AM19 - 14/13
daddyzlittleangel - 10/13
dreams - 14/13
Flossy - 11/13
Jillian - 14/13
maviecestmusique - 10/13
potato splat - 14/13
shoedeedoodoo - 11/13
Thedairyqueen - 10/13
I thought we had a fine time this afternoon. There are two big ideas that dominated the atmosphere of the class. "Abiding" in these ideas will be our goal.
1. The head voice call. Jillian did a great job in her life activity exercise of using snatches of dialogue that we could all call back in the head voice. "Oh no! My tire is flat! Oh Well, I guess I'll go back to sleep!" Remember that head voice is high palate. It's up space created with the palate, not back and down space created with the tongue.
Remember that when you are calling, "the blinds can't be down." I opened the blinds so that we could see the mountain and call to that far away distance. If there's not a window, create one in the singer's imagination so that they can call somewhere. ["Hallelujah" and "Hosianna"] Don't forget the head voice call.
2. Diaphragm pushes in the upper voice. We'll work more on this later; however suffice it to say that bel canto singing is impossible without flexible pushes. Singing in the upper voice is impossible without this connection. Breath pressurization is impossible without it.
I love you. I am praying for you. Jillian, the energy and life you brought to your exercise was wonderful. We were with you. You stayed with your vignette. As was mentioned your exercise had a good shape. You took us from sleep to sleep. Now if I have a flat tire, I'll have a new attitude. I'll know that I can crawl back into my bed and sleep. I'm not sure what to tell you about the neck stretches you did:
1. Stay within the vignette and demonstrate
2. Jump out of the vignette for a moment and describe what you want them to
3. Find a body movement that correpsonds with the life activity you are describing.
I think 3 is the best if you can do it.
Doc
"None is righteous, no, not one; no one understands; no one seeks for God." Romans 3:11
Monday, February 5, 2007
Quiz Chapter Five
1. Vocal pedagogy could make a major step forward by using “exact” language. Which of the following expressions properly illustrate this “precise” language?
A. “Support the voice” B. “Sing on the breath” C. “Place the voice” D. None of these E. All of these [43]
2-3. Choose from the following list below and put them in the blanks to complete the following sentence. The correct word must be placed in the correct blank. In other words, if one of the correct words is chosen and put in the wrong place, the answer will be wrong.
The greater volume employed by the singer, the more the vowel will be modified from the basic word concept. [43]
1. consonant 2. vowel 3. equalized 4. modified 5. placement 6. supported 7. distorted 8. dynamics 9. line
4. Which comes first: A. Expanding the vocal tract B. Vowel modification [44]
5. Which of the following was not one of the three areas “that frequently carry tension and consequently affect vocal sound? A. jaw B. neck C. tongue D. shoulder E. A and C F. B and D [44]
6. Using the words “hallelujah” and “hosianna” your authors build resonance, support, and energy by teaching the: A. Yawn B. Relaxed Tongue C. Call D. Relaxed lips [45-46]
7. [T or F] Diaphragm “pushes” create tension in the singer and should be avoided on the ascending note as the leap occurs. [46]
8. On the upward leap, the choir simultaneously needs to A. Increase B. Decrease C. Maintain their support [46]
9. Which life activity was associated with “massaging” the soft palate? A. Cough B. Sneeze C. Snore D. Yawn [45]
10. With heavy jaw, what did your text ask you to imagine your jaw was full of? A. Heavy bone B. Heavy metal C. “He aint heavy, he’s my brother” D. Heavy brick [44]
11. Which [life -- oops, sorry about putting "animal"] activity exercise was not associated with tongue relaxation? A. Frogs catching flies B. licking whipped cream from the top of a Sundae C. drinking a glass of water D. None of these [45]
12. Which of the following were associated with the relaxation of the lips? A. A goldfish in a fishbowl at feeding time B. A cow eating grass C. The lips forming a tube and then relaxing C. Massaging the cheeks and lips forward as if kneading dough D. All of these E. A and B [45]
13. Did you read chapter 5 completely and fully for today? Yes
Bonus 1: On the blog I mentioned [Quiz 4 scores] that I thought the biggest idea from the class was: A. The conductor should continually create new vignettes for each relaxation exercise B. Think about the way you walk to the place from which you will conduct. C. Stay planted D. Eye contact with your students is vital E. Throw your speaking voice beyond the students F.Give singers more opportunity to inhale before asking them to exhale.
Bonus 2: Identify which of the above was Sarah’s critique of herself. [also referenced on the blog after-class comments] F. Give singers more opportunity to inhale before asking them to exhale
A. “Support the voice” B. “Sing on the breath” C. “Place the voice” D. None of these E. All of these [43]
2-3. Choose from the following list below and put them in the blanks to complete the following sentence. The correct word must be placed in the correct blank. In other words, if one of the correct words is chosen and put in the wrong place, the answer will be wrong.
