The Beginning Choral

Conductor’s Resource and

Work BookSupplemental Materials for

MUSC 316 Choral ConductingStudent Version

by

Dr. John W. Hugo

©2009 John William Hugo, All rights reserved

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Preface

This book is intended as a class resource for students taking the MUSC 316 Choral Conducting at Liberty University. It contains exercises, bibliographical references, class notes, worksheets, and other materials designed to help students gain skills in working with choirs. This version is also supplied to students in an on-line format so that they can work with the worksheets and materials that are included. Materials for many sources are referenced here, some in summary form from Garretson and Neuen, and much previously unrecorded advice is drawn from my studies with Fred Wilson, Ann Hannah, Donald Bailey, Lorna Cooke deVaron, Robert Shaw, David Stocker, and Douglas R. McEwen, and many others.

Choral conductors practice an art that integrates a wide variety of skills, including management, interpersonal, and musical skills. If Jesus Christ had been a choral conductor, he would have applied the biblical principles he taught his disciples to the art, and that is what this course attempts to accomplish. We should honor God in our conducting by treating our singers as we would like to be treated if we were on the other end of the baton! We also must learn to train choirs to effectively convey the truth of the scriptures through the vehicle of choral artistry. We must work to achieve the potential he has built into people to create beautiful things out of nothing more than vibrating air, fleeting evidence of the very glory of the Creator as seen in His creation!

Conducting involves leadership, inspiration, historical knowledge, mental clarity, teaching skills and attitudes, sound moral judgment, patience, creativity, empathy, hopefulness, humility, and especially love. The goal of the choral conductor is to produce beautiful music in such a perfect way that music is all that is noticed: audiences need the immediate special acoustical beauty that only singers can produce. The gift of music is a gift to be shared with others; the gift is given to some to enrich the lives of other people who can only participate by listening. Christians need to fill the world with beauty in everything they do.

“If music be the food of love,” in a broader sense than that meant by Shakespeare, our attitude should resemble that of the grandmother who annually prepares that special Thanksgiving dinner every year: that special time is prepared with a sure and loving hand according to a well tested plan; she joyfully anticipates the special pleasure it will bring. Hopefully, those taking this course will understand that Choral Conductors are like good cooks sharing the happy labor of preparing a delicious and satisfying choral meal for all who attend the concert, a special musical meal that will be enjoyed and savored for all the beauty that can be rehearsed into it.

Choral conducting is not the art of being followed, but rather the art of guiding and teaching others in the pursuit of a special kind of beauty that can only be obtained by paying careful attention to detail through a joyful process of growth. The goal of the process is to bring glory to God by achieving the potential for producing beauty he has placed in singers, especially in those through whom music speaks most directly.

We should therefore dedicate ourselves to the service of God through music, realizing that we will give an account to God of how we made use of the gifts he entrusted to us. Let’s work hard, therefore, to grow as much as we can in the short time we have! Let us participate as encouragers and not as critics. Let us be joyful, creative, and mutually supportive in our work, and remember to ask God for His continuous help.

--JWH

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Table of Contents

INTRODUCTIONIssues in Choral Conducting……………………………………………………….1 Choral Facts of Life…………………………………………………………………3

CONDUCTING: TEMPO AND TECHNIQUEElementary Considerations about Tempo………………………………………..3Hugo’s Tempo Name Table………………………………………………………..4Hugo’s Tempo Variation Terms Table…………………………………………….5 The Conducting Space (The Strike Zone!)……………………………………….6Basic things that affect the size of the beat pattern……………………………..6Basic Beat Styles: Legato, Staccato………………………………………………7The Role of the Left Hand in Choral Conducting………………………………...7How do I start and end a piece?.......................................................................8The preparatory beat, attacks, and releases……………………………………..8What are the parts of a conductor’s beat?........................................................8Preparatory Beats in Detail………………………………………………………...8How to start a piece or “prepare” a cue…………………………………………..8Basic Rehearsal Wisdom…………………………………………………………..9Hugo’s Getting Started Exercises………………………………………………..10Releases……………………………………………………………………………11Hugo’s Release Exercises………………………………………………………..12Hugo’s Release Exercises in Musical Examples………………………….……13Subdivision…………………………………………………………………………14Fermatas……………………………………………………………………………15Fermata Speaking Script No. 1: Release is Preparation………………………16Hugo’s Fermata Exercises in Musical Examples………………………………17Fermata Speaking Script No. 2: Release is not Preparation…………………18Hugo’s Fermata Exercises in Musical Examples………………………………19Fermata Speaking Script No. 3: Fermatas with no break……………………..20Hugo’s Fermata Exercises in Musical Examples………………………………21The five levels of conducting…………………………………………………….22Score Study and the Conductor’s Preparation ………………………………..23Don Neuen’s ideas on rehearsing………………………………………………24

TEACHING VOICE IN REHEARSALFinding and encouraging a singer’s best posture for singing………….……..26Developing good breathing………………………………………….……………26Teaching Free Phonation…………………………………………………………26Good Resonance…………………………………………….…………………….27Vibrato………………………………………………………………………………27

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REHEARSAL TECHNIQUES TO DEVELOP CHORAL TONEFactors in Choral Tone……………………………………………………………28Choral actions leading to unified choral tone…………………………………..28Helpful Rehearsal Tips……………………………………………………………28Rehearsing for Good Intonation………………….………………………………29Developing Rhythmic Ensemble…………………………………………………29The Good Choral Warm-up……………………………………………………….30Choral Diction………………………………………………………………………32

Hugo’s General Observations on Vowel Treatment……………………….32Vowels………………………………………………………………………….32Rudimentary Principles of Vowel Modification……………………………..33Donald Neuen’s Advice on Consonants…………………………………….34Choral Diction Technique and Performance Style: Some Practical

Guidelines………………………………………………………..…….35

ORGANIZATIONAuditioning Singers—Quickly…………………………………………………….36Choral Seating and Standing Arrangements for larger ensembles…………..37Hugo’s Basic Principles: How Many People……………………………………38Organizing Everything For A Major Concert!..................................................39Budget Planning……………………………………………………………………41Programming: Selecting Music: Common Sense………………………………44Program formatting………………………………………………………………..48Poster Assignment……………………………………………………….………..49Long Range Planning Basics…………………………………………………….50Short Range Rehearsal Planning………………………………………………..51Recruiting…………………………………………………………………………..52How to Present a Choral

Concert…………………………………………………….54Hugo’s Crash Course in Copyright………………………………………………56

RESOURCESString Shape Experiments………………………………………………………..58The Four Basic Patterns…………………………………………………………..59Less Often Encountered Patterns………………………………………………..60Asymmetrical Patterns: 5/4……………………………………………………….61Asymmetrical Patterns: 7/4……………………………………………………….62Mixed Meter Practice Chart No. 1………………………………………………..63Mixed Meter Practice Chart No. 2………………………………………………..64Multimeter Practice Chart No. 1………………………………………………….65Tempo Math………………………………………………………………………..66Choral Performance Practice: The Basics………………………………………67General Character of Choral Music in the Renassiance Period……………...68

General Character of Choral Music in the Baroque Period…………...69General Character of Choral Music in the Classic Period…………….71General Character of Choral Music in the Romantic Period………….72

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General Character of Choral Music in the Early Twentieth Century…73 General Character of Choral Music in the Late Twentieth Century.…74

Choral Wisdom…………………………………………………………………….75Trusty Major Works that Choirs Love to Sing…………………………………….80Trusty Anthems and Songs………………………………………………………..81Annotated Bibliography of Selected Choral Conducting Resources…………85Expanded Basic Bibliography for Choral Conductors…………………………87

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Lesson 1 Issues in Choral Conducting

The Who, What, Why, Where, and When of Choral Conducting

WHO: Anyone who can acquire __________________________ skills and who is called to be a musical leader can lead a group of singers in the pursuit of the choral art. Conductors are not just ____________________________ but interpreters.

WHAT: Leading a group of singers in a __________________________ performance of music.

WHY: Because singers need a single ____________________to be able to sing with perfect unity.

WHERE: Wherever people gather to sing together in unity: schools, camps, churches, community centers, performance halls, theaters, civic functions, private homes, conventions.

WHEN: About twice a week at rehearsals and periodically at performances!

Major Issues in Choral ConductingGestures: basic technique Beat Patterns The Uses of the Left Hand Beat styles: legato, marcato, staccato Starting and Stopping (Preparatory Beats and Releases) Fermatas (Five basic types) Cueing Tempo matters

Score Preparation Anticipating problems Learning the notes: finding structure and patterns in the music

Rehearsal Technique Rehearsal planning Developing good intonation Developing healthy choral tone: models Developing dynamic variability Developing Rhythmic Ensemble Developing clear enunciation Developing phrasing and articulation How to teach the music Five levels of conducting

Teaching Vocal Skills in Rehearsal Posture Breathing Phonation Registration Resonance ArticulationIdentifying and solving common vocal problems

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Content Knowledge Conducting Vocabulary Historical style and performance practice Choral resources: appendices and bibliography

Organization Programs Publicity Seating plans Auditions Budgets Long range planning Short range planning

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Lesson 2 Choral Facts of Life (based on Garretson’s “Conducting Choral Music,” pp. 27-42)

The basic conducting patterns are basically useless i9n themselves as expressive motions but they are very important to master, because:

they are used to convey the _______________________ they provide the _____________________________ context through which the

conductor conveys musical and expressive instructions, they are universally employed and understood by musicians throughout the world and

universally understood as the ______________________________ for conveying information to a musical ensemble,

they help singers and instrumentalists alike by marking the _______________in a composition via “downbeats,” and this is especially important to players who are counting rests.

Meaningful conducting gestures need to change with the expressive needs of musical moment.Conducting is __________________expressed musical ideas.The primary function of the right hand is to present a ________________________ while maintaining full expression. For the right hand, cuing is a secondary function.

Elementary Considerations about TempoWhat factors are involved in deciding what tempo to use?

Tempo relates to the _________________________________of the music. Some music has metronome marks that tell you how fast or slow a piece is meant to go. Mood (emotional values in the text can influence tempo choices). Skill of the singers (a tempo can be too fast or too slow for the ability of the singers) Acoustics: with live acoustics, slower, with dead acoustics, faster.

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Hugo’s Tempo Name Table (for Lesson 2)These terms are used in musical scores so often that a conductor must know what they mean. They should become a basic part of every conductor’s rehearsal vocabulary.

Tempo Term

Italian Translation

Modern Interpretation Median M. M.

Grave Grave or solemn Broad and solemn, often needing a subdivided beat to sustain the phrases.

Often a minor key accompanies this mark.

48

Largo Large or Broad Broad, often needing a subdivided beat to sustain the phrases. Often a major key

accompanies this mark.

48

Larghetto a little slow Slow, but a little faster than largo 54Lento Slow Slow 60

Adagio Slowly, softly Slowly, usually softly; a tempo that allows for ornamentation

66

Andante “walking,” that is, moderately slow

moderately slow, especially slower than allegro, but faster than adagio

72

Andantino “a little moderately slow, like walking, but a little faster”

a little less slow than andante 80

Moderato “moderately” slower than allegro, but faster than andante 90Allegretto “somewhat merry

or lively”slightly less fast than allegro, and perhaps

lighter in texture as well100

Allegro “merry, lively” fast, or moderately fast 120Vivace “lively, brisk” usually faster than allegro, and sometimes

used in the score to indicate “now the allegro becomes even faster and livelier.”

130

Presto very fast Faster than allegro 144Prestissimo very, very fast as fast as possible 144 +

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Hugo’s Tempo Variation Terms Table (For Lesson 2)The terms in the table below are used to describe internal changes in tempo. These terms usually appear in the score at specific points where the composer wants to alter the tempo in special or expressive ways .

Italian Tempo Modifying Term

Meaning of the Italian Modifying Term

Accelerando (accel.) gradually becoming fasterRitardando (rit.) gradually becoming slower (usually for a few notes, and then

returning to the tempo; often used at the end of a phrase)Rallentando (rall.) gradually becoming slower (usually for more than a few notes,

often used at the end of a piece or to draw attention to an important phrase of the text)

Allargando gradually becoming broader and louder (often used at the end of a piece)

Calando gradually becoming slower and softer (often used at the end of a piece)

Stringendo gradually becoming faster and livelier (often used in transitions from slower to faster tempi)

poco a poco little by littlepoco meno mosso a little less motion (a little slower along here)poco piu mosso a little more motion (a little faster along here)a tempo at tempo, that is, return to the previous tempoa tempo primo (a tempo Io) at the first tempo (return to the opening tempo)doppio movimento immediately exactly twice as fastsubito Suddenly

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Lesson 2 (continued)The Conducting Space (The Strike Zone!)

High and Low (Vertical Axis)The right hand should be no lower than your _______________________ and no higher than your _____________________.

Left to Right (Horizontal Axis)The right hand should move no further left than the left side, and no further right than six inches outside your right ____________________________.

In and out (Saggital Axis)The right hand should remain between 6 and 18 inches from _______________________.

Leaving these boundaries is advisable only for special effects.

Basic things that affect the size of the beat pattern within the strike zone. THE SLOWER THE TEMPO, THE ______________________ THE PATTERN THE FASTER THE TEMPO, THE _______________________ THE PATTERN THE SOFTER THE DYNAMIC, THE _____________________ THE PATTERN THE LOUDER THE DYNAMIC, THE ______________________THE PATTERN THE MORE RHYTHMIC PRECISION DESIRED, THE _____________THE PATTERN LEGATO IS BROAD, MARCATO IS MORE _____________, STACCATO IS SMALL

We’ll talk about “negating” the beat later on, but remember that you must always give a downbeat, because the conductor always has to mark the measure, particularly with amateurs,

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Lesson 3, The Basic Beat Styles: Legato, Staccato, Marcato (based on Garretson’s “Conducting Choral Music,” pp. 99-102; 43-44) Legato: (Italian for “bound;” French term: lié [tied]; German term: gebunden (tied or bound); Spanish term: ligado [bound]); a very smooth style, with no separation between notes. Therefore, the ictus (beat point) of each beat is indicated chiefly by the change in direction of the hand as it moves through the patterns. Legato conducting tends to be more _______________and “loopy” than the other styles. Some have said that legato feels like moving your hand through thick gelatin, or like moving sand with the palm of the hand. [Diction implications: Vowels and consonants should be unaccented, and syllables and words should be performed with great fluidity and sonic connectedness. The articulation of ____________________is a big issue here, and the careful treatment of diphthongs is also important].

Staccato: Italian for “detached;” the precise implication of this marking originally meant that the note should be played ___________________________________as if there were rests between each note [could it be that this “musical shorthand” was a way of saving printer’s ink?!]. Alternately the sound of a note is shortened to a desirable length, as if rests were inserted between the notes. The conducting gesture style used to indicate this style is the antithesis of legato: the hand or baton gives sharp vertical beats that stop briefly between each ictus. Staccato beats can occur within ________________________ contexts. [Diction implications: Words should be sung in a detached way such that each syllable is separated by a space. Treatment of consonants is the most important consideration here, and decisions have to be made in favor of unity of utterance and intelligiability].

Marcato: (Italian for “marked”) “_____________________________”is a good word to describe this beat style. It is characterized by forceful and vertical gestures and is used to evoke a heavy accented effect. Marcato is not necessarily characterized by shorter in note values (like staccato), but is a heavily accented style. (Dr. Hugo doesn’t like to stop the hand very much, because stopping the hand stops the breath, which isn’t good! So his patterns look a little more continuous). [Diction implications: The vowels are strongly projected from the abdominal/intercostal muscles. The trick is not to allow the consonants to _____________________________against the mouth parts (tongue and soft palate [e.g: g, k, qu, ks] , tongue and hard palate [e.g.: t, d, rrr, s, z, dz, j, ch], tongue and teeth [e.g: th sounds], lips and teeth [e.g.: f, and v], lips alone [b, p] and combinations of these sounds) the breath must always be allowed to flow freely through the vocal tract.

The Role of the Left Hand ion Choral Conducting

The left hand should not habitually mirror the movements of the right hand unless there is a specific reason for doing so.

The left hand is used primarily for cuing, showing dynamics, and…______________________!

To show a crescendo: start the left hand low and raise it slowly, palm up, with the crescendo. To show a diminuendo: turn the palm of the hand toward ______________________, and

lowering the hand gradually. The left hand can also be used to create ethereal effects if it is permitted to ____________

parallel with the right in renaissance music. The left hand is used to cuing, reinforcing strong _____________________________, and

often to indicate entrances and releases (cut-offs).Cuing:

To reinforce choral entrances (and exits, really)Cuing should not really show when to come in, but ______________________.Cuing can be done with the hands, the eyes, the head, or the lips (but this last

method is rare).

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Lesson 4: How do I start and end a piece?Notes on Garretson pp. 16-23

The preparatory beat, attacks, and releases

The goal of indicating attacks and releases is________________________: you need to help the singers to things at exactly the same time. In order for them to do this, they have to be watching you! Preparation for showing an entrance or attack involve lifting the hand (either hand, but often the right hand) in a “ready? Go!” sort of way: an entrance cue always involves two parts, a “ready?” gesture (the preparation for the entrance) and the “go!” gesture (the moment of the entrance). Gunther Schuller said that “Conducting is the art of__________________.” He meant that every meaningful gesture must happen before the music actually happens. Pointing at the various parts as they enter is not cuing: it means nothing to any one.Hugo’s Note: remember that the direction of the rebound is ________from the following beat!

First we had better talk about the parts of the beat in general.What are the parts of a conductor’s beat?

1. The preparatory beat (an ictus and its rebound)2. The directional swing (the motion toward the beat point or ictus).3. The beat point or ictus.4. The rebound.

Preparatory Beats in DetailHow to start a piece or “prepare” a cue.The most important beat of any piece is the preparatory beat. Each beat pattern has specific gestures that indicate the start of a piece on a given beat. The following principles apply to all preparatory beats at the start of a piece:1. The conductor must have a specific tempo firmly in mind before he/she initiates the first

preparatory gesture.2. The conductor always gives the ___________________ immediately preceding the

“entry” beat. That means that the conductor must give the directional swing, the ictus, and the rebound of the previous beat and the directional swing of the “entry beat.” In practical terms, a beat always begins with the directional swing toward the preparatory ictus.

3. The preparatory beat must be in the tempo, dynamic, and style of____________________.

4. The procedure does not change when fractional pick-up note (e.g., an eighth note in 4/4 time) begins the piece, because the preparatory beat indicates the beginning of the beat of which the fractional pick-up note is a part. The conductor should only ever give one preparatory beat. The preparatory beat helps the conductor give the first beat, not necessarily___________________! [There is some disagreement on this point, as some think this procedure produces two preparatory beats.]

