDA, July, 2016…

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<ul><li><p>The Engaging Choral Classroom Sandy Knudson </p><p>TCDA, July, 2016 sknudson3@cox.net </p><p> Favorite warm-ups and solfege techniques always teach a skill </p><p>4 beat movement canon Friendly policeman </p><p>Yoo hoo hoo hoo hoo (dmsmd)- point five different places Zee ah Zee ah zee ah ah ah ah (sd sd sdsmd) </p><p>May we follow you? Sfmrd </p><p>Slur exercises Freeze tone exercises </p><p>Solfege canons </p><p> All good rehearsals start with good repertoire. Only the best is good enough for children. Choose music of the highest quality that immediately entices and engages the young singer. See my list of favorites and things to consider in programming in livebinders.com. (Access code? Come to the workshop!) http://www.livebinders.com/play/play?id=1861412 </p><p> Score study inspires the teaching process. If I know the piece well, I can be improvisatory in rehearsal. What is prominent? Is this a melodic, lyrical piece? Teach with solfege. Is this a rhythmic piece? Read some rhythms and find them in the piece. ABA? Teach the A and let the teacher sing B. Verse-refrain? Teach the refrain and let the teacher sing the verses. And so on. </p><p> Begin with the end in mind- plan, plan, plan. (Sample grid in livebinders.com) But this is </p><p>another workshop. </p><p>After the foundational work is done, it is time to engage the singers. </p><p>Word Wall- why not use one for a semester or for a day? Instead of saying, Take out Path to the Moon, say, </p><p>Take out the piece with syllabic stress, sequence and hemiola </p><p>WORD WALL FAVORITES A cappella </p><p>Apex Augmentation </p><p>Canon Diction </p><p>Diphthong Fermata Hemiola Legato </p><p>Marcato Metric Accent Partner Song </p></li><li><p>Scat Singing Sequence </p><p>Staggered Breathing Syllabic Stress </p><p> Motivational techniques </p><p>Call backs: The Skys the limit; were digging deeper, Ms. K </p><p>JOIN ME IN KINESTHETIC PLAY </p><p>As we conduct a hemiola or a cutoff As we show syllabic stress or a slur </p><p>As we show articulation: marcato, legato, melisma As we show length or apex of phrase </p><p>As we fight gravity on a descending line As we keep a tempo in a canon or an a cappella piece </p><p>As we show metric accent As we show dynamics </p><p>As we listen for the melody or moving part As we sing in head voice, not chest voice </p><p>As we show different kinds of weight As we use a bicycle ride to shape the phrase </p><p> Additional ideas? </p><p>Management Techniques </p><p> Post it notes and photo ops Show me on a scale of 1-4 Judges, points and gotcha! </p><p> Written response: 4 x 6 card; Music: Art Thou Troubled? by Handel </p><p> 1) Choose a British character </p><p>( from Harry Potter, Downtown Abbey, royalty, historical figure, Narnia, etc.) 2) Tell me why you chose him/her 3) Describe what this character is doing in the A part and in the B part </p><p> After Carmen- which performer would you like to be and why? Mens chorus; womens chorus; </p><p>orchestra player, soloist, conductor </p><p>High Rise! Skyscraper! Be the best weve ever been! Quantum leap! Third Floor Music in body; picture in mind; performance ready! Second Floor Become an artistic ensemble, a team, a choir. First Floor Take care of instrument- rest, hydrate, Be MINDFUL Foundation Know notes, words, parts, musical terms </p></li><li><p>Brain Break Activities </p><p>Poison Inner hearing </p><p>Canons Sasha or similar game </p><p>Pair share Choice one or two </p><p>Fix the teacher </p><p>Good King Wenceslas from Quick Starts for Young Choirs </p><p>By Cristi Cary Miller and Angela K. McKenna Hal Leonard </p><p>Reflections/ Notes/ Goals for my Choral Classroom: </p></li></ul>