Middle School Choral Pedagogy & Reading Session by Dr. Mirna Y. Cabrera [email protected]

Beautiful Tone • Developing a beautiful choral sound takes time. • Start with head voice, descending 5-note pentachord. • Unify ensemble sound to attain tuneful singing, using free and open vowels from all singers. o Use pure vowel sounds. • Unify a) vowels, b) volume, c) vibrato (if present). In-tune singing principles • Identify instances when notes are most likely to go out of tune: o a) repeated notes o b) sustained notes o c) descending patterns. • Practice with a UNISON a cappella piece learned by rote with text, then solfege by discovery, then score. Add ostinati as part singing and for tuning purposes. UNISON piece in solfege by rote, a cappella, then score. Add ostinati as part singing and for tuning purposes. Directing • “Follow me” – All things are prepared in live music performance; each performance is slightly different from previous or future ones. As directors, our duty is to create organic performances where we get to influence our groups’ musical interpretation. In order to avoid a carefully-prepared choreographed performance (in opposition to an organic one), teach singers to understand that our gestures are meaningful and must be learned to follow. • By preparing the following elements, among others, we can create beautiful and meaningful performances. o Breath o Entries o Cut-offs o Dynamics o Tempo changes o Character changes/transitions o Rhythmic subtleties • Ultimately, our personal musicianship will carry us as we lead our groups. o Establish tempo before starting a piece, by hearing it first in your head. • TCD: Prepatory beat shows Tempo, Character, Dynamics. o Give one full beat only when bringing in a group together to sing (partial beat entries require we show the previous full beat). All must breathe together and learn to discern a director’s non-verbal cues. o Practice this until mastered. • Cut offs – create a point of intersection of two non-parallel fields, cutting off in character. Avoid circle cut-offs—a circle has no beginning nor end. Musicianship – Passing on the Gift • Passing on the gift of musicianship and music literacy should be thought as an investment in your group and one at large. It requires time but bears endless fruit. • In the beginning, all groups can be treated as older beginners of musicianship. o If they are advanced, they can progress immediately through the tonal and rhythmic elements and treat the older beginner lesson as review.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 1 o If they are less experienced, they will need more time to master each of the elements, while gradually progressing. • Training our singers’ musicianship and developing their listening skills will develop their inner ear and ultimately, music reading readiness and musical independence. o Gradually breaking down a score as much as possible before handing it to them, will guarantee a successful first read, later allowing more time to master all the other musical elements. • Vowel unification is essential at all times, and part of musicianship and tuning. o Teaching singers the vowel placement principles of the five pure vowels must be paired with close monitoring of improvements and challenges in every rehearsal. • Selecting appropriate and high-quality repertoire is essential to each singer’s musical education, emotional development, and furthering of their technique. Folk song arrangements are preferable for beginning repertoire since their melodies have been a) o o Teaching singerso Teaching the vowel singers placement the vowel principles placement of the principles five pure of vowels the five must pure be vowels paired mustwith be paired with composed through closeoral intergenerational monitoringclose of improvementsmonitoring tradition, b)of areimprovementsand a challengesfamiliar element andin every challenges to rehearsal.the culture in every rehearsal. surrounding us, and c) stood the test of time. • Selecting appropriate• Selecting and appropriate high-quality and repertoire high-quality is essential repertoire to each is essential singer’s to musical each singer’s education, musical education, Folk repertoire can serve as vehicles to mastery of art music, including world music repertoire. o emotional development,emotional and development, furthering andof their furthe technique.ring of their technique. o Use pop/Disney music sparingly. o Folk song arrangementso Folk song are arrangements preferable forare beginningpreferable repertoirefor beginning since repertoire their melodies since theirhave melodiesbeen have been • Pitching warm-ups in highera) keyscomposed will expand througha) composed singers’ oral intergenerational throughrange and oral help intergenerational tradition,them shift b) smoothly are tradition, a familiar into b) mixed element are a familiar to the elementculture to the culture resonance. surrounding us,surrounding and c) stood us, the and test c) of stood time. the test of time. If someone does not match at first, stick to this plan and they will eventually find their upper o • Pitching warm• -Pitchingups in higher warm keys-ups willin higher expand keys singers’ will expand range. singers’ range. range just by matching the group—group effort is a powerful tool. o If someoneo does If notsomeone match does at first, not stickmatch to at this first, plan stick and to they this will plan eventually and they will find eventually their upper find their upper Musicianship – Solfege Discovery through Warm-ups range just by matchingrange just the by group matching—group the effortgroup —is groupa powerful effort tool. is a powerful tool. • Vocal warm-upsMusicianship using do pentatonic Musicianship– Solfege scale Discovery tones – Solfege. through Discovery Warm through-ups Warm-ups m-r-d pattern on ‘oo’, preferably start in a higher key to develop range (E=do, ascend by whole o • Vocal warm• -upsVocal using warm do-pentatonic-ups using scaledo-pentatonic tones. scale tones. step). Have students show melodic contour by moving hands according to pattern. o m-r-d patterno onm -‘oo’,r-d pattern preferably on ‘oo’, start preferably in a higher start key in to a develop higher keyrange to (developE=do, ascend range (byE=do, ascend by § Students can show melodic contour by moving hands according to pattern. whole step). Havewhole students step). showHave melodicstudents contourshow melodic by mov contouring hands by accordingmoving hands to pattern according. to pattern. o Ask: “How is this musical pattern moving?” (down). “Are the notes close to each other or do you o Ask: “Howo is thisAsk: musical “How ispattern this musical moving?” pattern (down). moving?” “Are the (down). notes “Areclose theto eachnotes other close or to do each other or do hear skips?” (Close to each other. Label them as ‘moving by step’). T labels the tones + Curwen you hear skips?”you (Close hear skips?”to each (Closeother. Label to each them other. as ‘movingLabel them by asstep’). ‘moving T labels by step’). the tones T labels + the tones + hand signs (mrd), Sts sing back. Write tones on tone ladder on board, point to ladder on each set. hand signs (mrdhand), Sts signs sing (back.mrd), WriteSts sing ton back.es on Writetone ladder tones on toneboard ladder. on board. Tone body placement: do-waist, re-cross arms across the chest, mi-shoulders. T. sings improvised patterns,o Sts sing _m_ back _|m _ |using body placement of tones. _r_| _r_|m m r r _d_| _dd_ | d

