Wednesday, March 28, 2007
You may live this life exercise....
SLOW DOWN!
Tuesday, March 27, 2007
Springtime
I am Very Thirsty
A Trees Life
Now imagine the coming of fall, your leaves are turning colors and beginning to fall. Shake the leaves from your branches, (allow your head to move back and forth and sideways gently, roll your shoulders, shake each arm and each leg). Once the leaves are gone winter arrives causing you to become stiff with cold "brrrrrrrrrrrrr", stiffen every muscle like you are one big frozen hard block of wood. Then spring comes with its strange mixture of summer warmth and winters cold. Relax your outstretched limbs and let them sway in the warmth a bit, then stiffen them like winter, and repeat (relax, stiffen, relax, stiffen). Until finally the warm summer once again arrives and you can freely stretch yourself and reach once again to the welcoming sun (sigh). The End.
A Lesson From Children
THE END
Monday, March 26, 2007
The Wonderful World of Wetness
It is a warm, wet day, and you walk outside with your hands held high in the air exclaiming, “I love the rain because that means spring is near!” You walk very carefully to dinner, tiptoeing in the streams that are pouring down the sidewalk. You realize that your shoe is untied, so you reach down and tie it so that it doesn’t get all wet. You continue walking and see your friend up ahead of you. You shout to her to wait. “Hello! Wait for me!” You pick up your pace and begin swinging your arms as you walk. The water is splashing on you now, but you say, “Who cares!” because you love the rain and can’t wait to get to dinner. You look up to the sky and hold out your tongue, trying to catch the large rain drops as they fall from the sky. You finally catch up to your friend right as she enters the doors of the student center. You walk inside, shake off to try to get dry, and then let out a happy sigh because you finally get to go to dinner after a long day of classes!
Wake Up!
A walk in the woods
Quiz Twelve Scores "soop!"
daddyzlittleangel - 17/17
dreams - 17/17
Flossy - 17/17
Jillian - 17/17
maviecestmusique - 17/17
patato splat - 17/17
Shoedeedoodoo - 17/17
Thedairyqueen - 17/17
Yah knah, wah'll goh ahp [up] thah rohd and visit Marco! God bless him, yah knahw [know]! He's had a tahgh [tough] two or tree days, yah knahw! He needs tah drink some hahmade soop!
Quiz [Open Book] Chapter 15
International Phonetic Alphabet
2. [T or F] IPA exists in order to speak and sing English correctly, and to find one’s way into foreign languages. [106]
3-4. If the conductor is able to teach his choir clean diction, he has already solved one of the biggest problems in choral singing: blending the sound. [106]
5. [T or F] A pure vowel is a vowel sound that remains unchanged throughout its duration. [108]
6. [T or F] From our experience, the best help for amateurs in singing a dipthong is to instruct the singers to sing only the first vowel and not even to think the second one. [108].
7. When vowels are sung, it is sometimes necessary to change them in order for them to blend and sound correct to the listener. That is called vowel modification. [110]
8-12. Write out the five basic pure vowels the way in which they were spelled in the text. [110]
oo, oh, ah, eh, ee
9-12. Match the IPA symbols with their appropriate “key word.” [106-107]
9. father [a]
10. remember [see text]
11. she [i]
12. it [I]
13. paw [see text]
14. The tongue should feel like a ___ _____ lying on the floor the mouth:A. a slinky B. a wet towel C. a wooden board D. a wet sponge [110]
15. What consonant is substituted for the flipped “r”? A. “t” B. “d” C. “p” D. a growled back throated “r” [111]
16. [T or F] The “L” should be articulated so that the middle of the tongue is arched pronouncing the sound in the mid-mouth. [112]
17. [T or F] Teaching the schwa for singing requires teaching a variation of different sounds in order to achieve the proper choral blend. [113]
Packing and posture
Wednesday, March 21, 2007
Snowed in...
Thursday, March 15, 2007
Chamber Singers Relaxation Exercise Vignette March 15
Tuesday, March 13, 2007
Chamber Singers Relaxation Exercise Vignette March 13
Monday, March 12, 2007
March 12 - Integrating Life Into Your Art!
daddyzlittleangel - Present
dreams - Present
Flossy - Present
Jillian - Absent
maviecestmusique - Present
patato splat - Present
Shoedeedoodoo - Present
Thedairyqueen - Present
OK! So we're all learning from Frauke's little collapsible horse. Strange little toy isn't it? She invites us to sing. Integrating life into her art. The trampoline. the laser beam, the train ch ch ch, the old woman, the shoulder-back solider, the apple with your neck as the stem, the crystal vase you don't want to break. She thoroughly integrates life into her art. That is the big idea from watching her. Integrate life into your art.
