that the building of vocal technique is a day in rehearsal. In order to manage Senior High Choirs sequential process, literature should be these dual jobs, every warm-up and Amy Johnston Blosser, National Chair carefully chosen to teach specifi c vocal selection of repertoire must be treated techniques.”1 Even when considering this as a vocal exercise that helps build the and choosing appropriate repertoire, choir’s vocal technique. If the singing is Vocal Transformation of the the frustration that comes from the not approached correctly, stop and use Secondary School Singer: need to teach the repertoire, prepare that limitation as an opportunity for the Choral Director it for performance along with the lack developing vocal technique. If the tech- as Vocal Coach of vocal depth and maturity can be a nique is not built into the learning of the constant struggle. Do you accept the piece, it is nearly impossible to add it in by correct notes, phrasing, cut-offs, and ig- later. In other words, the very fi rst time the four-measure phrase is introduced Christine C. Bass nore the sound? Absolutely not! Choral directors have the dual job of being both to the choir, teach the energy, line, shape conductor and vocal coach. of the phrase, and musical idea from the any choral directors, Very few secondary school singers start. Learning the notes without being especially those in are studying voice privately, and some of musical means one of two things: hav- secondary schools, those who do, are not necessarily well ing to rip it apart and unsuccessfully try have left a rehearsal taught. It is up to the choral director to to build it in later, or never achieving a saying,M “When will they learn how to play the part of the vocal coach every musical performance at all. really sing?” In college, students are won- derfully equipped with many musical and educational experiences. However, the actual art of vocal technique is often overlooked. How can one get the novice singer in a choral setting to grow in vo- cal technique and musicianship? What repertoire can be programmed that will bring success to growing singers? “Literature should be chosen based on what can contribute to building the vocal ensemble sound. Understanding
Christine Bass currently teaches at Cherry Hill West High School in Cherry Hill, New Jersey. She was also the conductor of the 2009 ACDA National High School I Honor Choir in Oklahoma City.
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CChoralJournal_Apr09horalJournal_Apr09 4949 33/13/09/13/09 9:089:08 AMAM Table 1 Simple Outline of Trained Versus Untrained Singers.
Untrained Trained
Little physical involvement Engaged physically, mentally, and emotionally
Poor vowel shape/space/weak tone Lifted sound/tall vowels/core in sound
Little energy/support Plugged into body, brimming with energy
No concept of musical ideas Implements musical ideas throughout
Unaware of the importance of listening Active and critical listeners
The above admonition can seem a 1 is a simple outline of untrained versus not settling for “just the notes.” daunting task for the choral director trained singers: Vocal coaching can be divided into who is standing in front of a group of How can conductors move their fi ve general areas: novice singers. This is all the more reason students from untrained to trained to use the approach of “voice lesson/ singers and not overwhelm them with • Posture choral rehearsal” to transform your sing- terminology? The answer is found in • Breathing ers into fi ne, complete musicians. Table modeling the following basic areas, and • Support • Resonance • Articulation
Very little can be taught until singers realize how their posture affects their sound, and how to breathe and man- age their breath support. Once this is accomplished, then mix these concepts in with understanding support and resonance. The more singers compre- hend their vocal anatomy, the greater National Chair Vacancy success they will have building strong singing habits. The National Junior High/Middle School Chair is being vacated. If you are interested in applying for this position, • Posture: Use analogies with the choir: please send a resume and short Statement of Intent (your vi- “You can’t take your voice out of sion for the future as a national R&S leader) to: a clarinet case and put it together; your entire body is your instru- Nancy Cox, National R&S Chair
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CChoralJournal_Apr09horalJournal_Apr09 5050 33/13/09/13/09 9:089:08 AMAM posture as well. One might say, “I they somehow seem to remember. throats. This lack of knowledge can lead am always asking my students to The conductor’s job as vocal to a lack of support, a raised chin, and sit up straight, but they continue coach also includes becoming the a stretching of the neck while singing to slouch.” A large part of that anatomy teacher and explaining the high notes. Be creative with a vocal struggle is that directors are ask- singer’s body as it relates to posture, anatomy presentation. Divide the choir ing! Students need to “remember breath, and resonance. There are many into sections and have each section it” and the motivation needs to fi ne resources about this topic. “Unfor- discuss certain aspects of their vocal come from their desire to achieve tunately, the majority of musicians are anatomy. excellence. To begin, choirs could largely ignorant of their bodies, and identify the reasons everyone in until they make the radical paradigm • Breathing: This is one of the most ba- class needs “tall posture.” It can’t shift to think of themselves as movers, sic, yet misunderstood areas for the just be because Mrs. Smith says so. they are at risk of developing physi- young singer. Again, understanding They need to understand the rea- cal and vocal problems”3 Across the the vocal anatomy is crucial. Work- sons behind it. Students who can’t country, many choir members don’t ing with singers to achieve an open seem to remember to sit tall could understand how their bodies affect (almost a suppressed yawn) vocal be the ones asked to stand while their singing and don’t know which track is a good place to start. Inhale everyone else sits. After a few times, way their vocal folds/cords lie in their slowly while fanning in front of the