o Extend to m-s-mo. TExtend sings mi to ‘oo’mo- s -mimExtend. (usingT sings to F mmi or-s -‘oo’Gm .as T mi dosings (using). Sts mi show F‘oo’ or Gmimelodic as (using do) .contour. AskF or: G“Are asAsk do the: )“Are. notesAsk : “Aremoving the bynotes step moving by step the notes moving byor step by skip?” or by skip?”(Singor by it( Sing skip?”slowly it slowly (soSing they it so slowlyhear they a hearskipso they a[if skip theyhear [if answera theyskip answer[if “next they to“next answer each to other,” “next tothen each sing other,” then sing each other,” then singmi- mifa -onfa ‘oo’on ‘oo’ andmi and- sayfa onsay ‘this ‘oo’ ‘this is and a is step; asay step; T‘this sings T singsis ami step; ‘oo’mi ‘oo’T mi sings, miask, miask again, ‘oo’ again, bymi ,nowby ask now theyagain, will by hearnow thethey will hear the they will hear the skip)skip).. T T labels labels theskip). the new new T tone labelstone + + Curwenthe hand new sign. handtone Sts +sign. singhand Sts back. sign. sing WriteSts back. sing new Write back. tone new Write on tone new ladder tone on tone ladder on tone on tone ladderboard on board.. Review Review boardby singing by. Reviewsinging ascending byascending singing & descending &ascending descending pattern& descending pattern d r md r smpattern m s r md. d rr d.m s m r d. Tone body placement: so-head . T. sings improvised patterns, Sts sing back using body placement of tones/Curwen hand signs. _s_ | _s_ | __ | __| s