Below are diagrams of how to give preparatory beats on each beat of 2/4, 3/4, and 4/4.Put your finger in the little circle to begin the exercises.

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These drawings may seem confusing, but they show the precise directions and gestures for giving preparatory beats for every beat in the most familiar patterns. You can practice these gestures placing your hand in the pattern where the circle is (the location that marks the beginning of the directional swing preceding the preparatory ictus) and moving your hand in the directions shown. They can be combined to construct all of the basic beat patterns.

Basic Rehearsal WisdomThere are three things that must be learned: ________________, __________________, and _______________________. When teaching, it is always good to rehearse only two of these things at once. The most successful order is: Words and Rhythms, Rhythms and Pitches, then all three together, no matter how hard or easy the piece is. This approach always lays the groundwork for greater future success, and always gives the singers a feeling of accomplishment.

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Lesson 5: Releases

There are several ways to show a release, but several things are common to most releases:1. In choral music, the release is generally prepared a beat in advance, and the prevailing

pattern is suspended for a beat (in a way): the release must look ___________________________the normal beat.

2. Phrase-ending releases followed by silence, or that end on a _____________________ consonant are usually done in a counter-clockwise motion that says “Ready? stop.”

3. When the last sound is a continuing consonant, the cutoff gesture can curl and then be released by showing a subdivision (this contradicts a forthcoming caveat against this kind of subdivision, but in a detailed interperation, a release may come on a smaller division of the beat, and this can be shown by using subdivision).

4. When the chorus is holding a note, any sudden motion will often cause the chorus to__________________________!

Exercises for developing clear and decisive “final” cut-offs in 2/4, 3/4 , and 4/4.

(“Cut-offs” are also called “releases” in many texts, but the word “cut” is used because it has only one syllable and is more rhythmically practical that the word “release”in the exercises shown below.)While conducting the familiar patterns, speak the following texts and execute the cut-offs. Each exercise consists of a “free measure” and a “cut-off measure”These are final and not continuing cut-offs, so it is important to stop all motion when the word “cut” is said. Use the diagrams at the right to help you execute the cut-off correctly.Practice this exercise with and without the baton.Advice: when cutting off with the right hand, circle counter-clockwise, turning the palm of the hand slightly to the right.

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Release Exercises

Cutting off on Beat 2 in 2/4 timeConduct: (2) |1 2 |prepare cutSay: prepare |one two |prepare cut

Cutting off on Beat 1 in 2/4 timeConduct: (2) |1 2 |1 prepare |cutSay: prepare |one two |one prepare |cut

Cutting off on Beat 3 in 3/4 timeConduct: (3) |1 2 3 |1 prepare cutSay: prepare |one two three |one prepare cut

Cutting off on Beat 2 in 3/4 timeConduct: (3) |1 2 3 |prepare cutSay: prepare |one two three |prepare cut

Cutting off on Beat 1 in 3/4 timeConduct: (3) |1 2 3 |1 2 prepare |cutSay: prepare |one two three |one two prepare |cut

Cutting off on Beat 4 in 4/4 timeConduct:(4) |1 2 3 4 |1 2 prepare cutSay: prepare |one two three four |one two prepare cut

Cutting off on Beat 3 in 4/4 timeConduct:(4) |1 2 3 4 |1 prepare cutSay: prepare |one two three four |one prepare cut

Cutting off on Beat 2 in 4/4 timeConduct:(4) |1 2 3 4 |prepare cutSay: prepare |one two three four |prepare cut

Cutting off on Beat 1 in 4/4 timeConduct:(4) |1 2 3 4 |1 2 3 prepare | cutSay: prepare |one two three four |one two 3 prepare | |cut

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Lesson 6:

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Subdivision

What is Subdivision?Subdivision in conducting is the practice of placing __________on smaller parts (fractions) of the “main” beat, particularly in tempi where notes coinciding with the ictus proceed so slowly that it is difficult for the conductor to regulate the tempo. A rule of thumb is that as the tempo of the ___________________ approaches 48 bpm, the more attractive the idea of subdivision becomes!

When is subdivision used?Subdivision is used in very slow tempi, and it can be used to help control a rallentando or ritardando at the end of a piece or section. Some conductors subdivide by adding an extra (minor) bounce or bounces to the main beats. The ________________ of the subdivided beat moves in the direction opposite the following main beat.

Is there an occasion where subdivision should not be used?Using subdivision to show smaller divisions of the beat to “clarify” rhythms is not usually effective in _____________________________. The rule of thumb is that subdivision should only be used in very slow tempi, or to regulate retards or rallentandos in moderate tempi.

Why not?Using subdivision to dictate the rhythm is____________________, because usually the subdivided beat gesture arrives simultaneously with the singing attack itself; such a subdivide ictus comes too late to be influential in the performance. Subdivision can make the conductor feel very __________________in the making of music, but it can also be ineffectual, meaningless, and confusing if not used appropriately. It is better to give clear icti on the major beats than to subdivide. Some think that subdivision can actually destroy a________________________: the paradox is that while you want the singers to be consciously subdividing every beat into very small units, your beat should rarely show the subdivision.

But I’ve seen you subdivide in this way! Why shouldn’t we do it?Subdivision is usually_______________, even in a moderate 12/8 or slow 4/4, but in order to assist in creating a more “flowing” or sustained legato line by conducting the eighth notes in subdivision. Sometimes at different stages in the rehearsal process (especially when rehearsing a passage at a slower tempo), subdivision can help clarify the_____________, but as soon as possible, the subdivision should disappear from the pattern.

But what about syncopation? Shouldn’t you subdivide for syncopation?It is unnecessary (and indeed unwise) to subdivide to show_________________. It is better for the conductor to stop the beat (eliminate the rebound) right before the syncopation so that the singers can respond to the “stop beat, syncopating around the clear beat. Singers should be trained to realize syncopations around the beat. Remember this principle: “spot subdivision” to indicate the timing of an impending attack is usually comes too late to influence the precision of the attack. Singers have to be trained to subdivide the beat in their______________________________.

Anecdote: I knew a conductor who seemed to show sixteenth note subdivision in everything he conducted. He looked like a little wind-up toy, actually marking with his head, showing the beat in his elbows, and indicating the 16th note subdivision with his forearms and wrists! The toylike impression was only enhanced by his use of a baton. He was a lovely, sincere, and extremely precise man, but people laughed behind his back, even at the concerts. It is ironic that when he taught conducting, he always made us conduct smoothly. It may have been that his vigorous motions were an attempt at inspiriting rhythmic energy in his ensemble, but these motions only proved risibly distracting and largely ineffective.

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Lesson 7 Fermatas

Fermatas come in five basic types: A Fermata can indicate the end of a __________________(as in an extended final beat,

or the end of a da capo aria, where they are not observed the first time through) A Fermata can merely indicate the end of a___________________, as in Bach Chorales A Fermata can indicate a musical “hold” followed by a break of _______________length A Fermata can indicate a musical “hold” followed by a break of _______________length A Fermata can indicate a musical “hold” not followed by a______________________.

The right hand can move somewhat during the fermata if it helps sustain the sound.

The right hand should control ________________and therefore the cutoff should really be given with the right hand, but the left hand can be used for the release of a fermata if it works!

Fermatas can occur on any beat or part of a beat. When they appear over a note or rest, the conductor must know how to ______________ according to the type of effect that is appropriate.

For fermatas appearing at the end of a composition (as in an extended final beat, or the end of a da capo aria), the conductor sustains the rebound until he /she wishes to end the music. This is done be giving a preparatory beat and_____________, generally in an “up-down” or “and-stop” gesture. In most such cases, a _________________is implied.

For fermatas that merely indicate the end of a musical phrase (but not a break in tempo), the conductor merely gives a release on the beat over which the fermata is placed, and __________________________(In choral music, releases given on the beat where the ensemble still has a pitch to sing are interpreted by the singers as a breathing place.)

When the fermata indicates a musical “hold” that is followed by a break of definite length, the conductor sustains the rebound of the beat over which the fermata appears, gives ____________________in the tempo of the following beat (the cutoff is preparation for the next beat), and continues conducting as before.

When the fermata indicates a musical “hold” that is followed by a break of indefinite length, the conductor sustains the rebound of the beat over which the fermata appears, gives a cutoff to stop the sound and holds his or her hand very still during the break. When the conductor wishes to continue, he or she gives a preparatory beat and brings the ensemble back in. (In this case, the cutoff is not preparation for the next beat!)

When the fermata indicates a musical “hold” that is followed by no break, the conductor sustains __________________of the beat over which the fermata appear, stretching the length of the note by refusing to proceed to the next beat. When the conductor wishes to move to the next beat, he or she changes the ________________________ of the beat (giving the directional swing only) so that the hand moves immediately to the next ictus, without any preparation, and in tempo.

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SPEAKING SCRIPT FOR FERMATA PRACTICE(WHERE THE FERMATA RELEASE IS PREPARATION FOR NEXT BEAT)Fermatas that break and continue without an indefinite pause, where the cutoff is the preparation for the next beat.) For all of these exercises, speak the script as you conduct and work out the details. Hints: The cutoffs are generally of the counter-clockwise circle-out-to-the-right variety. Following the cutoff, the hand should be in a position to go to the next beat. For patterns in 2a. hold on beat oneconduct: (prepare)| 1 2 | 1… cut, 2 | 1 2 | 1 prepare | cutsay: (prepare)| one, two | hold cut, two, | one, two | one prepare | cut

b. hold on beat twoconduct: (prepare)| 1 2 | 1 2…. cut| 1 2 | 1 prepare | cutsay: (prepare)| one, two | one hold… cut| one, two | one prepare | cut

For patterns in 3a. hold on beat oneconduct: (prepare)| 1 2 3 | 1… cut, 2 3 | 1 2 prepare | cutsay: (prepare)| one, two, three | hold cut, two, three | one, two, prepare | cut

b. hold on beat twoconduct: (prepare)| 1 2 3 | 1 2…. cut, 3 | 1 2 prepare| cutsay: (prepare)| one, two, three | one hold…cut, three | one, two prepare| cut

c. hold on beat threeconduct: (prepare)| 1 2 3 | 1 2 3… cut | 1 2 prepare| cutsay: (prepare)| one, two, three, | one, two, hold cut | one two prepare| cut

For patterns in 4

a. hold on beat oneconduct: (prepare)| 1 2 3 4 | 1… cut, 2 3 4 | 1 2 3 prepare| cutsay: (prepare)| one, two, three, four | hold cut, two, three, four | one, two, three. prepare| cut

b. hold on beat twoconduct: (prepare)| 1 2 3 4 | 1 2…. cut, 3 4 | 1 2 3 prepare| cutsay: (prepare)| one, two, three, four | one hold cut, three, four | one, two, three prepare| cut

c. hold on beat threeconduct: (prepare)| 1 2 3 4 | 1 2 3… cut 4 | 1 2 3 prepare| cutsay: (prepare)| one, two, three, four | one, two, hold cut, 4 | one, two, three, prepare| cut

d. hold on beat fourconduct: (prepare)| 1 2 3 4 | 1 2 3 4…. cut | 1 2 3 prepare| cut say: (prepare)| one, two, three, four | one, two, three, hold cut | one, two, three, prepare| cut

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SPEAKING SCRIPT FOR FERMATA PRACTICE(WHERE THE FERMATA RELEASE IS NOT PREPARATION FOR NEXT BEAT)Fermatas where the cutoff is followed by an indefinite break. In these exercises, the word “cut” is followed by an indefinite pause. For all of these exercises, speak the script as you conduct.Hints: These cutoffs are generally of the counter-clockwise circle-out-to-the-right variety. At the cutoff, the hand must be immediately still and not move again until the preparation for the next beat is given. It is good general advice that at the stop, the hand be held a little higher, so that the preparation can begin from above without additional motion.

For patterns in 2a. hold on beat oneconduct: (prepare)| 1 2 | 1… cut, prepare 2 | 1 2 | 1 prepare | cutsay: (prepare)| one, two | hold cut, prepare, two, | one, two | one prepare | cut

b. hold on beat twoconduct: (prepare)| 1 2 | 1 2…. cut| prepare 1 2 | 1 prepare | cutsay: (prepare)| one, two | one hold… cut| prepare one, two | one prepare | cut

For patterns in 3a. hold on beat oneconduct: (prepare)| 1 2 3 | 1… cut, prepare 2 3 | 1 2 prepare | cutsay: (prepare)| one, two, three| hold cut, prepare two, three | one, two, prepare | cut

b. hold on beat twoconduct: (prepare)| 1 2 3 | 1 2…. cut, prepare 3 | 1 2 prepare| cutsay: (prepare)| one, two, three | one hold…cut, prepare, three | one, two prepare| cut

c. hold on beat threeconduct: (prepare)| 1 2 3 | 1 2 3… cut prepare | 1 2 prepare| cutsay: (prepare)| one, two, three, | one, two, hold cut prepare | one two prepare| cut

For patterns in 4

a. hold on beat oneconduct: (prepare) |1 2 3 4 | 1… cut, prepare 2 3 4 | 1 2 3 prepare|cutsay: (prepare) | one, two, three, four | hold cut, prepare two, three, four| one, two, three. prepare|cut

b. hold on beat twoconduct: (prepare)| 1 2 3 4 |1 2…. cut, prepare 3 4 | 1 2 3 prepare| cutsay: (prepare)| one, two, three, four | one hold cut, prepare three, four | one, two, three prepare| cut

c. hold on beat threeconduct: (prepare)| 1 2 3 4 | 1 2 3… cut prepare 4 | 1 2 3 prepare| cutsay: (prepare)| one, two, three, four | one, two, hold cut, prepare 4 | one, two, three, prepare| cut

d. hold on beat fourconduct: (prepare)| 1 2 3 4 |1 2 3 4…. cut prepare| 1 2 3 prepare| cut say: (prepare)| one, two, three, four| one, two, three, hold cut prepare| one, two,,three, prepare| cut

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SPEAKING SCRIPT FOR FERMATA PRACTICEFOR FERMATAS WHERE THERE IS NO BREAK FOLLOWING THE FERMATA)Fermatas that stretch a note without breaking the phrase. For all of these exercises, speak the script as you conduct. Stretch the beat on which the fermata occurs, and when it is time to move to the next beat, the conductor changes the direction of the motion toward the next beat. Experiment with different lengths of time. Learn to sustain the note with your hand without running out of space!

For patterns in 2a. hold on beat oneconduct: (prepare)| 1 2 | 1 ……………. 2 | 1 2 | 1 prepare | cutsay: (prepare)| one, two | hold two | one, two | one prepare | cut

b. hold on beat twoconduct: (prepare)| 1 2 | 1 2………… | 1 2 | 1 prepare | cutsay: (prepare)| one, two | one hold | one, two | one prepare | cut

For patterns in 3a. hold on beat oneconduct: (prepare)| 1 2 3 | 1……… 2 3 | 1 2 prepare | cutsay: (prepare)| one, two, three | hold two, three | one, two, prepare | cut

b. hold on beat twoconduct: (prepare)| 1 2 3 | 1 2…… 3 | 1 2 prepare| cutsay: (prepare)| one, two, three | one hold three | one, two prepare| cut

c. hold on beat threeconduct: (prepare)| 1 2 3 | 1 2 3…….. | 1 2 prepare| cutsay: (prepare)| one, two, three, | one, two, hold | one two prepare| cut

For patterns in 4

a. hold on beat oneconduct: (prepare)| 1 2 3 4 | 1….. 2 3 4 | 1 2 3 prepare| cutsay: (prepare)|one, two, three, four | hold two, three,four | one, two, three.prepare| cut

b. hold on beat twoconduct: (prepare)| 1 2 3 4 | 1 2…… 3 4 | 1 2 3 prepare| cutsay: (prepare)| one, two,three four | one hold three, four| one,two,three prepare| cut

c. hold on beat threeconduct: (prepare)| 1 2 3 4 | 1 2 3… 4 | 1 2 3 prepare| cutsay: (prepare)| one,two,three,four | one,two, hold, four | one,two three, prepare| cut

d. hold on beat fourconduct: (prepare)| 1 2 3 4 | 1 2 3 4…… | 1 2 3 prepare| cut say: (prepare)| one,two,three,four | one,two, three, hold | one,two, three, prepare| cut

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Lesson 8: The Five Levels of Conducting (expanded from Royal Stanton in “The Dynamic Choral Conductor”)

The Starting Level: The Very Beginning!When a conductor first approaches a group of singers, he/she may discover that the singers know nothing about choral music. The conductor should evaluate the levels of personal maturity, musical skill, and interest in the group. The major challenges at this level are not musical, but motivational; it is necessary to _____________________________________ among the group members and produce in them an enthusiasm for the projects you have in mind.

The Teaching Level: Words, Pitches, and Rhythms!Every group moves from opening the music for the first time to performing it, preferably from memory. The conductor must ________________________________________against the difficulty of the music and the time allotted to achieve performance objectives. At this stage, the focus of rehearsal should be the establishment of the correct words, pitches, and rhythms. It is not too early at this stage to begin to address general dynamic levels and overall performance style (legato, staccato, and marcato).

The Learned-Note Level: Polishing!Once the correct words, pitches, and rhythms are established, the focus of rehearsal is ensemble __________________in all respects: dynamics (esp. crescendo and diminuendo), refinements of style (legato, staccato, marcato), diction (precise and rhythmic articulation of consonants), blend (vowel unity), tempo (esp. accelerando, rallentando, rubato), and mood (the relationship of the text and musical setting) are all addressed. The challenge at this stage is________________________________________: unless the conductor insists, the singers are usually satisfied with achieving the limited goals of the teaching level.

The Creative LevelOnce the musical values are established, the singers’ creativity must be more deeply engaged. The singers must be led ________________________________________________________ represented by the text and musical setting. This is possible only through the suggestions of the conductor in word and gesture (including facial expressions). At this stage the greatest challenge is patiently and persuasively establishing the delicate _____________________________ __________________________. At this stage, the conductor may need to convince individuals to sublimate noticeable vocal characteristics in the effort to unify the choral sound.

The Artistic LevelWhen the ensemble has attained a consistent level of musical precision and ensemble unity, when the indescribable thing we know as “music” is present at every performance, when the preparation of the singers is so complete that it frees them to concentrate on nothing else aside from the music itself as it flows from them, when there is nothing at all to detract from the unity and beauty of the performance, then the artistic level is _____________________________. It will seem at this level that the music is more than sound, that the sound has been transcended by beauty, goodness, and truth.

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Lesson 9: Score Study and the Conductor’s Preparation

1. Always begin your study of choral music with the text (the words).a. How does this text relate to the other literary content of the program?b. Is the text appropriate to the ensemble, the audience, the performance

situation?c. What is the relationship of the words to the music?

Syllabic, Melismatic, Neumatic?Major, minor, modal?

d. How does the text relate to the form of the music?e. Underline important words and phrases in the text.f. Is the message of the text significant enough to merit a public reading?