The greater volume employed by the singer, the more the vowel will be modified from the basic word concept. [43]
1. consonant 2. vowel 3. equalized 4. modified 5. placement 6. supported 7. distorted 8. dynamics 9. line
4. Which comes first: A. Expanding the vocal tract B. Vowel modification [44]
5. Which of the following was not one of the three areas “that frequently carry tension and consequently affect vocal sound? A. jaw B. neck C. tongue D. shoulder E. A and C F. B and D [44]
6. Using the words “hallelujah” and “hosianna” your authors build resonance, support, and energy by teaching the: A. Yawn B. Relaxed Tongue C. Call D. Relaxed lips [45-46]
7. [T or F] Diaphragm “pushes” create tension in the singer and should be avoided on the ascending note as the leap occurs. [46]
8. On the upward leap, the choir simultaneously needs to A. Increase B. Decrease C. Maintain their support [46]
9. Which life activity was associated with “massaging” the soft palate? A. Cough B. Sneeze C. Snore D. Yawn [45]
10. With heavy jaw, what did your text ask you to imagine your jaw was full of? A. Heavy bone B. Heavy metal C. “He aint heavy, he’s my brother” D. Heavy brick [44]
11. Which [life -- oops, sorry about putting "animal"] activity exercise was not associated with tongue relaxation? A. Frogs catching flies B. licking whipped cream from the top of a Sundae C. drinking a glass of water D. None of these [45]
12. Which of the following were associated with the relaxation of the lips? A. A goldfish in a fishbowl at feeding time B. A cow eating grass C. The lips forming a tube and then relaxing C. Massaging the cheeks and lips forward as if kneading dough D. All of these E. A and B [45]
13. Did you read chapter 5 completely and fully for today? Yes
Bonus 1: On the blog I mentioned [Quiz 4 scores] that I thought the biggest idea from the class was: A. The conductor should continually create new vignettes for each relaxation exercise B. Think about the way you walk to the place from which you will conduct. C. Stay planted D. Eye contact with your students is vital E. Throw your speaking voice beyond the students F.Give singers more opportunity to inhale before asking them to exhale.
Bonus 2: Identify which of the above was Sarah’s critique of herself. [also referenced on the blog after-class comments] F. Give singers more opportunity to inhale before asking them to exhale
Wednesday, January 31, 2007
Quiz Four Scores
AM19 - 13/15
daddyzlittleangel - 16/15
dreams - 14/15
Flossy - 14/15
Jillian - 16/15
maviecestmusique - 16/15
patato splat - 16/15
shoedeedoodoo - 15/15
Thedairyqueen - 13/15
Sarah, very good work! You clearly stayed with your vignette keeping us focused on exhalation. Nice use of speaking head voice. We enjoy your presence. We feel welcomed!
Things to consider:
1. Think about the way you walk to the place from where you will conduct. What is your body telling everyone?
2. Stay planted. The fidgets [liturgical or otherwise] make the choral singer uncertain.
3. Eye contact with your students is vital from the very beginning of the rehearsal. [a welcoming smile is wonderful].
4. Even though you are establish eye contact with your students, throw your speaking voice [head voice] beyond the students.
5. I liked your observation that you might have given the students more opportunity to inhale before asking them to exhale using the life exercise. Remember what we said about how time moves in front of a group of singers. 15 seconds seems like an eternity. Allow space [as the singers move around the room is space, the back massage is space]; however know what dead space is so that talking will not intrude into your rehearsal. This is a delicate dance to step between the two.
Probably the biggest idea from today that I need to consider is: "The conductor should continually create new vignnettes for each relaxation exercise." So the question is this: Are you developing an awareness of the rhythm of life around you? Are you observing movement through life activity that will help you teach "beautiful singing" to your students.
Good class today! There was a lot of energy and interaction happening. I'm praying for each of you by name as I record your grades on the blog.
Doc
Romans 3:21-26
daddyzlittleangel - 16/15
dreams - 14/15
Flossy - 14/15
Jillian - 16/15
maviecestmusique - 16/15
patato splat - 16/15
shoedeedoodoo - 15/15
Thedairyqueen - 13/15
Sarah, very good work! You clearly stayed with your vignette keeping us focused on exhalation. Nice use of speaking head voice. We enjoy your presence. We feel welcomed!
Things to consider:
1. Think about the way you walk to the place from where you will conduct. What is your body telling everyone?
2. Stay planted. The fidgets [liturgical or otherwise] make the choral singer uncertain.
3. Eye contact with your students is vital from the very beginning of the rehearsal. [a welcoming smile is wonderful].
4. Even though you are establish eye contact with your students, throw your speaking voice [head voice] beyond the students.