_m_| _m_| m _r_| _r_| r d _d_| _d_| o Extend to la above sol. T sings m-s- ‘oo’-s – m, students show melodic contour with hands while

singing. Ask: “Is this tone higher or lower than so? (Higher). Is it a step or a skip above so? Extend to la above sol. T sings m-s- ‘oo’-s – m, students show melodic contour with hands (Step). T sings patterno and labelso theExtend new totone la above+ hand sol sign.. T singsWrite m new-s- ‘oo’tone- son – tonem, students ladder onshow melodic contour with hands while singing. Ask:while “Is singing. this tone Ask: higher “Is this or lowertone higher than so or? lower(Higher). than Is so it? a(Higher). step or a Isskip it a above step or a skip above Middle School Choral Pedagogy & Reading Sessionso? (Step)., Dr. Mirna T Y. sings Cabreraso? (Step).pattern T and sings labels pattern the newand labelstone + the hand new sign. tone Write + hand new sign. tone 2Write on tone new ladder tone on tone ladder on board. Sts singon board.back the Sts pat singtern back m thes l s pattern m. m s l s m.

_ l _ | _l_| _ s _ | _s_ | __ | __| l s _m_| _m_| m _r_ | _r_| r d board. Sts sing back the pattern m s l s m. Tone body placement: la-arms above head. T. sings improvised patterns, Sts sing back using body placement of tones/Curwen hand signs. _ d _ | _s_ | _d_ | o Practice __| the do pentatonic scale; use body lplacement for tones: do-waist, re-cross arms across the chest, mi-shoulders, so-head, la-armss above head. Practice: T. sings improvised patterns, o Practice the do pentatonic scale; use body placement for tones: do-waist, re-cross arms across _mSts_| sing back using body placement of tones. the chest, mi-shoulders, so-head, la-marms above head. Practice: T. sings improvised patterns, _r_o|Sts T. sing sings back descending using body do placement pentatonic of scale, tones. adding low la on ‘oo’. Ask: “Is this tone below or above the final do? Sts: below.r T. “Let’s call it ‘low’. Repeat singing descending do pentatonic o T. sings descending do pentatonicd scale, adding low la on ‘oo’. Ask: “Is this tone below or _d_| scale. T. Ask: Is this low tone a step or a skip from do? Answer: a skip. Repeat do pentatonic above the final do? Sts: below. T. “Let’s call it ‘low’. Repeat singing descending do pentatonic o T. sings descendingscale, ascending do pentatonic & descending. scale, adding T. Ask:low la “Does on ‘oo’. this Ask: low tone“Is this sound tone like below one orof abovethe higher tones scale. T. Ask: Is this low tone a step or a skip from do? Answer: a skip. Repeat do pentatonic the final do? Sts:on this below. scale?” T. “Let’s Sts: Sounds call it ‘low’.like a lowRepeat la. Labelsinging by descending T. singing itdo once pentatonic alone, ascending.scale. T. Write scale, Practice ascending the do & pentatonicdescending. scale; T. Ask: use “Doesbody placement this low tone for tones:sound dolike-waist, one of re the-cross higher arms tones across Ask: Is thiso lownew tone tone a stepon tone or a ladder skip from on board. do? Answer: Sts. Sing a skip.back. RepeatPlace low do pentatonicla, on thigh. scale, Practice: T. sings on thisthe chest,scale?” mi Sts:-shoulders, Sounds likeso-head, a low la la.-arms Label above by T. head. singing Practice: it once T. alone, sings ascending.improvised Write patterns, ascending & descending.improvised patterns,T. Ask: “Does Sts sing this back low using tone soundbody placement like one of of the tones. higher tones on this newSts tone sing on back tone usingladder body on board. placement Sts. Sing of tones. back. Place low la, on thigh. Practice: T. sings scale?” Sts: Sounds like a low la. Label by T. singing it once alone, ascending. Write new tone on improvised T. sings patterns,descending Sts do sing pentatonic back using scale, body adding placement low la of on tones. ‘oo’. Ask: “Is this tone below or tone ladderl o on board. Sts. Sing back. Place low la, on thigh. Practice: T. sings improvised above the final do? Sts: below. T. “Let’s call it ‘low’. Repeat singing descending do pentatonic patterns,l Stss sing back using body placement of tones/Curwen hand signs. scale. T. Ask: Is this low tone a step or a skipl from do? Answer: a skip. Repeat do pentatonic s scale, ascending & descending. T. Ask: “Doess this low tone sound like one of the higher tones l on this scale?” Sts: Sounds like a low la. Label by T. singing it once alone, ascending. Write m s r new tone on tone ladder on board. Sts.m Sing back. Place low la, on