Quiz Eleven Scores
daddyzlittleangel - Absent
dreams - Absent
Flossy - 8/10
Jillian - 10/10
maviecestmusique - 9/10
patato splat - 11/10
shoedeedoodoo - 11/10
Thedairyqueen - 8/10
The big idea [in two parts] last Thursday was: Leaps require intensified support and a lowered jaw. What in the the world does intensified support mean? It simply means that flexible diaphragmatic pushes result in a pressurized breath flow [your text refers to this as the greater speed of the air or intensified air]. Will you sing the upper voice without a pressurized exhalative breath flow? No, it just won't happen.
Dropping the jaw is something that studio trained singers don't have to worry with to the same degree as the amateur choral singer. Why? Because the studio trained singer can create the needed space [opening] inside the mouth; however amateurs will need to think of space in a greater way in terms of dropping the jaw. Remember, failure to do this will result in a pushed sound or an out of tune sound. Mark your choral scores [p. 94] with circles, depending on the kind of jaw needed for the various vowels in the score. You can see as the range climbs, the circles are larger. Good class. See you this afternoon upstairs.
Quiz Chapter Thirteen
2-4. Many times leaps cross register breaks or move into registers which require more:
Support [93]
Maintenance of consistency between registers [93]
Vowel Modification [93]
5-6. Which are the two major steps for executing leaps.
Support [93]
Drop the jaw [94]
7. [T of F] For an upward leap, the choir must be taught to decrease their airflow to perform the leap. [93]
8. [T or F] The larger the interval leap that is sung, the greater the speed or the intensity of the air must be in order to sing that leap. [93]
9. [T or F] The larger the leap, the lower and wider the support must become. [94]
10. What is the quality of sound [could be one of two things] that results when the jaw is not opened on a leap. [94]
pushed sound
frequently out of tune sound
Friday, March 9, 2007
Chamber Singers Relaxation Exercise Vignette March 9
Thursday, March 8, 2007
Chamber Singers Relaxation Exercise Vignette March 8
Wednesday, March 7, 2007
Quiz Ten Scores
daddyzlittleangel - 12/11
dreams - 10/11
Flossy - 7/11
Jillian - 11/11
maviecestmusique - 12/11
patato splat - 11/11
shoedeedoodoo - 9/11
Thedairyqueen - Absent
The big idea: Your singers throats will respond to conductor's hands. Yes, lower conducting when the students are singing higher is very good; however if your hands are tense as a conductor, the choral sound will reflect the tension seen in the hands. Instrumentalists conducting choral, in my opinion, need to be careful of this. I think that is why a baton does not communicate like the hands can for choral singing.
Stephanie,
Good imagination. Invite us with your body and voice. Teach by way of sending an invitation for those to participate in something that is beautifully compelling. Notice how Frauke does that as she teaches her groups vocal technique. You guys are doing great work. It's a fun class!
Quiz Chapter Twelve
2. Low tones are: A. unnatural B. natural C. supernatural D. Sensual [89]
3. Therefore: A. do B. do not C. always D. never push out to much breath. [89] [B or D]
4. Start the tone as one starts the tone on a: A. Kazoo B. Cello C. Violin D. Mandolin E. The postmodern deconstructive language approach – “Any of these! Sure, they all work!” [89]
5-6. Circle the two exercises not mentioned in the list for developing high range in singers:
a. Stepwise runs
b. Broken ascending triadic chords
c. Sing slowly
d. As the singers t0 make a physical motion contrary to the direction in which they are singing
e. Producing pitches without awareness of how high they are singing
f. Change the vowel to “ee” in the upper voice [90]
7. For every jump, ask the singer to imagine: A. faster air B. slower air C. stagnant halitosis air D. Holding air [90]
8. What vowel should one change to when working the upper voice in range extension high? A. oo B. ee C. ah D. eh [90]
9. For downward range extension, the conductor should ask for: A. fishmouth B. rabbit teeth C. fishmouth and rabbit teeth D. big mouth and buck teeth [91]
10. For downward range extension, the conductor should use what stepwise exercise? A. 3 note B. 4 note C. 5 note D. sticky note [91]
11. [T or F] The conductor should always minimize the feeling of singing high by conducting low. [91]
Bonus: The big idea for Thursday was captured with the sound of a[n]:
A. Owl B. Dog C. Cow D. Hum E. Call