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CChoralJournal_Apr09horalJournal_Apr09 5151 33/13/09/13/09 9:089:08 AMAM mouth to feel the air at the back of energy by demonstrating just how moving slightly up and down. This the pharynx wall. One way to help ‘”sad’” students look and sound, can be called the “Ah-Meter” to understand the actual space that is singing without energy. model where the “tall vowel” sound needed for a great breath is to use Use the “duh mouth” so the occurs. Next, take the hands and the concept of an inner tube, low jaw is relaxed and out of the way bend them forward so the fi ngers breath, feeling ”fat” with the exhale with “bright eyes” so the singer are close to the mouth. This nar- going to skinny. Have students place is demonstrating energy without rows the sound and produces an one hand on their sternums and the tension. The analogy of an electric ultra-bright, nasal sound (similar to other on their belly buttons as they guitar not plugged into its amplifi er, the Urkel character from the show, work on fi lling down the breath is like singers who don’t use sup- “Family Matters”). Then move the while not letting the ribs collapse port, resonance, or energy in their opposite way, to the back of the on the exhale. Another helpful anal- sound. Don’t let them continue to head, and swallow the sound to ogy is the ribs are the barrel and sing unless they are “plugged in” to make it too dark (similar to Julia the lungs are the balloon. A “quiet their support mechanism and en- Childs). Students begin to under- breath” is an important concept for ergy supply. Remember not to be stand resonance and often get a achieving an open throat breath. afraid to stop them if they are not big thrill out of the fact that they Students can open their hands as singing correctly. Model the cor- can change the placement of their they breathe to achieve the open, rect sound and energy constantly. own sound. low concept. Daily breathing exer- Break things up into little exercises, Spend some warm-up time cises in warm-ups help the proper and then bring them back into the getting students to feel the sym- singing breath become a habit. musical phrase. pathetic vibrations of their sound on the upper rib cage, throat, and • Support: Using energy and excite- • Resonance: Often the most fun con- facial mask. Have singers explore ment to generate a great sound is ductors have with their ensembles their “amplifi ers” to fi nd out where an important concept. Secondary is working on resonance with sing- certain vocal registers “ring.” Work- students are a unique breed. They ers. The result of time spent on this ing on the “up and over” concept can be wildly excited about their concept are transformative. There of lifting the sound and creating favorite team or pop star and then are a lot of analogies one can use. space connects the idea of support “too cool” to get excited about First, ask students to sing “ah” with to resonance. Sopranos and altos choral music. Conductors need to their hands (palms open and facing should work on releasing their high work on the concept of singing with front) along the side of their ears, notes so they shoot right out of the top of their heads. Women can pretend to take top hats off as they lift through the upper register while bending their knees to maintain support. Most altos can vocalize to a high “b” when they learn how to support, open their throats, and lift the sound up and out. They are delighted when they can sing as high as the sopranos! Ladies’ mid-range head voice with chest resonance is one of the more advanced concepts. There are many techniques to bring the head voice lower to produce a fuller, richer sound with proper placement and color. Use the word “core” often and have the students
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CChoralJournal_Apr09horalJournal_Apr09 5252 33/13/09/13/09 9:089:08 AMAM work on centering the sound for resonance and support. Young sing- Junior High/ ers sometimes just need to hear Middle School other high school students with great core and resonance to know Choirs what is expected. Tom T. Shelton Jr., National Chair • Articulation: Pair articulation with agility to achieve clarity and accu- Celebrating the Music of racy. Kinesthetic motions should G. F. Handel with be paired with most warm-ups Middle School/Junior High Choirs and used while learning repertoire. The more physically involved the by singers are, the more measurable Maribeth Yoder-White their progress. Teach them all the and Tom Shelton correct terminology: diphthong, syl- labic stress, elision, fricatives, voiced consonants, messa di voce and so Handel is the greatest composer on. Students enjoy learning these who ever lived. I would bare my terms, which are fun and relevant head and kneel at his grave. to their music-making. When all of these concepts are —Ludwig van Beethoven in play, the result is a free, natural, energized, vibrant sound. The better he respect engendered in our singing, the easier it becomes, this quote by Beethoven and the more singers will enjoy highlights the impact of their sound, as individuals and an George Frederic Handel on ensemble. Students want to achieve theT musical world. As one of the most excellence, and conductors need to prolifi c composers of all time, Handel’s gain the skills required in order to contributions to the oratorio genre equip them to meet this goal. are unrivaled. April 14, 2009, marks the 250th anniversary of Handel’s death. His popularity and immense body of work NOTES have led many modern composers, and music scholars, to edit and arrange Han- 1. Holt, Michele and James Jordan, The School Choral Program. Chicago, IL. GIA del’s pieces for multiple voicings. Many Publications, 2008. 113. of these editions and arrangements 2. Conable, Barbara. What Every Musician are suitable for middle school choral Needs to Know about the Body: The ensembles. Practical Application of Body Mapping Careful analysis of Handel’s reper- and the Alexander Technique to Making toire prior to instruction allows choral Music, rev. ed. Portland, OR: Andover Press, 2000. 3. Buchanan, Heather and Matthew Mehaffey. Teaching Music through Performance in Maribeth Yoder-White has taught Choir Vol. 2. Chicago, IL. GIA Publications, choral music at the middle school and 2007. 114. university level. She currently serves as a music education consultant.
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