thigh. Practice: T. sings m r d improvised patterns, Sts sing backm using body placement of tones. r d r d l d l, l, s l, l o T. sings descending dol, pentatonic scale, adding low sol on ‘oo’. Ask: “Is this tone below or s T. sings descendingabove lowdo pentatonic la,? Sts: below. scale, T.adding “Let’s low call sol it on‘low’. ‘oo’. Repeat Ask: “Is singing this tone descending below or do above pentatonic o o mT. sings descending do pentatonic scale, adding low sol on ‘oo’. Ask: “Is this tone below or low la,? Sts: below.scale. T. T. Ask: “Let’s Is callthis itlow ‘low’. tone Repeat a step orsinging a skip descending from la,? Answer: do pentatonic a step. scale. Repeat Ask: do pentatonic rabove low la,? Sts: below. T. “Let’s callm it ‘low’. Repeat singing descending do pentatonic “Is this low tonescale, a step ascending or a skip & belowdescending. la,? Answer: T.r Ask: a“Does step. Repeatthis low do tone pentatonic sound like scale, one ascending of the higher tones dscale. T. Ask: Is this low tone a step or a skip from la,? Answer: a step. Repeat do pentatonic & descending.on T. this Ask: scale?” “Does Sts: this Sounds low tone like soundd a low like sol .one Label of theby T.higher singing tones it onceon this alone, scale?” ascending. Sts: Write scale, ascending & descending. T. Ask: “Does this low tone sound like one of the higher tones Sounds like anew low tonesol. Labelon tone by ladder T. singing on board. it once Sts. alone, Sing ascending. back. Place Write low sol,new on tone knees. on tone Practice: T. sings l,on this scale?” Sts: Sounds like a low sol. Label by T. singing it once alone, ascending. Write ladder on board.improvised Sts. Sing patterns, back. Place Sts singlowl sol,back on using knees. body Practice: placement T. sings of tones. improvised patterns, new tone on tone ladder on board. Sts. Sing back. Place low sol, on knees. Practice: T. sings Sts sing back improvised using body patterns, placement Sts sing of tones back/Curwen using body hand placement signs. of tones. l o T. sings descending do pentatonic scale, adding low sol on ‘oo’. Ask: “Is this tone below or above low la,? Sts: below. T. “Let’s call it ‘low’. Repeat singing descending do pentatonic l s l scale. T. Ask: Is this low tone a step or sa skip from la,? Answer: a step. Repeat do pentatonic s l scale, ascending & descending. T. Ask: “Does this low tone sound like one of the higher tones on this scale?” Sts: Sounds like a lows sol. Label by T. singing it once alone, ascending. Write m m new tone on tone ladder on board.r Sts. Sing back. Place low sol, on knees. Practice: T. sings m r m improvised patterns, Sts singd back using body placement of tones. r d r d d l l, l, s s,l, l l, s, Folk Song Arrangement s, s s, • A do pentatonic• Since folk directors song will are allow constantly for the preparing group to tunenew repertoirewith more forease upcoming, and eventually performances, transition it is difficult to m m easily to diatonicfind majordo pentatonic scale. repertoire. I have provided some additional suggestions and for varied voicing. See • Since directorsr are constantly preparing newr repertoire for upcoming performances, it is difficult to • For the first choralhandout. piece I prepare with a group, I try to use a folk song arrangement containing a do find do dpentatonic repertoire. I have providedd some additional suggestions and for varied voicing. See pentatonic melody (even if it is not one we eventually perform, or which is partially pentatonic). handout. A Musicianshipcanon, learned by rote, can serve as a perfect introduction to singing polyphony while these o l, l elements• A do are-pentatonic taught consciously. folk song wis ll allow for the group to tune with more ease. For the first choral piece, I Musicianships, try to use a folk song arrangement containing a do pentatonic melody. If no octavos are available for a • A do-pentatonic folk song will allow for the group to tune with more ease. For the first choral piece, I Middle School Choraltry Pedagogy to use & Readinga folk Session song, Dr.arrangement Mirna Y. Cabrera containing a do pentatonic melody. If no octavos are available3 for a • If no octavos are available for a given group, there are other ways to implement do pentatonic folk song repertoire drawn from widely available folk song anthologies. o teach f.s. in unison o add a simple ostinato o add sustained pitches o sing as a round (all pentatonic songs work out in imitation).