5. I liked your observation that you might have given the students more opportunity to inhale before asking them to exhale using the life exercise. Remember what we said about how time moves in front of a group of singers. 15 seconds seems like an eternity. Allow space [as the singers move around the room is space, the back massage is space]; however know what dead space is so that talking will not intrude into your rehearsal. This is a delicate dance to step between the two.
Probably the biggest idea from today that I need to consider is: "The conductor should continually create new vignnettes for each relaxation exercise." So the question is this: Are you developing an awareness of the rhythm of life around you? Are you observing movement through life activity that will help you teach "beautiful singing" to your students.
Good class today! There was a lot of energy and interaction happening. I'm praying for each of you by name as I record your grades on the blog.
Doc
Romans 3:21-26
Quiz Chapter Four
1-2. Choose from the following list below and put them in the blanks to complete the following sentence. The correct word must be placed in the correct blank. In other words, if one of the correct words is chosen and put in the wrong place, the answer will be wrong.
“The singer uses his body to _______ life and _________ his art.” [36]
1. express 2. enjoy 3. support 4. sustain 5. develop 6. create 7. cultivate 8. manage 9. influence 10. micromanage
3. For the purpose of awakening the imagination, which kind of fruit did your author suggest you pick from a branch high up in a tree. A. Pear B. Orange C. Apple D. Grapefruit [38]
4. [T or F] The ribcage must be low to permit the correct functioning of the lungs and breathing mechanisms. [39]
5. [T or F] The experiences and demands of the artistic life will influence the everyday life of the singers. [36]
6. [T or F]. The conductor can ask for good posture from the choir only if he organizes the rehearsal so that the singers are standing for the entire rehearsal. [41]
7. [T or F] For younger choirs, it is often advantageous to allow them to sit for the rehearsal, since young bodies have difficulty withstanding the stress of standing for long periods of time. [41]
8. Because of the body’s muscular structure, the feet must be properly:
A. passive and passionate B. peaceful and pastoral C. Planted and placed D. perfectly placed E. Pretty and petted F. None of these [40]
9. [T of F] To maintain the choir’s attention, the conductor should continually create new vignettes [life activity] for each relaxation exercise. [39]
10-11. Circle the two purposes mentioned for the life activity exercises listed. [37-38]
[sorry, poor question -- 3 and 5 worked; 4 and 5 worked; basically it all worked]
1. Connect with the inner child 2. placement 3. awaken the imagination 4. communication 5. looseness and flexibility 6. real life is right 7. movement is freedom.
12-15. Did you read chapter 4 completely for today’s class?
Bonus: Which Version did I read the 23rd Psalm from this morning? I referred to it as the version that the Puritans and Pilgrims used: A. King James Version B. The Geneva Bible C. The Cotton Patch Bible D. The Great Bible
“The singer uses his body to _______ life and _________ his art.” [36]
1. express 2. enjoy 3. support 4. sustain 5. develop 6. create 7. cultivate 8. manage 9. influence 10. micromanage
3. For the purpose of awakening the imagination, which kind of fruit did your author suggest you pick from a branch high up in a tree. A. Pear B. Orange C. Apple D. Grapefruit [38]
4. [T or F] The ribcage must be low to permit the correct functioning of the lungs and breathing mechanisms. [39]
5. [T or F] The experiences and demands of the artistic life will influence the everyday life of the singers. [36]
6. [T or F]. The conductor can ask for good posture from the choir only if he organizes the rehearsal so that the singers are standing for the entire rehearsal. [41]
7. [T or F] For younger choirs, it is often advantageous to allow them to sit for the rehearsal, since young bodies have difficulty withstanding the stress of standing for long periods of time. [41]
8. Because of the body’s muscular structure, the feet must be properly:
A. passive and passionate B. peaceful and pastoral C. Planted and placed D. perfectly placed E. Pretty and petted F. None of these [40]
9. [T of F] To maintain the choir’s attention, the conductor should continually create new vignettes [life activity] for each relaxation exercise. [39]
10-11. Circle the two purposes mentioned for the life activity exercises listed. [37-38]
[sorry, poor question -- 3 and 5 worked; 4 and 5 worked; basically it all worked]
1. Connect with the inner child 2. placement 3. awaken the imagination 4. communication 5. looseness and flexibility 6. real life is right 7. movement is freedom.
12-15. Did you read chapter 4 completely for today’s class?