2. Play the music at the keyboard (or listen to a recording).3. Analyze the music for form, texture, harmony, phrase structure, dynamics, tempo and

style.4. Circle any difficult intervals (if when reading the music, you even hesitate, circle the error,

because surely your singers will have trouble with it!).5. Circle any rhythmic difficulties.6. Work to understand what the composer was attempting to express in the setting of the

text to music. a. How does the music convey the composer’s feelings about the text?b. What musical mood is he or she trying to create?c. Silent study with conducting is an excellent way to develop and expressive

interpretation.d. From this kind of study, the gestures you use will become more and more “informed.”

7. Sing every part the way you want your choristers to sing them—explore the smallest problems, be very critical of your performance. Much is learned by this method.

8. Purposely choreograph your gestures to reflect your interpretation (translate your discoveries into gestures that convey your interpretation. Practice these gestures in isolation while you sing the music.

Principles to Ponder:

A CONDUCTOR IS NOT PREPARED FOR REHEARSAL UNTIL THE FOLLOWING COMPETENCIES HAVE BEEN ACHIEVED:

1. All the parts can be sung on demand with no mistakes, and with the head mostly out of the score.

2. All parts can be played on the keyboard on demand with no mistakes.3. All parts can be cued to indicate all entrances (both initial and internal) and releases (as

practical and necessary.4. An expressive approach to each phrase can be articulated in speech, singing, and

gesture, and an overall stylistic intention has been determined and can applied to the articulation of the performance. (The conductor can demonstrate through vocalization and gesture what he or she wants the singers to do).

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Lesson 10: DON NEUEN’S IDEAS ON REHEARSINGThe psychology of rehearsal order Begin the rehearsal with__________________________________________! Neuen suggests that the first song in a rehearsal should build__________________, and the

second song should be the ___________________________ you plan to rehearse that day. He also suggests that the rehearsal achieve some ________________________________or

at least with a positive and successful feeling. Keep a _____________________________ rehearsal pace. If they can keep up with you,

you are probably not ___________________________________!

How to work in rehearsal Rehearse only passages that need it, and you don’t always have to start at the beginning of a

piece! Let the neighboring parts help each other in rehearsal. Let the singers sing as many of the notes as they can (no idle singers in the choir!) Neuen suggests that working ___________________________________ section by section

is a good idea. Why?[Breaks up the routine, it can help to link the piece if you overlap a little each time, which build confidence by reinforcing previous success]

Neuen advises that the conductor rehearse whole sections without stopping, as frequent stopping ___________________________the singers who want to make music and sing through! Let them complete musical ideas!

Be careful to practice a difficult passage with the notes that lead into it. Why?[So that there are no break downs on the difficult passage when it is placed into its context].

[Hugo’s strict rule: know what you want to rehearse in isolation, rehearse it thoroughly, sing the whole section without stopping, and move on. It is no good to just let the choir try a passage and then tell them how badly they did it when you stop in the middle! This is deadly! Plan, rehearse, insert the passage into context, move on!]

[Hugo’s other strict rule: Tell the choir you plan to work on a_______________________, or if you are going to sing through without stopping, then________________________________.]

Memorize early while ______________________________________: stressing memorization has many benefits.

Miscellaneous Advice and Ideas Let the choir sing without the ______________________sometimes, all turning to the center

and singing to one another. This is a good idea, because it develops a feeling of sensitivity and teamwork; it’s o.k. for the singers to move the music a little so that they can stay together. It builds their confidence, and it’s fun!]

Tell the _______________________to think ahead of you and to give pitches before you even ask for them.

Always have the accompanist give the starting pitches bottom to top (bass to soprano)! The conductor must be looking up _________ percent of the time. The rehearsal atmosphere should be businesslike and dignified, and positive, cheerful, and

friendly.

Learning a new songTry to let the choir to read the whole selection without unnecessary stops (skip over the mistakes!)It is good to help them practice rhythmic patterns before you help them read it, and if the song is quite difficult in harmony or language, let the singers speak the text in rhythm before attempting the pitches. Sing on _______________________________ Sing __________________________when learning a new song Sing ____________________________ when learning something new or difficult Count-singing as a technique Speak or ___________________________difficult rhythms (in isolation)

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Let the chorus sing one part all together. Benefits? [Confidence, group stays busy, sight reading practice]

Developing a natural choral sound in the choir ala Don NeuenNeuen identifies three elements in this his discussion of natural choral sound: energy, beauty, and placement: all three are necessary!.Energy without beauty or placement can sound like yelling.Beauty without energy and placement can sound dull and lifeless.Placement without energy and beauty can sound weighty and droning.Neuen recommends the following advice:

_____________________vibrato and dynamics for music before 1600Sing in a fuller, freer style for music after _______________________Occasionally eliminate ______________________for special techniques or effects.

Neuen and Hugo rarely talk to their choirs about “blending their voices” because when singer are using healthy vocal technique and uniform vowels, their voices blend as it were, automatically.Choirs that sing in a healthy way sound free, healthy, natural, vibrant, beautiful, musically expressive, and personally communicative.Preventing singers from singing with vibrato (vibrancy) is unwise and unnecessary.Giving the place in the score Give the page “Page 6,” Give the system “Second System,” Give the measure “Third bar,” Give the beat “First beat,” Give the words “ at ‘Leads forth’ ”

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Lesson 11: Teaching Voice in Rehearsal

Finding and encouraging a singer’s best posture for singingThe Angelwing Procedure is meant to reveal to the singers their own best posture for singing, and to tone muscles that help them retain good posture while singing.1. Stand on two feet in a relaxed “bus stop” posture.2. Raise the hands sideways (like wings) high over the head until the backs of the hands

are touching.3. Feel where the ribcage is while the hands are held overhead.4. Bring the hands back down to the side without moving the ribcage5. Observe how high the chest feels for a moment or two.6. Relax7. Repeat three or four times.

Developing good breathing: Abdominal breathing and control with no excess pressure on the larynx.Breath suspension exercise:1. Do the Angelwing Procedure, but as the hands are coming down, allow them to sing into

this position: the left thumb is placed just below the ribs about four inches from the center line of the body, and the fingertips of the right hand on the sternum.

2. Without raising the ribcage, draw air down by pushing the abdominal muscles out against the left hand, to a count of eight.

3. Briefly “suspend” the breath, for a count of two.4. Make a “z” sound, while pushing out against the left hand and not letting the right hand

fall, retaining the abdominal expansion as long as possible.5. Repeat, but without the “z” sound.

Teaching Free PhonationMost “jaw” problems are caused not by the jaw, but by “________________” muscles under the tongue that pull against the jaws to control the pitches produced in the_____________________. Here is how to help the student discover and eliminate this tension over time:1. Place the thumb lightly beneath the jaw under the chin and swallow.2. Notice that the muscles under the jaw contract and release to help you swallow.3. Leaving the thumb in position, hum up and down a half step4. Notice that the same muscles are activated to change the pitch!5. Repeat the hum but try to do it without activating the swallowing muscles6. Using a breathy sound will help the singer accomplish this.7. Increase the interval or raise the pitch levels, and the tension will be more obviousThe solution to this problem is to let more air pass through the larynx while eliminating the interference from the muscles under the tongue. Beginning singers rarely use enough air when singing.

A second area of interference is created by the long muscles at the side of the neck. This tension can be eliminated by telling the singers to turn the head lightly from side to side while vocalizing. The moment the head stops moving (usually when there is not enough breath pressure), extrinsic neck muscles start interfering with__________________. The solution is to let more air pass through the larynx while turning the head. The muscles generally start to interfere as the breath pressure flags in the middle of the phrase, or as the singer approaches the first register break.

The last area of local interference is the muscles of the _________________ (mainly trapezius and pectoral muscles). Often a singer will pull the shoulder toward the larynx in order to “feel” the emotion of the music. Contraction of this musculature restricts the freedom of the larynx. _____________________the shoulders while singing eliminates this tension and frees the larynx to respond more effectively to______________________________.

There are other tensions, but these predominate in inexperienced singers.

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Good Resonance: What is good resonance?

Good resonance is the sound of well-coordinated singing that has no ______________________________________

What are the characteristics of good resonance?It is better to ask how is good resonance achieved. Generally, the throat must be “open”, the palate raised, the tongue in a generally low and forward position, the jaw in a low positions, and the mouth in a vertical oval shape and lips forward away from teeth. Good resonance depends on effective postural, breathing, and phonatory processes.

What about nasality and throatiness?Nasality is undesirable unless it is a component in a vowel or consonant sound. It occurs when the _____________________is left open and air is allowed to pass into the nasal sinuses. It can also happen when the palate is not raised sufficiently high. Although opinions on this topic vary, the tone is generally more pleasing when the nasal cavity is not united with the vocal tract unless it is necessary for the articulation of the text.________________________(a dull sound) is created when the palate is in a low position, the nasal port is closed and the tongue is too close to the back of the throat. All of that soft tissue blocking and reducing the volume of the vocal tract steals _______________________from the tone generated in the vocal folds.

How can a good resonance be achieved?Garretson said that there were two principal components of good resonance: high forward resonance and a_____________________. This idea helps the singer understand that the pharynx should feel open during phonation, and that the tone should be aimed at the back of the top front teeth.

This approach produces a tone that is full sounding and yet has some “point” or intensity. It is Hugo’s experience that this approach is successful, especially when applied to vocalises. Vowels for developing a deep set vowel include “aw” and “oh.” Vowels that help in producing high forward resonance are “ee” and “ay.” Consult Garretson for a full exposition of this topic.

VibratoTo obtain very good _______________- ______________, two things must be borne in mind (1) the vibrato of the trained voice must be minimized, and the volume diminished, and (2) the general dynamic level of singing by individuals in a chorus is lower than that used by trained solo singers. Unless this is done, both blend and intonation can be adversely affected. Still, with these restrictions, there is no reason why choral singers cannot sing with a very vital and healthy vocal technique.

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Lesson 12: Rehearsal Techniques to Develop Choral Tone

Tone must be addressed and cultivated constantly, but the warm up is the chief time in rehearsal for building choral tone. There is no single successful way to develop choral tone, but exercises should be chosen that help the singer become increasingly aware of their need to modify their singing so that a unity of tone is achieved. This must nearly always be done indirectly, with everyone contributing to the success of the group’s effort to produce a beautiful sound together.

Factors in Choral ToneA chorus is defined by its__________________; if the tone is not beautiful or attractive, the performance will always be the poorer, no matter how well the chorus does in other areas.Choral tone is the product of combined individual vocal techniques. The more similar the sound production method, the more unified the sound.Principle: The larger the choir, the more _______________________ it sounds, but individual voices can still stand out!

Choral actions leading to unified choral tone: Perfectly matched ___________________________at all times (this means eliminating

regional differences). Careful attention to intonation at all times, both vertically and horizontally. Reduced amplitude of individual___________________________. Very similar ________________________ from each singer in a section.

Helpful Rehearsal Tips:A conductor is ready for the first rehearsal when he or she: Can ______ every ______________________on demand with no mistakes Can _____________________ every voice part separately on the keyboard with no mistakes Can __________________all parts as necessary according to their entrances and releases. Can _____________an expressive approach to each phrase of music in both singing and

gesture. Can ______________________through speech and gesture precisely what he or she wants

the singers to do.

Each rehearsal needs a plan. The rehearsal plan should always account for the choir’s level of progress toward a specific performance goal. Rehearse in small complete sections (phrases). Solve difficult musical problems in isolation before you rehearse the small section. If a problem is not completely solved, move on anyway and attack the problem again next

time. Patiently allow for steady improvement instead of demanding instantaneous perfection.

Excellence takes________________!1. A _________________is easier for a choir to execute than a________________.2. Choirs tend to go ____________________ in diminuendos.3. Choirs tend to ____________________________ in diminuendos.4. Choirs must be trained to diminuendo __________________ (they always fade

too suddenly).

Use counting on crescendo/diminuendo exercises that shows the singers that the grading of intensity in dynamic change can be evenly controlled.

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Lesson 13: Rehearsing for Good IntonationExercises that encourage Good intonation: Singing half steps in tune1. On a hum or on an [u] vowel, have the chorus sing in octave on fs above and below

middle c.Cueing each change, tell the singers to sing up a half step, and then back down.Cueing each change tell the singer to slide slowly up to a half step over four counts (they start to move one and reach the half-step on 4. Then start down (they move on the first count and end on the fourth count.Increase the count to eight (Shaw used to go 16 counts!)

2. Hugo’s half steps chromatic cruncher.Do the exercise below very slowly, telling the singers to make short descending half steps and wider ascending half steps. Reverse the exercise. You will quickly discover why this is a challenging exercise that really helps the singers focus on intonation. The penultimate chord is very interesting.

3. Weird ChordsIn weird chords, spell out the pitches at the keyboard and then have the students move the chord up or down by different intervals of increasing difficulty.

A variation of Weird Chords is starting with any of these chords and moving one voice at a time to alter the chord in very dissonant ways; this helps the other parts learn to defend their tone against the other parts.

Developing Rhythmic EnsembleErratic conducting: The conductor tells the chorus to count 1+2+3+4+ as you conduct a four pattern (you can combine this with Weird Chords or any chords you like, or just speech). Start conducting in a regular way, and then do anything you like and make them follow you. This technique can be used with repertoire, especially when the chorus is “bored.”Things to try:

Conduct erratically, speeding up and slowing down, changing the tempo suddenly.

Reduce and increase the size of the pattern to indicate dynamics Change your conducting style (staccato, marcato, legato) Use fermatas, stretch beats, give cut-offs Subdivide and merge (see if they will automatically drop the “+’s” when

you do).

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The Good Choral Warm-up (but not everything every time)!The warm up should therefore address every aspect of technique in a somewhat routine way.Posture: Some _________________ stretching is useful, followed by the angelwing procedure.Breathing: Exercises that help the singer bring the breath under conscious control by mental counting and “suspension” of the breath with a free feeling in the throatPhonation: Exercises that ease the larynx gently into activity that is different from speechResonance: Exercises that help expand the feeling of _________________in the vocal tract (space in the whole pharynx and oral cavity).Articulation: Exercises that help the organs of articulation resonate the voiced consonants and propel the unvoiced consonants without interfering with laryngeal airflow.A vocal warm up should be as much _____________as it is _____________________.A sample warm up (this is a long and thorough warm up that takes longer than 10 minutes) Address the students in a positive and friendly way, and ______________________at the

individuals before you Reach the hands high in the air, palms forward and sway gently from side to side like a grove

of trees in a light breeze. Tell the students to hum in imitation of the_______________________ as they do this, in

long breathy sirens. Tell them to notice where they feel the breath in their ribs and abdomen Change the vowel to an “oo” sound, being sure that the dynamic is very soft and that the

notes are in the ______________________________ of the voice. Follow with a brief ____________________ ________________(plus opportunity for

“revenge”) When the massage is done, do the angelwing procedure 3 times. Do the angelwing 3 times combined with the suspended breath procedure, pointing out that

there should be no feeling of pressure in the larynx. On the word “ja” sing slow gentle 5 note descending scales, starting in the middle and

descending to about G, and then ascending to about F two octaves away. On the vina pattern, alternate “eh” and “aw”, matching the feeling of resonance for each The Miller “ay” “ah” aw exercise is very good here for building dynamic power in good tone. Slow bih beh bah, baw, boo patterns on varying consonants (performed on a tuning chord) is

a good way to end the warm up.

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Vocal Skills: Cascade exercise

The descending NU OH AH EH EE Exercise

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Lesson 14: Choral Diction

Hugo’ General Observations on Vowel Treatment

Vowels

Spoken English vowels are far less ___________________________than they need to be, so singers must be taught to open their mouths and throats more than they are used to. Always differentiate between speech vowels and singing vowels. The best time to train singers about singing vowels is during the_____________________, where you can work on vowels in isolation. The step that most conductors forget is transferring the work of the ___________________________ into the language used in actual pieces.

Principle: A chorus sounds infinitely better when all the vowels are formed the same way by every singer: this is where ______________________ really comes from.Principle: Speech vowels are not used in singing; they are too small to carry enough tone. They are often too nasal as well!Principle: Singers need to know how to _______________ their vowels so that they sound well in different registers of their voices and can sing with freedom through an acceptable vowel shape.Principle: When there is more than one vowel in a syllable, the first vowel often begins to form______________________, thus “back-contaminating” the purity of the first vowel. Principle: Singing is a “______________________”vowels should “break on the beat,” that is, the consonant must occur before the beat when it precedes a. vowel.

These true vowels are the only sounds that “_______________”tone for singing (speech vowels are too neutral and undifferentiated).The first vowel sounds in the following words are the best vehicles for______________________.(This list is not exhaustive or very detailed, but in choral work, often simplifying this matter without distorting the sounds is a reliable path toward vowel unity and blended choral tone.)

[ α ] bard Italian “ah”[ ε ] bed Open “e”[ e ] bade Closed “e”[ i ] bead Closed “i”[ I ] bid Open “I”[ o ] bode Closed “o”[ כ ] bought Open “o”[ u ] booed Closed “u”[ U ] bush Open “u”[ З ] bird[ æ ] bad

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Rudimentary Principles of Vowel Modification

In the middle of the voice (below the first passaggio or “break”) most people can use a vowel formation that is more or less consistent with the vowel sounds of the word being sung. However, in general, as the singer approaches the__________________, singers are often trained to modify the vowel sound so that the pitch produced in the larynx “tunes” better with the resonant spaces of the oral and pharyngeal cavities. If we assume that there are ______________ basic vowel families, the modifications are fairly straightforward.

As the pitch rises through the singer’s first “register break” (primo passagio),”

“ah” as in “body” modifies toward “uh” as in “the” [α] [^]“ay” as in “bade” modifies toward “eh” as in “bed” [ e ] [ε]“ee” as in “bead” modifies toward “ih” as in “bid” [ i ] [I]“oh” as in “boat” modifies toward “aw” as in “bought” [ o ] [כ]“oo” as in “boot” modifies toward “” as in “put” [ u ] [U]

Making these modifications can enable a singer to sing with greater laryngeal freedom in the ______________________and in the higher ranges.

Not making these modifications will probably lead to vocal strain in the upper ranges, especially in sopranos and tenors.

Often conductors say that the singers should sing with a _______________ jaw position for higher notes, but it is far better (and achieves better results) to tell the singers to use slightly more open vowels and to modify their vowels when they encounter higher pitches.

The singers should understand that they do have to get their teeth apart to sing well, however.

Singers should not be encouraged to keep ______________________apart for some vowels (like “ee” and “oo”).

CAVEAT: It is possible to do to too much __________________ too soon! It is also possible to carry all of this to unreasonable extremes. Whatever the modification, the sung vowel should _______________________ the vowels used by the other singers in the choir.