Old Dan Tucker Arr. Leavitt 1. Old Dan Tucker’s a fine old man, Washed his face in a frying pan. Combed his hair with a wagon wheel, And died with a toothache in his heel. Refrain Get out the way, Old Dan Tucker, You’re too late to come for supper, Supper’s over and dinner’s cookin’ And Old Dan Tucker just standin’ there lookin’. 2. Old Dan Tucker he come to town, Swinging the ladies ‘round and ‘round. First to the right and then to the left, And then to the one that you love best. 3. Old Dan Tucker, he came to town, Riding a billy goat, leading a hound. Hound gave a yelp, the goat gave a jump And threw ol’ Dan right on his, So…

• Teach by rote, pitching higher, using correct vowels through modeling, correct style. Make each repetition a musical experience and an opportunity/new reason to discover a musical element after each performance of the song on each repetition. o Sing, keep beat o Sing, clap rhythm (Say: Let’s clap the words of the song with our hands, gently) o Sing, two groups, alternate beat/rhythm. o Repeat v. 1 until it is well learned. • Tones: T reviews do pentatonic scale learned earlier. Extract tones using tone placement with extended arms, isolate each of the patterns. Ask: “What tones do you hear?” Allow students to find out. Sing song again with text, when you reach that point, sing that section in tones. Extract another portion, repeat until the entire song is ‘discovered’ by all in tones. Sing/Clap rhythm, using solfege, showing contour. o Hand staff: Identify ‘do’ on space 2, etc. o T. touches the tones from the board using scale on staff (this will highlight the rhythms). § A few Sts can go up to the board and do it after T. § Teaching the concept of key signatures could be taught two different ways: 1) as they come up in repertoire (“when there are 3 sharps in the key signature, space 2, A, is do”), or 2) teaching the circle of fifths gradually.

Since directors are constantly preparing new repertoire for upcoming performances, it is challenging to re-use former do pentatonic repertoire. The handout included provides additional folk song arrangement suggestions for varied voicing.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 4 • Form: Isolating the phrases will allow for each musician to discover the overall structure of the song, going from large to small elements. o While singing, draw ‘rainbows’ in the air to isolate the ‘musical sentences’ (label concept: musical phrases). o Ask: “How many phrases do you hear?” All Sts show the answer by raising hand and showing the phrase number with their fingers while they make the shape of the phrase, and at the beginning of each phrase. Do again and confirm. (4)

• Beat representations: Ask: “How many beats are on phrase 1?” (Surprise questions keep students engaged. I always confirm answers—ask the same question for all phrases in the song). o While singing, T. write 4 rainbows on board while students sing and show ‘rainbows’ in the air, using text (it is useful to go back to text to review the original song, but solfege is okay if group is ready). o When completed, Sts keep beat on body while T draws beat representation under each phrase. § Extension activity: Sts can create their own stick notation score on regular paper, Phrase & beat representations following each item T introduces.

