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. 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.

RehearsalCollapsing 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.

RehearsalPhrasing

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.

RehearsalOpen 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??

RehearsalThe Hammer

What about this? It makes an audible “chirp” when the pink springs strike a surface.

RehearsalDynamics

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.

RehearsalSyncopation

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.

RehearsalReady 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.

RehearsalParting 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.

RehearsalParting Thoughts

Success comes in cans...

RehearsalParting 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.