Hint: Encouraging the singers to sing with their lips __________________________________, having the lips just off the teeth will make all their singing easier (again, like any technique, this one can be pushed to extremes).

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Choral DictionDonald Neuen’s Advice on Consonants

1. M, N, TH, and L and R sounds often need _____________________ than other consonants to be heard.

2. Never ______________________ the last consonant or vowel of one word into the beginning of the next word.

(Hugo says: This is good general advice, but there are many cases were this rule does not apply.)

3. ___________________________________ (especially “d”) are rarely given enough energy: a shadow vowel must be added to it if it is to be perceived as a consonant sound (buh, duh, guh, adage(uh), but not for “l, m, n, r,” vuh, or zuh)

4. Voiced _________and ________________ always need added energy to be heard.5. W and WH are different sounds and must sound different.6. In diphthongs, prolong the first vowel as long as possible.

Voiced Consonants b[ b ]

d [ d ]

v [ v ]

g [g]

dg[dz]

[m] [n] z[z]

Unvoiced Consonants p[ p ]

t [ t ]

f [ f ]

k [k]

ch [t∫]

s[s]

Other VoicedConsonants

ng [ŋ ]

nk [ŋk]

qu [kw]

th [ð] [r] [l]

Other Unvoiced Consonants

[ h ] th [Ө]

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Choral Diction Technique and Performance Style: Some Practical Guidelines

Choral music is predominantly ____________________ in performance style. To achieve legato singing, the rule of thumb is to tell the singers to sing on vowels until the very last second, moving the __________________________- as far as possible “to the right.”

There are many exceptions to this rule, but one rule that cannot be violated is that the articulation of consonants must never impede airflow in the larynx. Consonants must always ___________________________ the tone.Singers need to sing mainly on vowels, not on consonants.

Singers should never________________________________, but should make vowel and consonant sounds that __________________ the audience into thinking that words are being sung! The audience has a right to expect the chorus to enunciate so clearly that every word is easily comprehensible, as well as conveyed with appropriate feeling.

Singers should be trained to retain an open “singing” feeling in the vocal tract when taking breath, that is, singers should ______________________ through a large vowel shape, preferably the one they were just singing.

As the vowel and consonant sounds are connected to create the legato style, one should be vigilant about possible____________________________________.

Singing in staccato style can be tricky, because words are often broken into syllables, and the conductor must tell the singers how to ______________________ each consonant uniformly. This matter is particularly problematic when a consonant ends a syllable. The dictionary should be consulted to see where the actual consonant breaks should be (the syllablic divisions are not always correctly indicated in some editions). Intelligibility and naturalness are paramount, and unanimity of _____________________________ is essential. In other words, try to discover the right way to articulate the text, find the most natural and accurate solution, and reinforce it from the first rehearsal: don’t leave such things to chance.

An example: Should a staccato “tricky” be divided “tri/cky” or “trick/y” (I think it would normally be divided “tri/cky”). Mer/cy, not Merc/y, Sanc/tus, not San/cuts, Bo/nus, not bon/us, Mis/ter, not Mi/ster. In ____________________________ contexts, where every note is accented, the same considerations regarding syllable division are necessary; the conductor must make these decisions in advance.Example:Diesen Kuss der ganzen Welt is best divided “Die- / sen / Kuss / der / gan- / zen / Welt”(from Beethoven’s 9th Symphony)

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Lesson 15: Organization: Auditioning Singers—Quickly!

When singers arrive for their “big audition,” you may not have very much time, but you need to be thorough. You must evaluate each singer quickly, yet thoroughly and respectfully, especially in school situations.

Here is a fast and fairly reliable method (the method assumes that you know how many singers you are going to hear and how many you need to take to fill your ensemble):

Have the _____________________________fill out an information form that tells you practically everything you want to know about them (Name, Address, Phone, Grade in school, how many years of choral experience, other interests, possible rehearsal and performance conflicts, what voice part they normally sing).

Place an ____________________________ outside the audition room to help people fill out the information form.

Have the assistant send the auditioner, form in hand, to see you in the audition room. Look the auditioner in the eye to learn about their intelligence and

________________________________, shake their hand and greet them warmly. Listen to the quality of their ________________________ as they respond to your questions

about the information on the form. Move quickly to the audition by playing a ________________________________________

on the piano. Say “This will only take a minute,” and immediately take the singer down to their lowest note:

If man cannot reach the low_____, he is not a baritone, and therefore a tenor (in choir!).If a woman cannot sing lower than_____, she is not an alto, and therefore a soprano.

After ascertaining the low note, play an ascending-descending pattern on _____ and move up from there in a repeating pattern:

If man starts to strain immediately, he is a baritone: if not, he is a tenor.If a woman starts to strain immediately, she is an alto; if not, take the voice a little higher until there is a little strain. If this strain begins around G, she is probably a second soprano. If she sings easily in that range, she is probably a first soprano.

If your analysis agrees with the card, say so. If not, ask the singer if it would be all right to assign them to another part.

Give the singer a copy of a ____________________________ and play chords with them as they try to sing the example: rate the singer as poor, good, or excellent. One can generally tell if a singer has a clue about reading immediately!

Make quick notes on the form, ______________________________ the whole audition, using words like: “no,” “yes,” “take if you can” (you will not remember all you want to, so it is better to make a more or less final judgment immediately).

Stand and shake the singer’s hand warmly, and tell them when you plan to post the results of the audition, and escort them to the door, where the next auditioner should be waiting.

On the surface, this procedure might not seem very accurate, but it is surprisingly accurate. Obviously, the singers will improve with training, especially the tenors. _____________________ counts for a lot, so take advantage of it. A beautiful voice and a good sight-reader in one person is great! You want beautiful voices in your choir, but never shun a good sightreader with an average voice! The women are generally better musicians than the men, but the men can be trained!Take as many men as you dare, because you choir must be balanced! In other words, you may have to be more selective about the women’s voices, so that the balance never exceeds about 60 women to 30 men.Much beyond that, it becomes noticeable that the choir has built-in _______________________.

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Lesson 16: Choral Seating and Standing Arrangements for Larger Ensembles

Important Principles: Micro1. Place __________________singers toward the back.2. Place __________________voices next to __________________voices.3. Place __________________voices next to __________________ones.4. Place __________________musicians next to _______________ones.5. If possible, put _______________between the singers so that they may

be___________________.

Important Principles: Macro1. Placing sopranos near (in front of) _____________________helps intonation in general.2. Place tenors near (behind) the ______ so they can more easily make tuning adjustments.3. Place numerically small sections toward the ___________ and toward the____________.4, When there are more women than men, place the men___________________________.

Chorus and OrchestraWhen performing with orchestra, place the chorus S-A-T-B in sections behind the orchestra, with the sopranos behind violins, the altos behind the woodwinds, the tenors behind the violas, and the basses behind the cellos and contrabassi. Beware of placing the chorus too far back on the stage. Whenever possible, the chorus should stand on risers high enough to ensure that the singers can see over the orchestra and its equipment!

S1 S2 A1 A2 T1 T2 B1 B2

A Cappella ConcertsFor a cappella concerts, the best theoretical arrangement is to have the men in the back rows and the women in the front rows, basses behind sopranos and tenors behind altos.

B2 B1 T2 T1S1 S2 A1 A2

Special Seating for Double ChoirsAlthough there are several possibilities, the standard way of dividing a choir for chori spezzati works is

T B B TA S S A

Scrambled SeatingIn scrambled seating, the singers are distributed so that no one sits next to a person singing he same voice part. The arrangement shown below is strictly theoretical and an infinite number of variations is possible. Preserving “quartets” is a good goal.

t a b s t a b S t a b s t a b sa b s t a b s T a b s t a b s tb s t a b s t a b s t a b s t as t a b s t a b s t a b s t a b

It is highly unlikely that in a group of 64 singers that you will have 16 singers on each part (the tenors would be far too numerous), but you can see the principle involved in this type of plan.Scrambling is possible in many situations, and it will often produce a very blended sound from a medium to large chorus: it is most useful for _____________________music. _______________ can help diffuse the power of an over-populated section (too many sopranos). It can also produce an immediately better ____________________ not easily obtained as when the singers are divided into sections.

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HUGO’S BASIC PRINCIPLES: HOW MANY PEOPLE SHOULD I HAVE IN EACH SECTION? Try to determine the size of a mixed chorus based on the number of ________ available. Always recruit tenors like crazy. The number of women in the choir should not be more than ____________________ the

number of men in the choir. Seeking even numbers of men and women in a large mixed choir is not practical, unless

you arbitrarily control the number of women based on the number of available men. ________________-are more important in a choir than tenors, but you cannot do without

tenors. Try to have at least ____________________ as many basses as tenors. The best ratio of sopranos to altos is about _____________ but no higher. The ratios hold fairly well, although the problem is that it is easier to recruit women than it

is to recruit men: you have to choose among preserving the ratios and turning away women, splitting the ensemble to have a mixed and a women’s choir, or having some women sing tenor.

It is possible to perform with ______________ than the ideal number of men, because you can ask singers to double parts not their own to fill the gaps in the sound.

The more singers you have, the more _____________________they can sound (around the average tone of the singers in the group).

Workable Numerical Balances in Mixed Choral Groups, given a minimum number of men, to reduce the potential for treble dominance

Total Number of Singers in a Chorus

Soprano I + II AltoI + II

Tenor I + II

Bass I + II

12 3 3 3 316 4+2 3 3 420 4+2 2+2 2+2 3+324 4+3 3+3 2+2 3+430 6+4 3+3 3+3 4+440 8+6 4+4 3+3 6+650 10+7 6+7 3+3 6+760 12+8 7+9 4+4 8+875 14+10 8+10 6+6 10+12

100 20+14 10+10 8+7 14+17120 24+16 12+14 8+8 16+20150 32+18 14+18 12+12 18+26200 35+25 24+26 15+15 25+35

St. Olaf 58 18 (11+7) 15 (7+8) 11 (5+6)

14 (5+9)

St. Olaf 46 14 (8+6) 12 (5+7) 8 (4+4) 12 (4+8)Westminster Choir 40 10 (5+5) 11 (5+6) 8 (4+4) 11 (5+6)

Robert Shaw 30 8 (4+4) 7 (3+4) 7 (4+3) 8 (4+4)Roger Wagner 24 6 6 6 6Norman Luboff 30 14 women 16 Men

Fred Waring 22 4 (SI) 4 (3SII+1AI) 3+3 3+2+3LU Concert Choir F2006

6122 (14+8) 15 (7+8) 14

(7+7)14 (8+6)

There can be nonmusical limitations that may be taken into account:How big is the_____________________, or how much space is there on the risers?How many ________________________are going to be available?How many seats are the on the tour bus (48)?How many singers does the piece require?

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Lesson 17: Organizing Everything for a Major Concert!

If you have 10 weeks to prepare a concert program, this is what has to be done by when! There are more things, and you have to make a note on this plan when you have to add something for next time! Surprising, isn’t it?

What has to be done Deadline t- Keep revising the rehearsal plan Weekly/dailyPlan a budget for the next three years to ensure that you will be able to argue strongly for what you need

Continuous

Monitor attendance carefully (get help in taking attendance, ask where people are)

Continuous

Keep a supply of AA batteries on hand (for mikes) ContinuousReview attendance ContinuousMotivate students to invite their friends and family to the concert ContinuousDevelop a requisition that your school or church will approve for the purchase of new music

15 weeks

Announce auditions for the chorus, widely 15 weeksSchedule Choral Auditions 15 weeksAnnounce Choral Auditions 15 weeks Post choral auditions announcement on the choral bulletin board 15 weeksCount the old music and reorder 14 weeksOrder the music from the best discount jobber 14 weeksSecure the service of a good piano accompanist 14 weeksCreate a leadership team within the group to help you accomplish the many details that need accomplishing

12weeks

Refine the long range rehearsal plan 12 weeksPrepare a policy statement about attendance and conditions of membership. 12 weeksSecure sectional rooms for sectional rehearsals 12 weeksSecure professional recordings of each piece of music if possible. 12 weeksCheck on number of Choral audition forms 12 weeksPrint up choral audition appointment sign up sheets 12 weeksEdit the concert flyer mailing list. 12 weeksStamp new music with the organizational seal 11 weeksNumber and catalog the new music 11 weeksDevelop a plan of rehearsal so that the music is evenly rehearsed 11 weeksOrder a large box of pencils 11 weeksPut at least two pencils in every folder 11 weeksAssemble music packets 11 weeksPurchase manila folders (more than you need) 11 weeksBegin composing Concert Program in a word-processed document 10 weeksReserve the room for the concert 10 weeksHave the singers measured for concert attire 10 weeksDistribute the music packets 10 weeksInform the singers of the concert date 10 weeksMake a list of folder numbers for the chorus, so that you can identify “missing” music.

10 weeks

Inventory choir folders and order new ones if needed 10 weeksAuditions singers 10 weeksInform singers of their acceptance 10 weeksAssemble a correct list of all singers with their voice parts 10 weeksOrder the concert attire 9 weeksCollect the money for concert attire 9 weeksDevelop standing/seating plans for the singers depending on the music 9 weeks

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Create an attendance book using the seating plan 9 weeksHold elections for President (M/F), Social Chair, Secretary, and Treasurer, Librarian, Attendance Coordinator

9 weeks

Produce a concert poster, get it to the printer! Arrange to pick it up! 8 weeksArrange transportation for the singers for the concert site. 8 weeksHire a person to make a quality recording, and purchase what is needed to accomplish a good recording.

8 weeks

Announce solo audition time and requirements 8 weeksAudition soloists 7 weeksArrange to have the concert poster widely distributed by the singers 6 weeksSend out Public Service Announcement (PSA) to radio and television stations. 6 weeksInform the calendar section of the local newspaper about the concert information. 6 weeksSet up a post concert reception—food, drink, cups, plates, utensils, workers 6 weeksFind a place for a post concert reception 6 weeksFinalize Concert program and strategize about printing options 6 weeksRequisition money for instrumentalists 6 weeksOrder a piano tuning 5 weeksAgree with piano tuner on best time to tune and schedule that time with the hall management

4 weeks

Identify alternate piano tuner in case of emergency. 4 weeksOrder recording media (tapes, cd’s) for concert 4 weeksCollect money for recordings 4 weeksPass out flyers in rehearsal for people to post around town; use facebook and emails to help singers invite people to the concert

4 weeks

Send a special letter to your administrators and special guests inviting them to the concert

4 weeks

Get your own concert attire to the cleaners 3 weeksIf possible, have your local church announce the activity in the bulletin 3 weeksReconfirm on the piano tuner availability and cost 3 weekOrder a check to pay the piano tuner 3 weeksTake the program to the printer (or have it printed) 2 weeksGet ushers (4) for the performance 2 weeksArrange for risers and podium to be delivered and set up for the dress rehearsal at the concert site

2 weeks

Arrange for the risers and podium to be taken down and returned to storage following the concert

2 weeks

Secure enough music stands for the concert and have them delivered to the concert hall

2 weeks

Arrange to have the music stands returned from the concert site after the performance

2 weeks

Write thank you notes to everyone who is helping in the concert effort 1 weekPick up concert attire from cleaners 1 weekCheck on the Piano Tuner 1 weekRemind administrators to attend the concert (note, not e-mail) 1 weekSpend time rehearsing, not worrying about details. daysHave a final preconcert meeting with assisting personnel so that you don’t have to worry that something was left undone

days

Collect the music right after the concert and assign someone to take it back to the rehearsal room by the next day

Concert day

Sort and put away the used music 1 day afterSend thank you notes, send nice e-mail to the singers and everyone who helped 1 day afterCheck to see that everything has been replaced 1 day after

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Lesson 18: Budget Planning

Working with a Budget

A choral director has to plan a ____________ for each year’s activity. You will have to work with your sponsoring organizations budget administrator to get what you need. You will succeed or fail based on getting the __________________________you need!

A budget is a plan for spending, as well as a plan for bringing in revenue. The spending figures represent the maximum amount an ___________________________will agree to spend on the items listed in the budget. You should create such a budget proposal for the entire year so that you can know what financial needs you will have.

FundraisingHow can you raise money for your activities?

You can________________________, but there are legalities that must be looked into (royalties and taxes mainly).

You can ________________________________, but there are legalities that must be looked into (licenses and permissions, and taxes mainly).

How else can you raise the money? Let your budget administrator help you by allocating funds from the general budget for your activities (if you don’t ask for funding, the budget administrator will reallocate the money for other purposes). This can only happen if you submit a yearly budget request or if you have a standing budget allocation every year (hopefully you will be able to get a little more money every year as your program grows).

Choral membership dues (usually not more that $25.00 or so annually to help defray expenses like music and folders) can be a means of fundraising. ____________________________(usually formed of interested business people and parents) can be of great help in fundraising.

Sometimes for an advertisement or mention in the concert program, a business or individual might be convinced to contribute in support of the choir’s activities. More often than not, a civic organization or church will provide services or some funding in support of concert activities.

Choral fundraisers are also possible, in the form of candy sales, bake sales, carwashes, and other creative methods, but it is difficult without a sponsor to finance a concert, even if the participants contribute financially to the project. Counting on ticket sales can also be____________________: if this approach is taken, one must be careful to look into the legal side of performing protected works in public.

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An annual budget might look something like thisANNUAL CHORAL BUDGET

Quantity Item Approximate Cost 8 Batteries for microphones $10.0030 X 50 New music (the number of singers X the number of

pieces X the cost of each piece) You will not need to order all new music, but you will draw on the music you already have in the library.

$2100 (shipping, handling, and taxes mean that you should inflate this figure to $2400)

1620 Printing of programs (the two times the number of singers plus the number of seats in the hall plus 25 X the number of surfaces you plan to print X six cents)

400.00

20 New folders to replace worn and lost ones at about $10.00 a piece.

$200.00 (this figure would include shipping and handling)

4 Concert services of a good piano accompanist (10 weeks, $100 per rehearsal)

$4,000.00

4 Services of a professional recording engineer with his own equipment

$1,200.00

1 Printing and photocopying expenses (other than poster and program printing, including printer paper and ink cartridges)

$240.00

100 Pencils $30.00100 Manila Folders $12.001000 Custom Concert Poster $500.002-3 Reception expenses $750.001 Transportation for the singers for the concert site. $3000 (and this is for a

short distance!)Fees for soloists and instrumentalists (number of players X number of services X the amount you can hire them for.) [four soloists at $400 each, 5 strings, 6 winds, percussion, two trumpets, three services, at $65.00 per service = $3930.00

$4500

Miscellaneous Office Supplies (per concert) $200.00Mailing Costs (per concert) [mailing list times .37] $600.00Website Expenses $200.00Professional Piano tunings $600.00Recording media (tapes and blank cd’s) $100.00

Grand total: $18,642It might be noted that if 400 people bought a $50 season ticket, $20,000 (before taxes and royalties) could be raised. As this is unlikely, it is better to tell the administrator that ticket sales will only offset _______________- of the expenses. It might also be good to convince the administrator that while ticket sales can augment the budget, _______________________ will keep people away from the concert. As the director’s goals should always be to pack the house, a reasonable ticket price is essential, with appropriate discounts for the young and the elderly. If the concert is free, your sponsoring organization or some other source of funding will have to foot the bill, This annual budget is realistic for an established independent choral program, but if one is creative, even this amount can be reduced. It should be noted that the ______________________________ is not accounted for here, and should be somehow included in the budget. Depending on the vigor of the program, a conductor in this situation should expect not less than $1,500 per concert, but not more than $3,000. As you can see, musical activities can be expensive, but the performance will never be worth the time and expense unless a good director is found and compensated.