• T claps rhythm under each beat while all sing folk song (use first phrase only, at first, with slower tempo while discovering). • Ask: “How many sounds did you hear on the last beat of the first phrase?” Sts answer: 1. T sings phrase on ‘loo’ while clapping the rhythm, and on the last sound labels ta for quarter note: “When we have only one sound in a beat, we use the rhythm syllable ta. Sts practice doing this next.

______|__

• Ask: “Did you hear another beat on this phrase that also has only one sound?” Sts answer: 4th beat. T sings on ‘loo’ while clapping rhythm on top of each beat to confirm and singing ta when the rhythm appears. Sts practice doing this next.

______|______| ______|______|__

o Ask: “How many sounds did you hear on the second to last beat?” Answer: 2. (Write two rhythm stems on beat 7). o Ask: “Were there any other beats on this phrase where you also heard just two sounds?” Answer: Also on beats 1, 3, 5. Write two equally spaced stems on these beats. Confirm by singing and clapping again. Ask: “Were both sounds equally long?” Answer: Yes. (If they do not answer correctly, show it again with more emphasis). Sts gently clap the rhythm while listening to the T. sing (on ‘loo’) and clap rhythms, while singing ta and vocally label the new rhythm syllables, ta- di (ti-ti), (‘loo’ on unknown rhythms). Sts practice doing this next physically/orally/aurally.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 5

_|_|______|_|_ __|__ _|_|______|_|_ __|__

o Go back and beam up, explaining when there are two equally long sounds on the beat, they receive one straight beam. • Ask: “Did you notice other rhythms in this phrase that are not ta or ta-di? Answer: Yes. Ask: “Which beats?” Answer: 2 & 6. Ask: “How many sounds on beat 2?” Answer: 3. Isolate beat 2. Ask: “Are all the sounds equally long, or are there some that are shorter or longer than others? Clap again, while singing the text, if necessary. Answer: No, one is longer than the others. Ask: “Which one?” Answer: The third of the three sounds. T. claps & sings the entire phrase, using the new syllables. Label rhythm syllable ta- ka-mi. o Explain: Because the third sound is longer, we put more space between it and the first two sounds, and the short sounds will get two beams. T. writes the 3 stems representing 2 sixteenth notes and 1 eighth note. • Follow the same questioning process for beat 6, asking which of the three sounds is longer (the first). Label rhythm syllable ta-di-mi. o Explain: Because the first sound is longer, we put more space between it and the second and third sounds, and the short sounds will get two beams. T. writes the 3 stems representing 2 sixteenth notes and 1 eighth note. • Practice singing the whole phrase using rhythm syllables.

_|__|_ _|_|__|_ _|__|_ __|__ _|__|_ _| | |_ _|__|_ __|__

• Practice singing the whole phrase using rhythm syllables.

_|__|_ _|___|_|_ _|__|_ _|.__|_ _|__| |_ _| |_ _|__|_ __|__ • Phrase 3 has a new rhythm: sixteenth, eighth, sixteenth.

_| |_ |_ __|__ _|__|_ _|__|_ _|__|_ _|.__|_ _|__|_ __|__ • Phrase 4 has all known rhythms. Confirm, and sing in rhythm syllables.