Bonus: Which Version did I read the 23rd Psalm from this morning? I referred to it as the version that the Puritans and Pilgrims used: A. King James Version B. The Geneva Bible C. The Cotton Patch Bible D. The Great Bible
Monday, January 29, 2007
Quiz Three Scores
AM19 - 8/11
daddyzlittleangel - 10/10
dreams - Absent
Flossy - 10/10
Jillian - 8/10
maviecestmusique - 11/10
potato splat - 11/10
shoedeedoodoo - 11/10
Thedairyqueen - Absent
Alright, it's true! Now you know that I can play "When the Saints Go Marching In" on the trumpet. Thank you Tim for supplying me with the trumpet. See, with encouragement you also can teach your students to accomplish such "brassy" feats! Sarah Lake will be our technician on Wednesday. I'm looking forward to that.
The big question [I think] for today was: Can you sing all parts of a piece of choral music without the ultimate aid of the piano? Do you flat out know all of the parts? Or are you relying on your accompanist to do what you should be doing in score preparation before the rehearsal begins? Remember the words of Wilhelm Ehmann: "The choir must suffer the consequences of each sin of omission on the part of the director!"
I'm praying for you guys!
Doc
daddyzlittleangel - 10/10
dreams - Absent
Flossy - 10/10
Jillian - 8/10
maviecestmusique - 11/10
potato splat - 11/10
shoedeedoodoo - 11/10
Thedairyqueen - Absent
Alright, it's true! Now you know that I can play "When the Saints Go Marching In" on the trumpet. Thank you Tim for supplying me with the trumpet. See, with encouragement you also can teach your students to accomplish such "brassy" feats! Sarah Lake will be our technician on Wednesday. I'm looking forward to that.
The big question [I think] for today was: Can you sing all parts of a piece of choral music without the ultimate aid of the piano? Do you flat out know all of the parts? Or are you relying on your accompanist to do what you should be doing in score preparation before the rehearsal begins? Remember the words of Wilhelm Ehmann: "The choir must suffer the consequences of each sin of omission on the part of the director!"
I'm praying for you guys!
Doc
Quiz Chapter Three
1. Sometimes choral directors cloak their ignorance of technique by: A. Using big words that scare people B. dealing directly [only with the interpretive element] C. Triumphing in their chest voice D. Trivializing technique
2. [T or F] There are no mysteries regarding the technical aspects of singing.
3. [T or F] There are times when words used to discourage students can be a productive tool for the pedagogue.
4. Vocal Pieces A. Should B. Should not necessarily be designed to accommodate a particular piece of literature to be rehearsed that day.
5. A conductor’s success within the rehearsal is directly related to: A. confidence B. Score preparation C. Accompanist proficiency D. Classroom discipline
6. [T or F] Vocal exercises should be taught with the help of the piano, giving the singer another level of audibility.
7-10. [ T or F] I read my assignment completely for today’s class.
2. [T or F] There are no mysteries regarding the technical aspects of singing.
3. [T or F] There are times when words used to discourage students can be a productive tool for the pedagogue.
4. Vocal Pieces A. Should B. Should not necessarily be designed to accommodate a particular piece of literature to be rehearsed that day.
5. A conductor’s success within the rehearsal is directly related to: A. confidence B. Score preparation C. Accompanist proficiency D. Classroom discipline
6. [T or F] Vocal exercises should be taught with the help of the piano, giving the singer another level of audibility.
7-10. [ T or F] I read my assignment completely for today’s class.
Wednesday, January 24, 2007
Quiz Two Scores
AM19 - 10/10
daddyzlittleangel - 10/10
dreams - 9/10
Flossy - 10/10
Jillian - 10/10
maviecestmusique - 10/10
patato splat - 5/10
shoedeedoodoo - 10/10
Thedairyqueen - 8/10
1. Remember that choral directors often choose choral music that is too difficult for their choirs. Bad singing results. The literature should facilitate beautiful sound making.
2. Is the body [posture] first prepared so that the teaching of the the singer's breath can be taught? Early morning and late afternoon rehearsals make it difficult for the vocal instrument. Women, are the costals expanded? Are you willing to keep working with the fundamentals until the muscle memory is secured? And don't forget -- EXAGGERATE!
daddyzlittleangel - 10/10
dreams - 9/10
Flossy - 10/10
Jillian - 10/10
maviecestmusique - 10/10
patato splat - 5/10
shoedeedoodoo - 10/10
Thedairyqueen - 8/10
1. Remember that choral directors often choose choral music that is too difficult for their choirs. Bad singing results. The literature should facilitate beautiful sound making.
2. Is the body [posture] first prepared so that the teaching of the the singer's breath can be taught? Early morning and late afternoon rehearsals make it difficult for the vocal instrument. Women, are the costals expanded? Are you willing to keep working with the fundamentals until the muscle memory is secured? And don't forget -- EXAGGERATE!
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