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Your administrator, to be a good__________________, will ask you about the items in the budget, and you will need to justify each one with a good argument (he/she probably knows very little about what it takes to sustain a_____________________, but you do, so it is your job to educate him/her). Be ready to tell him/her the truth about every item. Be ________________________________________ and rational at the same time. If you are asked to help trim the budget, state that you have not padded any expense, but that you have rounded some figures up a little because prices can change unexpectedly, and there might be unanticipated expenses associated with some purchases. Tell him/her that you expect to ______________________________________________________ if there are no unforeseen irregularities. If the budget is cut below what you think is reasonable, you should tell your administrator that you will have to cut back on your plans and present a less impressive musical program to the public, and that you hope that your program can be better funded in the next year. Ask if there is anything you can do to help ensure that this will happen. Also, offer to _____________________________ in a variety of ways to supplement the budget if you need to.

One thing to be careful about: If you raise your own money in addition to what your sponsor provides, the budget administrator will see that he can ______________________ your funding by that amount in the coming budget year, and reallocate the money formerly allotted to you for other purposes. Get an agreement in advance that any money your raise for your program will be used for special activities or ________________________________________in support of your program, above what is normally provided for in the budget. Without such an agreement, you could lose out after expending so much effort to raise extra funds for your program.

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Lesson 19: Programming: Selecting Music: Common Sense

Program _________________Choose music that fits the ___________________________ of the singers

but don’t discourage the singers by your choicesChoose music in a ______________________________Choose music in a ______________________________Be mindful of ___________________________________between the pieces to that the program flow is not interrupted by an awkward change of keyChoose music according to a ________________________________ if possibleKnow what your ______________________ is and stay within it!Stay within your _____________________ for performanceCarefully consider the amount of ________________________ available for the program

Programming: Unity and VarietyMost successful programs are planned as a progression of musical moods that build slowly to a climax and then relax.

A chart that gives several successful program scenariaChristmas Around the World

Concert – Sacred Patriotic Concert

Medieval Chant for Christmas Renaissance motet: Incarnation

The Star-Spangled Banner

Early English Carol Major Baroque motet: Crucifixion My country ‘tis of theeEarly English Minor, fast Romantic: Resurrection Billings “Chester”American Carol Major Renaissance: Ascension Battle Hymn of the RepublicSpanish Carol Romantic Motet When Johnny comes

marching…German Carol Romantic Motet Patriotic Medley, armed

forcesCaribbean Carol 20th Century Anthem I’m a Yankee Doodle DandyNegro Spiritual-Carol 20th Century Anthem Patriotic Medley, non militaryTraditional Christmas Favorite Brilliant Hymn Arrangement God Bless the USATraditional Christmas Favorite Rhythmic Spiritual America the BeautifulAudience Carol Sing- Joy to the world and Silent Night

Benedictory Piece God Bless America

In the Christmas program pattern, a historical framework is suggested. Using a variety of musical styles about the general theme of Christmas-around-the-world theme can result in a unified and varied program.

The Sacred Concert Program is for more ____________________ groups. It relies on the historical progression of styles, but ends in more popular and exciting and derivative works. The gospel message is presented and the opportunity for _____________________is present: unity is found in the broad theme of religious texts (which should relate to each other) and variety is achieved through the chronological approach

The Patriotic Program is _______________________by the expected works that typically appear on such programs. The approach taken above is basically______________________, tracing music from early days in America (the first tune is “God save the King”) through the Revolution, the Civil War, Armed Forces, Broadway, Popular patriotic songs, Post Viet Nam patriotism, and the classic____________________. There’s a little something for everyone, and the most _________________________________________ pieces are saved for the end.

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Programming Assignment:Using only the music in your anthology, create a program that a senior high school mixed chorus could perform, consisting of one half-hour of music using the criteria discussed in class. Put the program in its proper format, placing precise timings next to each title (see lesson 17 for the proper format). The program must be between 30 and 35 minutes of music (do not account for time between pieces. You will use this program in a long range planning project to be assigned in lesson 18, so be careful! This project is due on the day of Class 18. You will have 13 50-miniute rehearsals, including the dress rehearsal, to prepare this program. Both the program in format and the rationale sheet must be handed in together (rationale sheet appears on the following page).

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Program Project using Five Centuries of Choral Music, Volume 1Use this sheet to draft your rationale for the pieces you choose. This sheet must accompany your program in format assignment.

Title and Page Composer Period/Style Key/Tempo/Meter Character Timing1

2

3

4

5

6

7

8

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Program Project using Five Centuries of Choral Music, Volume 1Use this sheet to draft your rationale for the pieces you choose. This sheet must accompany your program in format assignment.

Title and Page Composer Period/Style Key/Tempo/Meter Character Timing1

2

3

4

5

6

7

8

50

Program formatting

This pattern works well (remember to word process and not type!

<Title Page>

<The Name of the Sponsoring Organization>

presents

<The Name of the Performing Group(s)><The Name of the Director>, director

<The Name(s) of Assisting Performer(s)>

<The Location of the Concert.><The Day, Month, Date, and Year of the concert><The Time of the Concert>

<Admission Fee(?)><Program pages>

Program

Piece Title (from <Name of Larger Work>) …………………………………………… Composer/Arranger

(soloist’s name, soloist’s instrument)Translation: < ><Program Notes>: < >

<Acknowledgments or announcements about receptions or future concerts are appropriate here>Back pages for personnel<Name of Choral Group><Director’s Name>, director<Pianist’s Name>, piano

Soprano

<Names, in Alphabetical Order>

Alto<Names, in Alphabetical Order>

Tenor<Names, in Alphabetical Order>

Bass <Names, in Alphabetical Order>

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Poster AssignmentCreate a publicity poster for your Christmas concert!

Your high school mixed chorus is giving a Christmas concert on Thursday December 17th. Using the word Christ in the public schools is often not permitted, but in some places it is. So, just pretend it’s permitted for this assignment.

The following information must be included:The Name of the Sponsoring OrganizationThe Name of the GroupThe Name of the DirectorThe Title of the ConcertThe Day, Month, Date, and Year of the PerformanceThe Time of the Performance

You should make an 8 ½” x 11” visually appealing poster that is easily legible 8 to 10 feet away.

This assignment is due on the day of Class ___________ for class presentation.

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Lesson 20: Long Range Planning Basics Determine the number of ____________________ you have to present in the year ahead. Determine the precise number of _____________________________available (you can only

use about 75% of the time you have for music rehearsal, so if your rehearsal lasts for an hour, account for 15 minutes of non-rehearsal time).

Determine what repertoire is _________________________________ for the rehearsal time available.

ASSIGNMENT: Create your own Long Range Plan. You have 12 40-minute rehearsals and a dress rehearsal to prepare the program you have already created. To do this assignment, you will have to know how long each piece lasts! If you discover that you have planned a little too ambitiously, you may have to change your program!

Don’t guess at how much time it will take to rehearse what you need to in each piece: really find out by timing yourself! Using the chart below, pencil in the times for each piece through the stages shown. This assignment is due on the day lesson 21 is taught.

Long term rehearsal planningRehearsal time spent on each pieceTeaching the Notes

Teaching Expression

Polishing Running

Rehearsal Number 1 2 3 4 5 6 7 8 9 10 11 12 13 TotalTitle of programmed work1.2.3.4.5.6.7.8.9.1011.Total Minutes 40 40 40 40 40 40 40 40 40 40 40 40 40 520

In the chart above, decide how many minutes you will spend on each piece per rehearsal. Under each number (1, 2, 3, 4 …) write the number of minutes out of about 40 minutes that you plan to spend on each piece in that particular rehearsal.

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Short Range Rehearsal Planning

Principle: Every ___________________________of the rehearsal must be planned; that is, you have to know what you want to do with every minute!

Each rehearsal’s plan must _________________for a responsible warm up and announcements.

The rehearsals must be planned in detail so that short term goals are consistently achieved, leading to the accomplishment of ___________________________and expressive performance.

The rehearsal should be fast paced and styles of music should be alternated: Never fuss too much about the details of any single piece. Write out the plan according to strict time schedule and then try to stick with it! Learn how to be _______________________!

Assignment:

In the chart below, plan a rehearsal from the long range planning assignment from the 7th week of the plan.

Time Activity2:00 Call to Order and

Announcements2:03 Warm up exercises Posture and Breathing:

Phonation and Agility:Resonance and Articulation:

Works What you hope to accomplish in the allotted time*2:10 1

2345

3:00 Dismissal*If possible, you should try to get through each piece at least once from start to finish after you work to solve some problem! Let the form above expand.

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Lesson 21: Recruiting

Organization: Recruiting:

The day you stop recruiting is the day your choir begins to shrink. No singers, no choir, no job.

Go to___________________________________: show your support for student activities. Make friends with the ____________________________________. Invite people to sing with your choir at every opportunity. ___________________________ concerts and auditions very well. Have a committee that focuses on helping you recruit. Get the choir to ______________________ as much as possible Meet with parents groups and other organizations that support youth activities Get other teachers to ________________________ students to sing in your choirs!

Other advice that helps you build the choir It is easier to recruit for an active program that everyone knows is _____________________! Don’t just take the best singers; ____________________ the singers who come! Perform ______________________________: unison choir singing sounds great! Get a crackerjack ___________________________ who loves to play and rehearse. Recruit the ______________________________ and the athletes will follow! Be friendly with the other teachers and ask them who you should recruit Be a ______________________! Work with students in the lower grades and tell them you

look forward to seeing them when they get to your school Put up signs, get a message on the Internet Webpage! Get a web page and post things about how exciting you group is! Be sure to post pictures! Ask the singers in the choir to tell their ____________________ about how good choir is! Invite parents to your concert and announce at the concert how people can become involved

in the choir!Have a party where the choirs sings just for fun with their friends!

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Lesson 22: How to Present a Choral Concert

The formal concert has certain expected procedures. Below is a plan that details these expectations.1. The Hall should be open for seating no later than ______________ before the concert is

scheduled to begin. __________________ should be ready and turned on a this time, and the house lights should be on.

2. Ushers (not singers) pass out programs and seat those with special needs or with special seats reserved for them. (Usually four ushers are needed)

3. It is often better to start a concert a few minutes later than the starting time to allow for parking delays or other normal late-comers to be seated.

4. A formal welcome by a _________________is customary in some situations and it is a good way to calm the audience. The house lights should be dimmed before the speaker appears.

5. The choir processes in an orderly (and sometimes “fancy” way) in silence to its starting positions. (Or a curtain opens) (If the accompanist is a student, he/she normally slips into position unnoticed as the choir

enters. If the accompanist is a professional, they follow the conductor in and bow with him/her if they wish, from the keyboard).

If the choristers carry_____________________________, they should be carried in the hand away from the majority of the audience.

If the choristers walk in _____________________, the folder should be held in the “inside” hand.

Upon arrival in position, the choristers should keep their eyes front and remain _____________________________________

6. When the choir is in position, the conductor walks briskly to the podium without turning to the audience until the podium is reached, but not ascended.

7. The conductor turns and faces the audience with a look of ________________at such a lovely audience, bows lightly, and then turns and ascends the podium with the foot away from the audience (that is why it is generally best to enter from stage right if possible to avoid any awkwardness).

8. The conductor immediately gives the gesture that means ______________________. In a cappella pieces, the chorister charged with giving pitch gives the first pitch; the

conductor raises his/her hands and begins the piece. In accompanied pieces, the conductor “checks in” with the choir, raises his/her hands,

and cues the accompanist to begin.9. When the piece is over, the conductor should normally hold perfectly still for a moment and

then drop his/her hands. When the audience_________________, the conductor should turn and bow lightly, and then immediately acknowledge the choir, the accompanist, and any soloists before bowing again.

10. Coming up from the bow, the conductor should immediately retake the podium.(Lather , rinse, repeat)

11. Any comments from the podium should be brief (remarks about the piece to be performed should be limited to about________________, and the remarks should be carefully planned).

12. Often just before the final selection, the conductor says a few words of thanks to the audience and makes any necessary announcements.

13. After the last note of the concert, the conductor takes a little longer, ____________________ the choir, the accompanist and bowing twice a little more deeply and slowly, and then leaving the stage.

14. The conductor returns if the applause is still enthusiastic for another bow, during which he/she either performs an encore (not a repeat, but a piece not on the program) or simply repeats the final bow procedure.

15. The conductor’s look of great pleasure all through this bowing process is very important.16. The chorus then leaves in an orderly manner (or the curtain closes)17. The conductor should greet members of the audience and thank them for coming, or

congratulate the choir for their fine work, or both if possible.

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YOUR DRESS REHEARSAL SHOULD BE HELD UNDER ALL OF THESE SAME CONDITIONS, WITH ABSOLUTELY NO STOPS OR EXTRA TALKING UNTIL THE REHEARSAL IS OVER!It is possible to insert other ____________________into this basic format, but this is the minimal standard way of presenting a choral concert. The audience enjoys it when the conductor speaks about the music about to be performed, or comments on an irregularity of performance. The conductor is never ____________________and knows how to roll with any punch thrown by the world, the flesh, or the devil. If a conductor is not full of _______________, he/she is in for a miserable life, because a conductor must be able to forgive any error, while leading the choir away from repetitions of the same! Criticism and ____________________ are meant to accomplish the same thing, but encouragement goes down smoother. Criticism rarely contains a strategy for_____________________________.

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Lesson 23: Hugo’s Crash Course in Copyright

To protect your organization there should be a notice posted on the ______________________ stating that “The making of a copy may be a violation of copyright law.”

Things that are illegal: Practically Everything! Copying protected music to_____________________________. Copying protected music for any kind of performance Copying protected music without including the printed copyright notice Copying to create anthologies or compilations ________________________ material designed to be consumable such as workbooks,

standardized tests, and answer sheets. Charging students more than the actual cost involved in making copies as lawfully

permitted. Mass production of a recording of a concert performance unless the appropriate licenses

are obtained and _____________________________.

Penalties For Infringement (If you get caught, here’s what can happen!)A music educator found making illegal copies, or otherwise infringing, will face a fine of from ____________________________ (statutory damages) and if the court finds willfulness, up to _____________________________ per copyright infringed. If willful infringement for commercial advantage and private financial gain is proved, criminal fines of up to $250,000 and/or five years' imprisonment, or both. Ignorance of the law is no excuse. You are going to court, and you are going to_______________________!

Practices that are USUALLY considered “Fair use” of copyrighted works, You can make a photocopy of a work to replace a purchased copy in a

_____________________________________, provided that purchased replacement copies are then substituted in due course. [If you photocopy in this way, you have to buy a copy, and destroy the photocopy; merely destroying the photocopy is not enough to satisfy the law.]

For academic purposes other than performance, multiple copies of _________________ of works may be made, in no case more than 10% of the whole work (and even then not a performable part), and only one copy per pupil.

You can edit or _________________ printed copies, so long as the fundamental character of the work is not distorted, you can’t alter the lyrics, and you can’t add lyrics if none exist.

A single copy of recordings of performances by students may be made for evaluation or rehearsal purposes and may be retained by the educational institution or individual teacher. Once phonorecords of a non-dramatic musical work have been distributed to the public in the U.S. under the authority of the copyright owner, any other person may obtain a compulsory license to record the work by complying with certain procedures and by the payment of the royalty provided in Section 115 of the Law (currently as of 1/1/98, 7.1 cents per selection or 1.35 cents per minute of playing time, whichever is greater). Music educators who wish to make phonorecords may procure a license from the copyright proprietor. Many music publishers, however, use agents for licensing this right and a number of music publishers use The Harry Fox Agency, Inc. as their non-exclusive agent for this purpose.

A single copy of a sound recording (such as a tape, disc or cassette) of copyrighted music may be made from sound recordings owned by an educational institution or an individual teacher for the purpose of constructing aural exercises or examinations and may be retained by the educational institution or individual teacher. [This pertains only to the copyrights of the music itself and not to any copyright which may exist in the sound recording.]

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Without having secured permission, music educators may: Make a copy of a lost part in an emergency if it is

________________________________. Make one copy per student of up to 10% of a musical work for class study as long as that

10% does not constitute a ________________________. Make a single recording of a student performance for study and for the archives. Make a single recording of _____________________ or tests using copyrighted material Preserve or replace library copies when not available for purchase Make _____________________ of a short verbal or a graphic work for teacher's use

Derivative works Making arrangements of a piece of music is an exclusive right of the copyright owner, but under the music Guidelines amplifying the Fair Use section of the Law the following are, with specified limitations, conceived to be reasonable exceptions:

Printed copies which have been purchased may be edited or simplified provided that the fundamental character of the work is not distorted or the lyrics, if any, altered or lyrics added if none exist.

The _____________________________ for recording (see the previous paragraph) includes the privilege of making a musical arrangement of a work to the extent necessary to conform it to the style or manner of interpretation of the performance involved, but the arrangement shall not change the basic melody or fundamental character of the work. This privilege is not meant to extend to "serious" compositions.

Anyone wishing to arrange a copyrighted work with the exceptions noted above must obtain permission from the copyright owner

The Reproduction of Recordings of Copyright WorksTo distribute recordings, a license from the copyright holder or representative is necessary for each work on the recording.

Performing Copyrighted Works It should be emphasized that a performance of a dramatico-musical work--an opera, a ballet, a musical comedy, etc.--is customarily licensed by the copyright owner of the performing right, or his agent, rather than ASCAP, BMI or______________-. [Complete information concerning licensing of performances of copyrighted non-dramatic musical works may be obtained from ASCAP, BMI, and SESAC.]

Performance of non-dramatic literary or musical works or of dramatico-musical works of a religious nature, in the course of services at places of worship or at a religious assembly.