_|__|_ _| |__|_ _|__|_ _| | |_ _|__|_ _| | |_ _| |__|_ _|_|_

• Review entire song (verse 1) using rhythm syllables, then solfege. Label the form of each phrase using letters. Ask if the second phrase is same/different from previous.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 6 • Meter: Find the strong beat of the song by patching strong beat on thigh, then snapping subsequent beats in the air. o Count how many beats in all until the pattern repeats (4). o Place accent mark on top of each ‘beat 1’ of the pattern. o Present concept of ‘meter’: a recurring pattern of beat groups that can be separated by a bar line. o Add bar lines after each four beats, erase accent mark. o Write ‘4’ to the left of the first phrase, and provide equivalent C, for common time. • Key change: Review new ‘do’ (B-flat—when there are two flats in the key signature, do is on line 3) on hand staff, then read from reduced staff below.

• Key change: Review new ‘do’ (C—when there are no sharps or flats in the key signature, do is on space 3, or middle C) on hand staff, then read from reduced staff below.

• Key change: Review new ‘do’ (D) on hand staff, then read from reduced staff below.

• Sight-read octavo, one verse at a time, melody first in unison, using solfege, then go back and add all the other elements found in the arrangement. • As could be expected, it is rare for a pentatonic folk song arrangement to include strictly pentatonic harmony throughout. This is a good opportunity to introduce the diatonic scale that includes fa (the tone between mi and so, moving by step), and ti (the tone between la and do, moving by step), using the same discovery process used above—physical, aural, visual. • Label concept of whole/step • Sing: do to re, whole step; re to mi, whole step; mi to fa, half step; fa to sol, whole step, etc. • Read: A major scale from staff. Practice on hand staff first if necessary.

• Read harmony portion (voice 2) from octavo (mm. 7-15) in A major. • Read: B-flat major scale from staff. Practice on hand staff first if necessary.

• Read harmony portions (alternating between voice 1 & 2) from octavo (mm. 19-26) in B-flat major.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 7 • Read: C major scale from staff. Practice on hand staff first if necessary. Point out the meter changes ahead in this arrangement. Body percussion sections not performed on first read.

• Read harmony portions (alternating between voice 1 & 2) from octavo (mm. 36-49) in C major. • Read: D major scale from staff. Practice on hand staff first if necessary. • Read harmony portions (alternating between voice 1 & 2) from octavo (mm. 50-end) in D major (look ahead at altered tone on soprano, fi on m. 56).

Blank score for stick notation, see next page.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 8 Phrase & beat representations

Phrase & beat representations ______

Phrase & beat representations ______

Phrase & beat representations ______

______

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 9 II. Developing sight reading and improving pitch prediction using chromatic tones in minor scale repertoire. • Use known scale content to introduce chromatic tones in minor scale. • Read from powerpoint minor key from staff, director points to notes used in song’s themes. • Read from powerpoint a score reduction, each slide will gradually add more involved rhythms. o SAB piece, minor scale from score. III. Developing sight reading and improving pitch prediction using modal repertoire. • Use known scale content to introduce altered tones in Lydian mode, fi. • Read from powerpoint modal scale from staff, director points to notes used in song’s themes. • Read from powerpoint a score reduction, each slide will gradually add more involved rhythms. SSA piece, Lydian mode from score.

l s fi r’ m d r Sons of Art (TB) – From do pentatonic tto diatonic Majord Scale • After labeling the half steps in a pentatonicl scale, a diatonict major scale will feel easier as it is ubiquitous s l in our culture. Warm up from fthe tone ladder. • Hand staff: Place G on linem 2 for tenors, all students practice treble clef placement. Place do on line 1 or space 4, all students practicer bass clef placement. d’ t l s f m r d

• G Major tonization

Sons of Art Emily Crocker Score Reduction 1

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 10 Sons of Art Emily Crocker Score Reduction 2

• Read octavo in solfege. Point out rhythmic challenges ahead. When ready, add text, with much care to unified vowels and diction. Bashana Haba’ah (SAB) – From la, pentatonic to the minor scales • In the case of minor songs, it can work to teach the concept of low la, in an isolated way using a la, pentatonic folk song first, which is more common in African American culture, but not as common in homes of other cultures (students not frequently exposed to low la, often confuse low l, with low s,). • Follow the same discovery path of tone discovery – physical, aural, visual. o Read from stick notation score of folk song.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 11