Duration of Copyright (When does a work enter the public domain?)Useful Information: How to tell if a work is protected by copyright. All copyrights from September 19, 1906 which had been renewed but which would otherwise have expired were extended so that they did not fall into __________________. Thus, all subsisting copyrights, if renewed, will have, under the 1976 Act, a term of copyright of 75 years from the date copyright was originally secured. Since all copyrights subsisting on January 1, 1978 must have been or will have to be renewed at the end of __________________ in order to continue to be protected, there is a possibility that no renewal was or will be effected and the work is or will be in the public domain. This is unlikely in the case of those musical compositions with which ______________________ work. Assume that all works are under copyright unless you know different. There is a web site that tells which composer’s works are no longer under copyright.

Out-of-print works When copyrighted works are out of print it may be, occasionally, that music educators would like to procure a copy or copies for specific purposes. For that reason, the music publishers' trade associations have prepared a simple form relative to the procurement of out-of-print works.

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Performing Rights Organizations The following are the addresses of the three performing rights organizations:

American Society of Composers, Authors & Publishers (ASCAP) One Lincoln Plaza, New York, NY 10023, (212) 595-3050

Broadcast Music, Inc. (BMI)320 West 57th Street, New York, NY 10019, (212) 586-2000

SESAC, Inc.156 West 56th Street, New York, NY 10019, (212) 586-3450

Dramatic Works Performance Rights Organizations Tams-Witmark Music Library, Inc.

560 Lexington Avenue, New York, NY 10022, (212) MU8-2525 Rogers and Hammerstein Library

1633 Broadway, Suite 3801, New York, NY 10019, (212) 541-6600 Music Theatre International

545 Eighth Avenue, New York, NY 10018, (212) 868-6668 Samuel French, Inc.

45 West 25th Street, New York, NY 10010, (212) 206-8990Recording Rights Organizations

The Harry Fox Agency, Inc.711 3rd Avenue, 8th Floor, New York, NY 10017, (212) 370-5330

Finding Addresses of Hard-to-Find Publishers National Music Publishers' Association, Inc. (NMPA)

711 Third Avenue 8th floor, New York, NY 10017, (212) 370-5330 Music Publishers' Association of the United States (MPA)c/o NMPA/HFA, 711 Third

Avenue 8th floor, New York, NY 10017 (212) 370-5330The Copyright Office The Copyright Office, the Library of Congress, Washington, D.C., 20559

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Mixed meter exercise chartsThe charts on the next few pages are designed to help you learn to freely change between different meters; this will help you to be able to automatically adapt your conducting pattern to the

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needs of any situation where the meter changes, but it will also demonstrate that you have good control of the basic patterns.

Mixed Meter Practice Chart No. 1: Simple three-pattern change chartTo use this chart, set your metronome at a desired speed (which as you improve, you should increase), and conduct 3/4, 4/4, and 6/4 patterns, following the rows and columns any way you wish (you can go backwards, forwards, up, down, or diagonally): keep the exercise interesting

when you can get though the chart successfully at quarter = 144 bpm without difficulty (or any mistakes!) you may move on to the next chart! It helps to count out loud on the 1/8 note (1+2+3+ etc.)!

3 6 4 6 4 4 3 63 4 3 6 6 4 3 63 4 6 3 3 4 3 34 6 4 3 4 4 6 66 6 4 3 4 4 6 63 6 4 3 3 6 6 34 6 3 6 6 4 3 43 6 4 3 4 4 3 4

At quarter = 60 bpm, it takes 1:04 to get through the chart one time.

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Mixed Meter Practice Chart No. 2: Simple four-pattern change chart

To use this chart, set your metronome at a desired speed (which as you improve, you should increase), and conduct 2/4, 4/4, and 6/4 patterns, following the rows and columns any way you wish (you can go backwards, forwards, up, down, or diagonally): keep the exercise interesting! When you can get though the chart successfully at = 144 without difficulty (or any mistakes!) you may move on to the next chart. It helps to count out loud on the 1/8 note (1+2+3+ etc.)!

2 3 4 4 4 3 2 46 6 3 2 6 4 3 32 6 3 4 3 3 4 62 4 2 4 6 3 6 43 3 6 4 6 6 3 66 3 3 4 6 6 3 42 2 2 2 4 6 3 46 4 6 3 4 3 2 4

At quarter = 60 bpm, it takes 1:04 minutes to get through the chart one time.

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Multimeter Practice Chart No. 1: Complex meters of all kindsTo use this chart, set your metronome at a desired speed (which as you improve, you should increase), and conduct the meters below on the chart, following the rows and columns any way you wish (you can go backwards, forwards, up, down, or diagonally): keep the exercise interesting! You can use this exercise to experiment by assigning eighth notes as the basic value with different meters. The main thing is to keep track of the “beat note’s unchanging value” throughout the exercise. To begin with, set the metronome at = 60 and see what happens. Can you solve the problems you encounter? When you can get though the chart successfully at = 144 without difficulty (or any mistakes!) you may move on to the next chart. Note: you will need to subdivide sometimes! It helps to make a “tut” sound on each 1/8 note!

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Tempo Math

Think about being caught in the following situation:

You are backstage ready to go to the podium. You know that you have to find a certain tempo, but you don’t have a metronome. The tempo must be fairly accurate, because if you choose too fast a tempo, the players can’t play the sixteenth notes, but if you go too slowly, the wind players can’t sustain their long phrases. You are nervous and feeling unsure about the tempo. How can you find the confidence you need to set just the right tempo!

Watch the sweep second hand on your wrist watch or on a clock (or the pulsing display of a digital time piece). In the space of 5 seconds, try to count out the number of beats that the chart below says will give you the tempo you want. You can get fairly close to most tempi that you might want; at least you will have confidence that your choice is not arbitrary, but based on a reliable method.

If you memorize this little table, you will always have a way of choosing tempi that are very close to the ones you wish, while you are getting tempos into your bones.

Pulses in 5 seconds

Tempo Tempo Name

4 pulses 48 Largo 5 pulses 60 Lento 6 pulses 72 Andante 7 pulses 84 Molto Moderato 8 pulses 96 Moderato assai 9 pulses 108 Allegretto10 pulses 120 Allegro11 pulses 132 Vivace12 pulses 144 Presto

These tempi are VERY convenient reference tempi that are often used in this course for practice. Using them frequently will begin to form a fairly precise tempo sense in the young conductor, all except for ¼ note = 48 m.m., which pulse is often too slow to sustain without subdivision, but which is much like 1/8 note = 96 m.m., subdivided 8 beats to the bar.

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CHORAL PERFORMANCE PRACTICE: THE BASICS

Choral Styles have changed over time, and the complete choral conductor knows the traits of musical performance expected for each period. The purpose of this section is to briefly introduce the major style periods in choral music. Later we can go into greater depth in each period as we study music from each period.

Medieval Choral Music 1100-1450 Mainly unison chant by a small chorus of men led by a cantor, or music performed with a drone base, or music improvised in faburden and related styles.

Renaissance Choral Music: 1450-1600 Mainly four-voice music (performed by men and boys [religious music, masses and motets] or male soloists in small chamber ensembles with one person on each part. [secular music chansons, madrigals]), based on contrapuntal and imitative styles, instrumental doublings possible.

Baroque Choral Music: (1600-1750) Concertato style dominates, instruments join the ensemble of singers (often doubling the parts), and basso continuo becomes the norm, Religious music begins to strongly influenced by the styles of opera, especially in masses, oratorios, and passions. Music seeks to depict emotion (not necessarily to express it).

Classic Choral Music: (1750-1775; 1775-1825) The choral/orchestral medium matures, the chorus becomes a truly independent section of the orchestra (less instrumental doubling). Every aspect of musical expression is carefully controlled and moderation is the rule.

Romantic Choral Music: (1820-1900) The choral/orchestral ensemble is greatly expanded. The music becomes more intentionally dramatic, great human themes are explored. Extremes of all expressive elements are explored, and harmony is continuously expanded. A cappella music is re-explored, particularly in religious and part music.

Early 20th century Choral Music: (1900-1970) Composers explore dissonance and counterpoint as means of musical expression, but in a tightly controlled counter-traditional context. The music is anti-sentimental and derives from formulas influenced by numerical relationships and new systems of musical organization, often very radical.

Late 20th Century Choral Music: (1970-2009) Composers realize that the public cannot appreciate the beauty of a music they cannot readily comprehend. 19th century harmonies and forms return, along with traditional musical means and choral/orchestral organization. While qualities of the music in the early part of the century are still echoed in the present, this is a consonant, heritage conscious time; people listen and perform mainly for pleasure; musicians are not concerned with a search for truth.

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GENERAL CHARACTER OF CHORAL MUSIC IN THE RENASSIANCE PERIOD(ABOUT 1600-1750): Advice on Conducting Renaissance Music

Conducting Implications: Religious music is typically extremely legato, while the character of style in secular works varies with the text. Often, conductors choose to conduct in one (up and down, or in an elliptical pattern) to emulate the kind of conducting thought to be common in the renaissance and to avoid the persistent downbeat stress that the standard patterns can create. Many conductors prefer to “lift away” from beats to give the music a lighter sound, and to conduct in the upper part of the “strike zone” with arms extended and rounded. palms facing mainly down. In secular music, composers often used “pictorial” musical devices to represent verbal images, and the conductor should use good taste in drawing attention these effects in performance: the singers should certainly be made aware of such effects, particularly if they do not understand the original language.

Meter and StressMost renaissance music was originally unmetered, and stress was usually associated with the stress of important words. If “downbeat” stress imposed by barlines in modern editions is exaggerated, it destroys the seamless flow the music is intended to have.TempoUnless one has great skill at interpreting the meaning of mensural notation, one will have to rely on editors for an idea of tempo. One word of advice: tempos in the renaissance usually have a basic beat between 60-72 (called the tactus); tempos are not extreme in the renaissance.DynamicsDynamics in this period are moderate and related to the mood of the text. A person of that time was expected to have good taste and to avoid extremes.TextureAfter Dufay and through about 1520, most choral music has 4 voices: most sacred music could be sung without accompaniment, but some secular music was accompanied or performed interchangeably with voices or instruments. After 1550 to about 1600, one will find 5 and 6 voice textures to be common. Imitative textures and contrapuntal textures were common: when a melodic idea is first introduced, it should be heard, and every imitative entrance that follows should be emphasized somewhat to help the listener become aware of the structure of the music.Expressive FeaturesSacred choral music of the renaissance is in general serene and other worldly. Suspensions should be leaned on by the parts involved to heighten the effect of the device. Secular music however, is extremely varied in musical expression depending on the poetry being set. Text painting should be recognized and realized in the performance. Again, expression is to be realized with delicacy and moderation.

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GENERAL CHARACTER OF CHORAL MUSIC IN THE BAROQUE PERIOD(ABOUT 1600-1750): Advice on Conducting Baroque Music General Character:PASSION, VIGOR, energy, dynamism, tension, contrast, drama, grandeur (in Protestant music, these tendencies were moderated by the pietistic belief that ostentation distracted the believer in worship).Major Composers: Sacred Music: Gabrieli, Monteverdi, Purcell Schütz, Lully, Bach, Handel. Secular Music: Lully, Purcell, Hassler, Monteverdi, Scarlatti, Handel. Performance Medium: Most choral music in the Baroque is accompanied, at first by basso continuo and later with other instruments. The choral forces of the Baroque were not that much larger than the ones used in the Renaissance, but the concertato medium demanded more instrumental participants: since the instruments used did not have the dynamic power of today’s instruments, fewer choristers were necessary.Form: In the early period, the imitative forms of the renaissance are still present, but later in the period new forms replace them, such as the chorale, the choral fugue, dance forms. There were three main musical styles: Theatre music, Chamber music, Church music, and two compositional practices (prima prattica: basically the Palestrina Style and seconda prattica, represented by the Venetian School). Progressive Baroque music usually mixed instruments and voices, and choral parts were often doubled by instruments.Texture: Concertato, that is, a mixture of singers and groups of different instruments. There are still four voices in the texture, but there is a growing polarity between the Soprano and Bass voicesHarmony: During the Baroque, especially by 1700, most music was falling into the sound of what today we call major and minor tonalities, and the practice of musica ficta has all but disappeared. By the end of the period composers had learned to use harmonic progression to give momentum in the direction of the cadence.Pitch: Broadly speaking, Baroque pitch A was about a half step lower that our A=440. Still, pitch was not stable in the Baroque. That fact may account for occasionally uncomfortable tessituras in some Baroque music. Melody: The former smooth contours of melodic lines in the Renaissance gives way to more triadic and disjunct melodies. Brilliant roulades and sequences abound in festive music, and the melody rests mainly in the highest voice. Melodies are often emotionally charged. Rhythm and Meter: Noting here that recitative in opera and oratorio is characterized by very flexible rhythm, choral music takes a regular, even approach to rhythm. Barlines came into regular use during this period, and a light downbeat stress is appropriate: we start to talk about strong and weak beats. With respect to dotting, this is a complex notational issue: in compound meters, dotted eighths with sixteenths are not 3:1 but 2:1 (they are not duple but triple). In French music particularly, a written single dot was often performed as a double dot.Tempo: Despite the late 20th century trend for using very fast tempi in Baroque music, tempo in the Baroque was probably not extreme. It is possible to go to fast or too slow! The tempo terms should be interpreted as mood indications as well as tempo indications. It is often appropriate to “relax” the tempo and dynamic at cadences, but only slightly and without interrupting the musical flow significantly. final cadences slow more decidedly, and sometime a “lift” is inserted before the last chord. Some are convinced that the penultimate note may be held practically indefinitely before resolving to the final note: this practice should be moderated by good taste.Dynamics: The term “terraced” is often used to describe the sharp dynamic contrasts found in consecutive phrases in Baroque music. The levels of dynamics in the Baroque were a little louder than in those of the Renaissance, but the size of musical forces is larger and therefore more potentially powerful. When a phrase is repeated (echoed) literally, the practice was to use a lower dynamic level on the repeated phrase, and then to return to the louder dynamic in the next phrase, even when the change in dynamics is not indicated. Avoid extremes: stay within a conservative range of piano to forte. Crescendo and diminuedo were not unknown in the Baroque, but it is not characteristic in this period.

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Distinctive Features: Italian music: passionate, impetuous, affecting, unrestrained, harsh, and eccentric [contrast], the player has more discretion in ornamentation. French Music: smooth, easy, soft, flowing, restrained, and coherent. ornaments are clearly written out. Baroque music is viewed as passionate and emotional, especially as it compares to the austere style of the Palestrina Style. Baroque music aims at sustaining a single emotional state for whole movements.

Conducting Implications: The conductor needs to be aware of the mood that the composer is trying to create through musical means, and this information is usually found in the text. Certain important words may be given special musical treatment, and the text painting of the Renaissance becomes emotion painting or mood painting in the Baroque. The conductor’s beat should be very clear and crisp in allegros and legato in slower tempi: tempi can be rather slow in largo movements and subdivision is often necessary.

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GENERAL CHARACTER OF CHORALMUSIC IN THE CLASSIC PERIOD(ABOUT 1750-1825): General Character:Moderation, elegance, naturalness, balance, symmetry, serenity, control Major Composers: Religious Music: C. P. E. Bach, Haydn, Mozart, Schubert, Beethoven. Secular Music:Haydn, Mozart, Schubert, Beethoven.Performance Medium: Usually a small choir of men and boys, accompanied by a small orchestra (absent the basso continuo), especially with the organ.Form: The mass and the motet are the most common choral formsTexture: Light contrapuntal and homorhythmic textures. The melody is nearly always in the top voice, conceived against a simple bass, with the two inner voices filling in the harmony unobtrusively.Harmony: A predilection for slow harmonic rhythm and a preponderance of primary harmony (the system of harmonic progression firmly established during the Baroque was available in the classic, but it was used with moderation and refinement. Melody: Typically stepwise, or triadic, often with phrases of complementary lengths; melodies are influenced by cadential formulae. Rhythm and Meter: Moderate, and uncomplicated.Tempo: Moderate tempi are appropriate: allegros are lively, but not rash or precipitous.Dynamics: Moderate; from piano to forte (Beethoven used intense contrasts, while Haydn, Mozart, and Schubert were more moderate); crescendo effects become more common during this time.Distinctive Features: There are many special effects: the normal smooth contours are interrupted at times with accents and staccatos, even sforzandos!Conducting Implications: Generally, a light beat is better than a heavy one; classic music is “airy” and not tied to the earth; it is free and unfettered by earthly care: it is an escape.

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GENERAL CHARACTER OF CHORAL MUSIC IN THE ROMANTIC PERIOD(ABOUT 1825-1910)General Character:Passion, drama, dynamism, extremes, grandeur, mysticism, yearning, heroism, individual expression.Major Choral Composers: Mendelssohn, Bruckner, Brahms, Fauré, Mahler, Verdi, Berlioz: composers viewed as transitional are Debussy and Vaughan Williams, both of whose musics retain romantic characteristics but also explore new harmonic and expressive possibilities.Performance Medium: There are three types of choral music in this period: choral part song (usually mixed chorus SATB with piano), religious music (usually motets a cappella or with organ), and large choral orchestral works) Form: Strophic, Modified Strophic, Throughcomposed; motet and mass continue; choral symphony, cantata, oratorio. Texture: Thick, rich, contrapuntal, full sounding, alternately homorhythmic.Harmony: As the century progressed, harmony became more complex in its relationships and in its progressions. Harmony moves gradually toward atonality, but not as quickly as it does in instrumental music.Melody: Many leaps, chromaticism and unusual inflections, dramatic changes of melodic direction, a notable lack of melodic lack of sequences. Rhythm and Meter: Rhythms become increasingly complex, and composers begin to experiment with hemiola. Changing meters are not especially common, but you might find more than one meter in a single movementDynamics: Extremes of dynamics (ppppp to fffff) are used to increase the dramatic effect of the music.Distinctive Features: Pathos, the extreme expression of human emotions in music. A slight constant variation of tempo is expected (a lot of slight accelerandos and rallentandos are expected, and tempo can relate to dynamics).Conducting Implications: The temptation is to conduct everything with a too large beat, but if this is done, the special effects are harder to show!