• Practice putting tones on hand staff first, then transfer to regular staff.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 12 Bashana Haba’ah Tonization, a melodic minor

Bashana Haba’ah Score reduction 1, a melodic minor

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 13 Bashana Haba’ah Score reduction 2, a minor

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 14 Bashana Haba’ah Tonization, b-flat minor

Bashana Haba’ah Score reduction 1, b-flat minor

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 15

Bashana Haba’ah Score reduction 2, b-flat minor

• Read score reduction 3, see handout • Read octavo in solfege. Point out rhythmic challenges ahead. When ready, add text, with much care to unified vowels and diction.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 16 II. Developing sight reading and improving pitch prediction using chromatic tones in minor scale repertoire. • Use known scale content to introduce chromatic tones in minor scale. II. Developing• Read sight from reading powerpoint and improving minor key pitch from prediction staff, director using chromaticpoints to notes tones used in minor in song’s scale themes. repertoire.• Read from powerpoint a score reduction, each slide will gradually add more involved rhythms. • Use knowno scaleSAB content piece, tominor introduce scale fromchromatic score. tones in minor scale. Church Modes • III.Read Developing from powerpoint sight reading minor and key improving from staff, pitch director prediction points usingto notes modal used repertoire. in song’s themes. • Renaissance a cappella• Read music• fromUse is aknownpowerpoint rich source scale a content ofscore choral reduction, to repertoire.introduce each alteredKnowing slide toneswill the gradually in original Lydian addchurch mode more, modesfi .involved rhythms. and their plagal versions• iso importantReadSAB from piece, for powerpoint minorunderstanding scale modal from this scale score. older from repertoire staff, director not so familiarpoints to to notes our used in song’s themes. modern ears. III. Developing• Read sight from reading powerpoint and improving a score reduction,pitch prediction each slide using will modal gradually repertoire. add more involved rhythms. o Dorian, Phrygian,• SSAUse piece,Lydian,known Lydian scale Mixolydian. content mode from to introduce score. altered tones in Lydian mode, fi. o Some folk• son Readgs have from retained powerpoint modal modal scales scalethroughout from staff, the centuries. director points to notes used in song’s themes. • 20th & 21st century• composersRead from have powerpoint looked back a score to these reduction, scales eachas tools slide of will composition, gradually oftenadd more transposing involved rhythms. them to modernSSA keys, piece, and Lydian at times mode using from polymodality score. throughout a piece. • Dorian – built on D of the natural scale (C), sounds “minor,” using sharp fa (fi), raised sixth. • Phrygian – built on E of the natural scale (C), sounds “minor,” using flat ti (ta), lowered second. • Lydian – built on F of the natural scale (C), sounds “major,” using fi, raised fourth. • Mixolydian – built on G of the natural scale (C), sounds “major” (using flat ti (ta), lowered seventh). o Dorian & Lydian use the same altered solfege tone, akin to modern parallel major-minor scales. o Phrygian and Mixolydian use the same altered solfege tone, akin to modern parallel major-minor scales. • Once students have learned the melodic minor scale, they will have been introducedl to fi. Scarborough Fair (SSA) – From minor scales to modal scales: Dorian s • Sing re-re’ for Dorian mode on tone ladder, transfer to la,-based mode withfi raised fa (fi). r’ m l d r s t d fi t l r’ m l s d r f t d m l t r l s f d’ m Scarborough Fair r t Tonization, E Dorian l s d’ f t m l r s d f m r d

Scarborough Fair Score reductions 1 & 2, E Dorian (See handouts) • Read octavo in solfege. Point out rhythmic challenges ahead. When ready, add text, with much care to unified vowels and diction. Gloria by Orbán • Modern composition is full of tonal and rhythmic challenges, with everchanging tone centers and meters.

Middle School Choral Pedagogy & Reading Session, Dr. Mirna Y. Cabrera 17