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GENERAL CHARACTER OF CHORAL MUSIC IN THE EARLY TWENTIETH CENTURY (ABOUT 1900-1970)General character:A period of experimentation, music often shocking, dissonant, angular, rhythmically and metrically complex, contrapuntal, defiant, confrontational, and marked by a departure from traditional (major and minor tonalities, strongly emotional or anti-emotional, and strongly related to the individual musical philosophy of each composer.Major Choral Composers: Schönberg, Webern (expressionism and 12 tone writing); Stravinsky (atonality, primitivism); Hindemith (quartal harmony); Poulenc (contrasts, extended harmony); Duruflé (modality), Britten (tonal eclectism), Barber (neo-romanticism); Penderecki (tone clusters, nontraditional notation); Pinkham, Ives (American eclectism, transcendentalism) ; Delius, Debussy (Choral Impressionism)Performance Medium: The four-part (often divisi) chorus is still the norm, although it participates with a wide variety of instrumental ensembles, and with pianoForm: varied, but often text generated. Stanza forms, ABA forms, throughcomposed form, and othersTexture: varied, but contrapuntal and homorhythmic textures are used; some composers use the chorus in unison or in mysterious isolated lines.Harmony: Ranges from atonal to quartal to expanded tonalities and modalities, but composers in this period were not the least bit fearful of dissonance.Melody: Often angular, disjunct, and requiring a advanced music reading and ear training skillsRhythm and Meter: highly complex as a rule, and the text setting does not always match the word accents.Distinctive Features: High levels of contrast, very precise notationConducting Implications: Clarity of beat is essential as control of rhythm and meter are paramount. The conductor’s preparation is more crucial to success in this style than in any other. Gesture must show every detail of articulation and dynamics in advance which makes it all the more difficult. The conductor’s challenge is to find and convey the “music” in the composition so that the performance has liveliness and is not a mere cold recitation of difficult music.Tempo: Tempo is usually clearly indicated in the score via metronome marks.

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GENERAL CHARACTER OF CHORAL MUSIC IN THE LATE TWENTIETH CENTURY (ABOUT 1970-2009)General Character:A period of reconsideration of earlier trends, a return to audience friendly music (more tonal, less angular, more lyrical, more phrase oriented, more formally simple, more traditional in form and content, but above all, more “popular.”). Choral “Jazz” and “Show Choir” styles also became accepted.

Representative composers: Clausen, Fissinger, Bernstein, Alice Parker, Rutter, Lauridsen, Part, Paulus and a host of arrangers. Others compose in the popular vein, adapting trendy music to performance by new and traditional ensembles.Performance Medium: Four-voiced mixed chorus, often accompanied by piano is the most common, but a wide variety of media (both acoustic and electronic) is used. In accompanied worship music, the function of the bass is filled by the electric bass and keyboard, and the singers cover the tenor, alto, and soprano parts; there is a lot of unison singing in worship performance (not continuous, but frequent, and there is also more individual improvisation and by-ear singing.Form: varied, but usually true to the form of the texts used: the ABA forms are fairly common. IN contemporary worship music, the most common form is a sectional form characterized by an alternation between two or three formal sections; there is often a modulation toward the end of the piece.Texture: The four-part texture predominates, but composers write for many different combinations, but texture is often highly variable.Harmony: Modality is being rediscovered, and anything present in late 19th century harmony and jazz harmony is used, as well as the expanded harmonic language found throughout in the 20th century. Cadences can be inconclusive or non-existent. In more popular worship styles, final cadences are often “unresolved” subdominant chords, suggesting a modal rather than tonal harmonic conception.Melody: Melody had become less chromatic and more diatonic and even folklike, a possible reaction to the difficult atonal/rhythmically complex music of the early 20th century; composers have adopted a more vocal style that has more stepwise and triadic melodies, with phrases of regular length. In worship music, many melodies are very narrow in range and have many repeated notes and repeated phrases.Tempo: The recent tendency is to keep steady tempo with little “romantic” variation. Scores usually have very specific indications about tempo variations. Rhythm and Meter: While most choral music of this period is not as rhythmically complex, some composers still exploit changing meters with great success, often to reflect more accurately the natural rhythms of prose poem texts that do not fall into traditional poetic meters.Distinctive Features: Overall, there is a sweetness, clarity, and optimism in most choral music written in the last 30 years. Text is often very important and music must be carefully conveyed and shaded. As always, quality arrangements of popular music are available and when possible, it is a good idea to include quality arrangements.Conducting Implications: Often, a more energetic, rhythmic approach is useful, and the beat should be buoyant. Mood is a very important feature of recent choral writing, and that mood is generally upbeat! In the popular music, words tend to dominate the rhythmic and melodic elements.

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CHORAL WISDOMGleaned from field experience by John W. Hugo

Accompanists The accompanist is not the conductor, but often the choir sings with the piano first and the

conductor second, if at all. Therefore, in rehearsal, conduct passages often without the accompanist, and conduct erratically on occasion to teach the singers to watch you.

The accompanist can make or break a choral effort: find a good sight-reader and get them the music ahead of time. Artistry is more important than sight reading ability.

A steady and alert piano accompanist is the conductor’s best friend and an indispensable part of any rehearsal, and rare as hen’s teeth. They are angels sent from God.

Conducting Technique If the singers are not taking your tempo, conduct smaller, not bigger. Conducting is not time-beating: time beating only establishes the context for conducting. Never have to say: “There they go, and I must follow them, for I am their leader!” Conducting can be like bailing out the boat while building it: the sooner the hull is sound, the more effective the bailing. Focus on building the sound, not on correcting mistakes! Be careful to teach the students specifically what your gestures mean. Tell the chorus what you want from them, and as you do so, show them with your hands. When the choir is singing “too anything, ” it is likely related to the conductor’s gesture style: you usually get just what you conduct. Do not tell the choir to hold their music up unless you want them to see what you are doing. Never conduct a big pattern and expect your chorus to sing at a soft dynamic!

Conductor Preparation The person standing before the choir must know the music before the choir does (the lead

dog has to stay ahead of the pack). If the conductor learns the music along with the choir, mutual frustration will result. The conductor sees and hears much more when he takes his nose out of the score. If your head is constantly in the score, the music has not yet made it into your mind or heart. If your head is in the score, you don’t know the music well enough to conduct it. The conductor cannot help the choir members meet musical challenges unless he himself

has overcome them first. The conductor should always know the piece better than the choir members do, always.. The conductor must anticipate problems and have in mind effective solutions before the

problems are encountered in rehearsal. This is part of vision.

Discipline Discipline is easiest when the group shares the director’s vision and enthusiasm for the task

at hand. A fast rehearsal pace, rapid transitions, and engaging material make for good discipline. Find the troublemakers and learn what makes them tick; win them over or kick them out! Recognize that most choristers join the chorus because they like to sing to sing; do not

tolerate any individual’s unruly, disruptive, or unproductive behaviors. Without the personal discipline of each singer, great performances are always out of reach.

Encouragement The conductor is a teacher, not a preacher. There are two kinds of critic: the conductor cannot be of either kind! A successful conductor is always an encourager. He knows how to make singers want to go

where he wants them to go. Give the singers a chance to succeed by setting achievable goals. “Conductor” is Greek for “Problem-solving Encourager.” Always have a solution, not a criticism. Criticism is always interpreted as negativity. Negativity has no place on the podium.

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A conductor’s patient diligence is contagious. Encourage better performance, don’t criticize bad performance.

Humor Always laugh at honest mistakes, but solve the problems. Laugh with your singers when something funny happens, but move on! Sarcasm has not place on the podium. Let your creativity inform your humor; let your humor inform your creativity. Don’t be afraid to “kid” a section, but don’t dish it out if you can’t take it! Ridicule types and behaviors, not individuals! Smile and take pleasure in the choral experience, and the singers will also. Humor brightens the rehearsal and is good for intonation. Love laughs, doesn’t it? So laugh! A smiling singer usually sings in tune.

Intonation Flatting begins with postural faults, poor use of breath pressure, inefficient phonation, poor

resonator adjustments, poor vowel formation, and a lack of awareness. Identify and address the causes and try not to mention flatting.

Singers often try to remedy flatting by compensating for bad technique with more bad technique.

Clear sky, bright light, low humidity, fresh air, coolness, good physical conditioning, vigor, enough sleep: all of these lead to good intonation.

Singing without accompaniment encourages good intonation; pianos are slightly out of tune and orchestras usually play well in tune, but at a variable (usually elevated) pitch level.

Tuning exercises encourage a habit of good intonation. Singers like to sing in tune, but this is not easy to do without practice and intense listening. Performing a selection a half step higher often instantly improves overall intonation. A faster rehearsal pace creates the alert mental attitude that can engender good intonation. Pianos are slightly out of tune: orchestras play more in tune. Orchestras often play higher than A=440: prepare accordingly. A choir that forces the tone or dynamic level will not sing very well in tune. Lax discipline leads to poor intonation and poor rhythmic ensemble. Slow tempi invite flatting. Long phrases go flat unless care is taken Ascending passages often flat, and descending passages invariably flat unless care is taken. Repeated pitches flat unless care is taken. Poor posture leads to flatting. Dead rooms invite flatting, while live rooms encourage good intonation. Overcast days, dim lighting, high humidity, stale air, hot, poor physical conditioning,

weariness, negative attitudes; all these lead to flatting: account for these factors when problem-solving.

Poor intonation is a sign of technical or attentiveness deficiencies: frequently refresh the mind and body.

Choirs that are criticized for poor intonation do not improve: training and awareness solve poor intonation: solve, don’t criticize.

Learning Music Sectional rehearsals can help achieve results in a shorter period of time, especially for

contrapuntal works. Rhythm and words first: rhythm and pitches second: words rhythm and pitches third. Music is most thoroughly learned by achieving short term goals and repeating sections of

music frequently. Most singers learn by rote. Most singers can learn to read what they have learned by rote.

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Membership It is unfortunate but true that annual auditions are necessary to evaluate each member’s

ability to contribute meaningfully to the choral enterprise. It is a bitter thing to say goodbye to an old member who does not realize that they can no

longer contribute positively to the sound of the group. Membership in a choral group is a great privilege. Conducting a choral group is the highest

privilege. A good choral singer is a team player, not a star, no matter how well they sing. Good choral singers realize that they must repay the debt they owe to those who once

tolerated them as they grew into good choral singers by tolerant choristers of the foregoing generations.

Motivating Singers Choristers do not sing to perfect the music, but instead for the pure love of singing. Conductor approval is important to the choir only when it is clearly well-earned! Encouragement and praise are two different things! Encourage progress, praise results! The conductor experiences anger and frustration only when he/she has run out of ideas.

Successful, creative conductors are rarely frustrated or angry. The first rehearsal is important: it should be an exciting, positive experience: get to singing as

soon as possible. Never let the singers remain “in neutral!” Push them constantly to higher levels of

performance excellence.

Music and Sound The music we can hear is only sound: the real music lives in the minds and hearts of the

performers and is perceived and experienced in the minds and hearts of the listeners. Sound is secondary to music, but music cannot be sensed without it. In other words, sound

is only the vehicle of music, not music itself.

Organization The wise conductor gets a lot of help from their singers in accomplishing the details that

make a performance more successful, but the conductor must organize these things and follow up on them or they will not get done.

If you are not recruiting, your choir is shrinking. If you are not recruiting constantly, your choir is shrinking irrevocably.

Have an attendance taker, a librarian, a social chair, a riser crew, and other officers. Invite dignitaries to your concert without fail!

Perfection Perfection is impossible to achieve, so far! Perfection comes ion stages and with time, so don’t try to perfect everything at once. Perfection alone can be excruciatingly boring. Expressiveness by itself can be excruciatingly

dissatisfying. The wise conductor neglects neither perfection nor expressiveness. Perfection plus feeling renders a performance moving and unforgettable.

Recruitment The day you stop recruiting is the day your choir begins to shrink. Talk about your choir all the time, and personally invite people to come sing! Never turn down an offer to perform if at all possible Schedule your rehearsals at a good time and day.

Rehearsal Planning Planning more repertoire than the rehearsal schedule allows is planning to present a concert

that is not well-prepared. Planning repertoire that is not achievable in the rehearsal time is planning to fail.

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There is never enough rehearsal time, so the conductor must plan every minute of the rehearsal.

Set goals for each part of the rehearsal: without goals, rehearsals bog down. Never spend too much time on a single piece in rehearsal: achieve that day’s goal and move

on quickly. Plan the order of music to make for a varied and stimulating rehearsal (put the rehearsal

order on the blackboard). A rehearsal must be planned in some detail or you will not accomplish all you need to. The more detailed the rehearsal plan, the smoother the rehearsal. Consecutive rehearsals must be planned and linked with respect to desired stages of

development. Rehearsal planning needs to anticipate the growth of the choral product; a choir’s

accomplishments must meet the conductor’s expectations on schedule. Continuously assess the choir’s progress and be ready to push them to the next level.The longer or more difficult the piece, the more rehearsal time it takes. Low expectations are easily fulfilled: don’t be afraid of presenting high expectations: if the

conductor’s expectations are not high, the performance will invariably suffer.

Rehearsal Technique Singers hate to stop; they love to sing through a piece. Instead of stopping for every mistake, decide what is worth stopping for: some things fix

themselves. The two principal challenges to choral singers are rhythmic and melodic, in that order. The more times the choir sings through a piece, the better it gets (singers can solve some of

their own problems, given enough chances). The concert performance cannot be expected to be better than the best rehearsal. The conductor should never be at a loss as to what to do next in a choral rehearsal.When introducing a new piece, it is best to read it straight through without stopping (with piano

help as necessary).If a passage is rhythmically complex, start work by isolating the rhythm, add words, and finally

add pitches. Performance pressure always makes the choir improve at a faster rate. Never be caught saying “again” unless the singers understand why you are repeating a

section. Demonstrate by singing for the choir the way you want something to sound: demonstrating is

usually more successful than talking about how you want things to sound. Choristers learn to perform by imitation. Be a good model to imitate. The conductor who sings along with his choir cannot hear his choir. Sing only to demonstrate. In correcting errors there are two choices (1) address them before they have a chance to

occur, or (2) correct them after they occur; it is better to anticipate errors and address them early and often in isolation.

Often, once a choir has made a pitch error in the first rehearsal, it will be hard to repair: fix such errors as soon as possible; it is better to introduce a really hard section of a piece before the read-through.

Purposely erratic conducting in rehearsal can help the choir learn to watch your conducting more closely.

When rehearsing a piece to improve it, always start with the detail and then put the improved performance into the context of the piece. This approach holds the singer’s attention and maintains a positive rehearsal atmosphere.

Scolding singers for not living up to unstated expectations is unfair, and they know it. It is often better to let the chorus finish the piece (or section) before correcting errors than

stopping in the middle to do so. Make an improvement, run the piece or section, move on! There is “rehearsal for perfection” and “rehearsal for performance” (singers instinctively know

when the piece is ready for “rehearsal for performance,” but the conductor may not!)

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Respect A choir feels and sings one person at a time. Every singer in the choir is a person, not a voice, a singer without which the choir is worse off. Always respect every individual in the choir, try hard to know every name of every singer as

soon as possible: they know your name: why shouldn’t you know theirs?. Devise a way to know every name of every person in the choir as soon as possible. Even a good conductor can be disrespected by members of a choir: work to sin them over by

your fine musicianship.

SightreadingWhen a choir is sight reading, watch them to be sure that their eyes are in the score; it is

not really necessary to conduct, except to beat time.When sight reading, a choir should focus on pitches and rhythms, not words: use neutral

syllables.

Talking When singers are talking, they are not singing: they ought to be singing so much that they

never have a chance to talk together: quicken the rehearsal pace and strategize as to how to keep everyone musically busy all the time.

A talking chorus is often a bored chorus. Make the rehearsal musically stimulating! The more the conductor talks, the more slowly the choir improves. The more the conductor talks, the less the choir sings. You cannot talk to your chorus during the performance, so talk as little as possible in the

rehearsal. Conduct with your hands, not your voice or your lips. If the choir members have time to talk, they are not busy enough. Begin your comment or

instruction before they have a chance to think of something to say. Words like “good” should never be followed by “but;” instead say “Good!... now, let’s add (fill

in the blank) to make it even better!”” The conductor speaks with his hands, not his mouth. Sometimes merely stopping and starting over without comment will solve a problem, as the

singers often know what is wrong and will fix it without comment. Try changing your conducting gestures if you are not getting what you want. Rehearse occasionally without speaking at all: it can be very enlightening The conductor must remain silent in performance, and in rehearsal for performance. Choral singer’s come to sing, not to hear you talk. Praise what is good and ask for better. It’s hard to be excellent, but that fact should not prevent anyone from being excellent.

Final Wisdom:The aftermath of conducting is usually regret (for those who are perfectionists), and this is as it should be for anyone with a conscience. But be careful to remember that your success depends on the work of others: even the most effective conductor cannot inspire perfection all the time!

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Trusty Major Works that choirs love to sing.This is not an exhaustive list, but these works are among the most popular.

COMPOSER TITLE Bach Christmas Oratorio* (w/orch)Bach Cantata 140 “Wachet auf, ruft uns die Stimme” w/orchBach Cantata 4 “Christ lag in Todesbanden” (w/small orch)Bach b minor Mass*# (w/orch)Bach St. John Passion* (w/orch)Bach St. Matthew Passion*# (w/orch)Barber Lamb Of God (Agnus dei) (a capella)Beethoven Elegy (with strings)Beethoven Symphony 9* (w/orch)Beethoven Missa Solemnis*# (w/orch)Beethoven Mass in C (w/orch)Bernstein Chichester Psalms* (w/orch)Brahms Ein deutsches Requiem*# (w/orch)Brahms Liebeslieder Waltzes (with two pianos)Brahms Neue Liebeslieder Waltzes (with two pianos)Britten Rejoice In The Lamb* (w/organ)Buxtehude Magnificat (with strings and organ)Copland In The Beginning (a capella)Duruflé Requiem* (w/orch)Dello Joio A Jubilant Song (with piano)Elgar Go Song Of Mine (a capella)Faure Requiem* (w/orch)Handel Messiah (Oratorio)# (w/orch)Handel Israel in Egypt (Oratorio) (w/orch)Haydn The Creation (Oratorio)# (w/orch)Haydn, J. Mass in Honor of St. Nicholas (w/orch)Haydn Mass in time of WarHaydn Nelson MassMendelssohn Elijah (Oratorio)*# Mozart Coronation Mass*# (w/orch)Mozart Mass in C minor*Mozart Requiem*# (w/orch)Mozart Vesperae solennes de confessore* (w/orch)Pachebel Nun Danket Alle Gott (w/brass and organ)Pinkham Christmas Cantata*Pinkham Wedding Cantata* Rutter Requiem*(w/orch)Thompson The Peaceable Kingdom* (a capella)Schubert Mass in G* (w/orch)Stravinsky Symphony of Psalms*# (w/orch)Vaughan Williams Five Mystical Songs* (w/orch)Vaughan Williams Pilgrim’s Journey* (w/orch) Vaughan Williams Serenade To Music (w/orch)Verdi Requiem*# (w/orch) #Hugo’s top tenVivaldi Gloria* * Extended Work

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Trusty Anthems and Songs (most of which will show up on the J. W. Pepper catalog on the Internet).

COMPOSER TITLEAhrold The BellsAlbrecht, S. No Need to knockAllitsen/Stickles The Lord is My LightAnderson, Leroy Sleigh RideDawson There Is A Balm In GileadDawson Mary Had A BabyDawson Ezekiel Saw De WheelBach Jesu, Joy Of Man's DesiringBach Komm, Jesu, Komm (SATB/SATB)Bach O Scared Head Now WoundedBach Singet Dem HerrnBairstow I Sat Down Under His ShadowBartholomew Little Innocent LambBeck Every Valley Barber The CoolinBarber Lamb Of God (Agnus dei)Barber Sure on This Shining NightBerger Alleluia (SATBB)Berger The Eyes Of All Wait Upon TheeBerger Harvester's SongBerger It Is Good To Be Merry (SSAATTBB)Berger O Magnify the LordBerger The 150th PsalmBeethoven ElegyBeethoven Hallelujah (Mt. of Olives) Beethoven The Heavens Are Telling Billings ChesterBird Canticle of FaithfulnessBrahms Ach, Arme WeltBrahms Create In MeBrahms Der AbendBrahms Es ist das Heil (SATBB)Brahms How Lovely Is Thy Dwelling PlaceBrahms In Stiller NachtBrahms Lass dich nur nichts nicht daurenBruckner Christus factus estBurleigh My Lord What A MorningBurt The Alfred Burt Carols IBurt The Alfred Burt Carols IIBurt The Alfred Burt Carols IIIByrd I Will Not Leave You Comfortless (SSATB)Canteloube BaileroChristiansen, F. M. Praise To The LordChristiansen, P. Mary And MarthaChristiansen Beautiful SaviorClausen All that hath life and breathClausen Set Me As A SealClydesdale I Sing The Mighty Power Of God (SSATB)Clydesdale Holy Is HeCopland Zion's WallsCopland In The BeginningCousins Glorious Everlasting (SSAATTBB)

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Dawson, W. Swing Lo, Sweet ChariotDavies The Prayer Of The DoveDawson Ain'A-That Good NewsDawson Everytime I Feel The SpiritDawson Soon-Ah Will Be DoneDebussy Dieu! Qu'il La Fait Bon RegarderDebussy Quando J'ai Ouy Le TabourinDebussy Hiver,Vous N'Estes Qu'un VillainDello Joio A Jubilant SongDennard Hush! Somebody's Callin' My NameDiLasso Echo SongDuruflé Ubi caritasEffinger No MarkEffinger WoodElgar Go Song Of Mine MSFarrant, R. Lord, for thy tender mercie's sake Fettler Make A Joyful NoiseFinzi Haste On, My Joys (SSATB)Flummerfelt Danny BoyFolstrom The Water Is WideGabrieli Jubilate DeoGearhart Dry BonesGesualdo O Vos Omnes (SSATB)Gillman And He's Ever IntercedingGoemmanne Cantate: Sing To The LordGraun Surely He Hath Bourne Our GriefsGretchaninoff Svete TighiyHandel Hallelujah!Handel Hallelujah, AmenHall Let Us Break Bread (SATTBB)Halloran WitnessHandl, J. Pater Noster (SSAATTBB)Hayes Go Down MosesHugo Lord, I Keep So BusyHugo We Wish You A Merry ChristmasHairston Elijah Rock (SSATB)Hairston Hold On! (SATBB)Hairston I Want JesusHairston Who'll Be A Witness For My Lord Harris In This Very RoomHindemith A SwanHolst Lullay My LikingHolst I Love My LoveHolst This Have I Done For My True LoveHomilius Ich freue mich Im HerrnHovhaness From The End Of The EarthIppolitof-Ivanof Bless The Lord, O My Soul Ives Sixty-seventh PsalmJames Almighty God Of Our FathersJannequin Le Chant Des OiseauxJannequin La GuerreJohnson Ain't Got Time To DieJüngst While By My SheepKirk Little Wheel A-Turnin'Leavitt A Parting BlessingLeisring Let All The Nations Praise The Lord

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Lotti Crucifixus (SSAATTBB)Luboff All My TrialsLuboff Do LordLuboff Ezekiel Saw De Wheel Luboff Still, Still, StillManz E'en so Lord Jesus quickly comeMascagni Anthem For SpringMatthais Let The People Praise Thee, O God Mendelssohn Heilig (SATB/SATB)Mendelssohn The Hundredth PsalmMendelssohn I Waited For The LordMoore Daniel, Daniel, Servant of the LordMoore I'm Going HomeMozart Ave Verum corpusMozart/Hugo MenuettoNiles I Wonder as I WanderLvovsky Hospodi PomiluiNystedt Cry Out And Shout (SSATTB)Nystedt Thou, O LordParker/R.Shaw Sometimes I FeelParker/R.Shaw I'm Goin' to SingParker, Alice Hark, I Hear the Harps EternalPurcell, Henry Hear my Prayer, O LordPachebel Nun Danket Alle Gott (SATB/SATB)Palestrina Adoramus TePalestrina Sicut CervusPassereau Il Est Bel Est Bon31Pinkston I Am Thine O LordPorter In The Still Of The NightPostgate Holy, Lord Of HostsPottle JabberwockyPoulenc Hodie Christus natus estPoulenc Quem vidistis pastores dicitePraetorius Lo How A Rose E'er BloomingPurcell In These Delightful Pleasant GrovesPurcell Sound The Trumpet (SSATB)Rorem Four MadrigalsRutter Banquet Fugue (SATB)Rutter Love Came Down At Christmas Rutter O Come, O Come Immanuel Rutter Praise The Lord, O My SoulRutter Tomorrow Shall Be My Dancing DayShaw, M. With A Voice Of SingingShaw/Parker He's Gone AwayShaw/Parker Ride On, King JesusSchickele/PDQ Bach Good King Kong Looked OutSchickele/PDQ Bach O Little Town of HackensackSchickele/PDQ Bach Throw the Yule Log onSchütz Ehre sei dir, ChristeSimeone Jingle BellsSleeth Joy In the MorningStanford Beati quarum via (SSATBB)Stanford Coelos ascendit hodie Stanford Justorum animaeStonehill Shut De DoShaw/Parker My Dancing Day

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Shaw Set Down ServantShaw/Parker Fum, Fum, Fum Smith Ride The ChariotStainer God So Loved The World Stevens Like As The Culver (SSATB)Sweelinck Hodie Christus Natus Est (SSATB)Tallis If Ye Love MeTallis O nata lux (Incarnate Light)Thompson AlleluiaThompson Choose Something Like A StarThompson Glory To God In the HighestThompson The Last Words Of DavidThompson The Road Not TakenThompson The Best Of RoomsToch Geographical FugueVaughan Williams Ca' The YowesVaughan Williams Five English FolksongsVaughan Williams For All The SaintsVaughan Williams GreensleevesVaughan Williams Linden LeaVaughan Williams Loch Lomond (SSATB)Vaughan Williams O Clap Your HandsVaughan Williams The Old Hundredth Psalm TuneVaughan Williams Pilgrim Journey Vaughan Williams The Turtle Dove (SSATB)Vaughan Williams Valiant-For-TruthVictoria O Magnum Mysterium Victoria O Vos OmnesWesley, S.S. Lead Me, LordWesley, S.S. Wash Me ThroughlyWilberg I'll Ay Call In By Yon TownWilberg My Love's In GermanyWilberg O Whistle And I'll Come To YeWilhousky Battle Hymn Of The RepublicWilhousky Carol Of The BellsWillan Hodie Christus natus estWillan, Healey Rise up, my love, my fair oneWillan Healey The Three KingsYon Gesu BambinoYoung Now Sing We Joyfully Unto God Young To Him We Sing (SSAATTBB)Zimmerman Psalm 100

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Annotated Bibliography of Selected Choral Conducting ResourcesCompiled by Dr. John W. Hugo

Bunch, Meredith, Dynamics of the Singing Voice. 2nd ed. New York: Springer-Verlag, 1993. Through 68 figures describing the musculature of singing and descriptions of the processes used, Bunch gives a very thorough account of the way the voice is designed to work, and especially good accounting of the psychological factors of singing. There is considerable debunking of commonly held notions about singing, based on solid scientific data. An excellent book, highly recommended.

Decker, Harold, and Herford, Julius. Choral Conducting: A Symposium. Englewood Cliffs, NJ: Prentice-Hall, Inc. 1973. There have been further printings. This book is a classic and indispensable resource for information on Choral Tone, The Choral Rehearsal, Early Twentieth Century Choral Music, and score study. It also has an excellent bibliography for the choral musician. Contributors include Swan, Pfautsch, Collins, Moe, Herford, and J. G. Smith.

Doscher, Barbara M. The Functional Unity of the Singing Voice. Metuchen, NJ: Scarecrow Press, 1988. Another classic work, with a typeface and format that resemble Vennard’s works. Very useful yet technical text that is more valuable in the details than it is as a successful philosophical work. Highly recommended.

Garretson, Robert L. Conducting Choral Music. 8th ed. Upper Saddle River, NJ: Prentice-Hall, 1998. This book has been criticized roundly for its errors and inaccuracies, and yet it remains the classic text in many courses in choral conducting. It is however a text that has many good ideas and introduces sound procedures that really work well with choirs, despite the apparent lack of scientific accuracy: the methods worked very well for Garretson. Part of the trouble is that Garretson did not use what today is viewed as proper terminology in his writing. It is still a very good resource, especially for the young conductor precisely because it is not overly technical. It also has good repertoire lists and some of the same types of information that can be found in Roe’s Choral Music Education. Despite the criticism it has received, it is still a very good introductory text.

Jeffers, Ron. Translations and Annotations of Choral Repertoire, Volume I: Sacred Latin Texts. Corvallis, Oregon: earthsongs, 1988. This is an essential part of the church musician’s library, as it translates word for word all of the most commonly encountered Latin texts! It also contains other valuable liturgical data, a glossary of terms, and a pronunciation guide for Latin. Highly Recommended.

McKinney, James C. The Diagnosis and Correction of Vocal Faults: a manual for teachers of singing and for choir directors. Nashville, TN: Genevox Music Group, 1994.This is a classic work that can help the choir director understand how to identify and solve vocal problems in individuals. The approach is practical rather than scientific, and the advice is very useful and easily comprehendible. Highly recommended.

Miller, Richard. The Structure of Singing: System and Art in Vocal Technique. New York: Schirmer Books, 1986. The popular classic work by one of the world’s greatest scientific teachers of voice. The volume contains wonderful exercises for the development of the singing instrument as a unity. Much anatomical data and advice about vocal health is included. Not a bedside read, but a manual that every serious singing should pay attention to. Highly recommended.

Neuen, Donald. Choral Concepts. Belmont, CA: Wadsworth Group/Thomas Learning, 2002. Donald Neuen, protégé of Robert Shaw, has very strong opinions about choral music and the nature of the conductor’s character and dedication. He has a great passion for producing beautiful choral music and is himself a very dynamic conductor. His text is

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inspiring and offers a personal glimpse into the mind and heart of one of America’s leading choral conductors. Some of the concepts are advanced and the tone is often dogmatic, but the advice he gives certainly bears strong consideration. The text provides diction guides for Latin.

Robinson, Ray, and Winold, Allen. The Choral Experience: Literature, Materials, and Methods. New York: Harper’s College Press, 1976. This text focuses on several aspects of choral practice. Following a discussion of the development of choral singing, it discusses the changing role of the conductor throughout history. There follow chapters on Choral Sound, Diction, Rehearsal Techniques, General Musicianship, and Period Performance Practices. While not an exhaustive text, it is especially valuable for its discussion of performance practice issues in choral music.

Roe, Paul F. Choral Music Education. 2nd ed. Englewood Cliffs, NJ: Prentice-Hall Inc. 1983.This is the classic guide to conducting successful choral programs in school. It has advice about Junior High situations, Class Management, Rehearsal Techniques, and other topics of interest to both novice and veteran choral teachers.

Sandborg, Jeffrey, ed. English Ways: Conversations with English Choral Conductors. Foreword by John Rutter. Chapel Hill, NC: Hinshaw Music, Inc. 2001.This volume consists of a series of interviews with leading British choral conductors. It sheds light on the current state of choral philosophy in England. It is worth reading because it stimulates one’s thinking about key choral issues.

Shepherd, William, A Conducting Workbook. Belmont, CA: Wadsworth Group/Thomas Learning, 2002. This is a 21st century text on basic conducting! It comes with a CD-ROM video that takes you through the program text, so you can practice with a professional conductor the basic conducting patterns in a series of lessons. Good as a supplement, but not a substitute for a conducting teacher.

Smith, Brenda, and Sataloff, Robert Thayer. Choral Pedagogy. San Diego, CA: Singular Publishing Group, 2000. An interesting book for several reasons: (1) Dr. Smith’s style has a rhapsodic quality that can be inspiring, though somewhat less than scientific, (2) Dr. Sataloff provides an excellent technical explanation of what happens in the larynx during phonation, wit h many helpful diagrams, (3) Very good advice is given on the psychology of the choral rehearsal, (4) many creative ideas are presented which can help the young conductor develop a personal rehearsal style, (5) an excellent bibliography of books and articles is included. A good text for more advanced study or as a supplemental reference book.

Stanton, Royal. The Dynamic Choral Conductor. Delaware Water Gap, PA: Shawnee Press, 1971. A good text that seems a little old-fashioned now, be a text that sharpens the thinking of the conductor by the questions it raises and the level of commitment it inspires. It has many good rehearsal ideas.

Wall, Joan, and Robert Caldwell, Tracy Gavilanes, and Shiela Allen. Diction for Singers: A concise reference guide for English, Italian, Latin, German, French and Spanish pronunciation. Dallas, TX: PST…Inc., 1990. Fast becoming the favored basic diction text, this work provides extremely valuable information to the choral professional, especially regarding certain common Latin texts. If you don’t know the languages, and even if you do, this is an excellent source of information and should be in every singers library. Highly recommended.

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Expanded Basic Bibliography for Choral Conductors

Boyd, Jack. Rehearsal Guide to the Choral Director. Champaign, IL: Mark Foster Music Company, 1977. [MT88.B82R4 1977]

Corp, Ronald. The Choral Singer’s Companion. New York, New York: Facts on File Publications, 1987. {MT875.C681987]

Darrow, Gerald F. Four Decades of Choral Training. Metuchen, NJ: Scarecrow Press, 1975.[MT 875.D23]

Davison, Archibald T. Choral Conducting. Cambridge, Massachusetts: Harvard University Press, 1950. [MT85.D28C4]

Davison, Archibald T. Choral Arranging. Cambridge, Massachusetts: Harvard University Press, 1945. [MT70.5.D35]

Decker, Harold, and Herford, Julius, eds. Choral Conducting: A Symposium. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1973. [Contributors include Swan, Pfautsch, Collins, Moe, Herford, and J. G. Smith.)] [MT85.C444 1988]

Ehmann, Wilhelm. Choral Directing. Translated by George D. Wiebe. Minneapolis, Minnesota: Augsburg Publishing House, 1968. [MT85.E413]

Emmons, Shirley, and Chase, Constance. Prescriptions for Choral Excellence. New York: Oxford University Press, 2006. [MT875.E.46]

Finn, William J. The Art of the Choral Conductor. Two Volumes. Evanston, Illinois: Summy-Birdhard Company, 1960. [MT85.F52]

Finn, William J. The Conductor Raises His Baton. London: Harper & Brothers, 1944. [MT85.F525]

Garretson, Robert L. Conducting Choral Music. 8th ed. Upper Saddle River, NJ: Prentice-Hall, 1998. [MT.GG175C6 1993]

Green, Jonathan D. A Conductor’s Guide to Choral-Orchestral Works, Classical. Lanham, Maryland: Scarecrow Press, 2002. ML128.C48 G703 2002

Green, Jonathan D. A Conductor’s Guide to Choral-Orchestral Works [20 th Century, Part I],

Classical. Lanham, Maryland: Scarecrow Press, 1994. ML128.C48G7

Green, Jonathan D. A Conductor’s Guide to Choral-Orchestral Works, Twentieth Century, Part II. Lanham, Maryland: Scarecrow Press, 1988. ML128.C48G7 1994

Hammer, Russell A. Pragmatic Choral Procedures. Metuchen, NJ: Scarecrow Press, 1984. [MT875.H18 1984]

Hawkins, Margaret. An annotated inventory of distinctive choral literature for performance at the high school level. Tampa, Florida: American Choral Directors Association, 1976.

Heffernan, Charles W. Choral Music. Engelwood Cliffs, NJ: Prentice Hall, Inc., 1982. [MT875.H33]

Howerton, George. Technique and Style in Choral Singing. New York, NY: Carl Fischer, Inc.,

90

1957. [MT 875.H85]

Kaplan, Abraham. Choral Conducting. New York, NY: W. W. Norton and Company, Inc., 1985. [MT85.K3278 1985]

Kohut, Daniel L. Learning to Conduct and Rehearse. Upper Saddle River, NJ: Prentice Hall, Inc., 1990. [MT85.K683 1990]

McElheran, Brook. Conducting Technique For Beginners and Professionals New York: Oxford University Press, 1966. [MT85.M124C7 1966]

McKinney, James C. The Diagnosis and Correction of Vocal Faults. Rev. ed. Nashville, TN: Genevox Music Group, 1994. [MT820.M44 2005]

Neuen, Donald. Choral Concepts. Belmont, CA: Wadsworth Group/Thomas Learning, 2002.

Plank, Steven E. Choral Performance: A Guide to Historical Practice. Lanham, Maryland: Scarecrow Press, 2004. [MT875.P53 2004]

Robinson, Ray, and Winold, Allen. The Choral Experience: Literature, Materials, and Methods. New York: Harper’s College Press, 1976. [MT88.R7]

Roe, Paul F. Choral Music Education. 2nd ed. Englewood Cliffs, NJ: Prentice-Hall Inc., 1983. [MT930.R65 1983]

Sandborg, Jeffrey, ed. English Ways: Conversations with English Choral Conductors. Foreward by John Rutter. Chapel Hill, NC: Hinshaw Music, Inc. 2001. [ISBN 0-937276-26-X]

Shepherd, William, A Conducting Workbook. Belmont, CA: Wadsworth Group/Thomas Learning, 2002.

Smith, Brenda, and Sataloff, Robert Thayer. Choral Pedagogy. San Diego, CA: Singular Publishing Group, 2000. [ISBN 0-769-30051-0]

Stanton, Royal. The Dynamic Choral Conductor. Delaware Water Gap, PA: Shawnee Press, 1971. [MT85.S82]

Summer, Robert J. Choral Masterworks from Bach to Britten: Reflections of a Conductor. Lanham, Maryland: Scarecrow Press, 2007. [ML1500.S86C53 2007]

Thomas, Kurt. The Choral Conductor. English Adaptation by Alfred Mann and William H. Reese. New York, New York: Associated Music Publishers, 1971. [MT85.T513]

Willetts, Sandra. Upbeat Downbeat: Basic Conducting Patterns and Techniques. Nashville, TN: Abingdon Press, 1993. [MY85.W59 1993]