Mahalvah Lou Ruiz –Torres

To Rehearsal

Introduction “To Rehearsal” by this point, you have analyzed the work to be rehearsed,
determined the anchor note(s) and corresponding solfege syllables, and exposed your
singers to the tonality of the piece(s) you are rehearsing.

Rehearal Procedures Employing Solfege

- Before attempting to sight-read the work, have the choir listen to the work without singing.
- Tell the students what “do” is; have them write where “do” will be for the section of music they
are reading.
- Sing the following aural intonation sequence before beginning to sound the piece with solfege.

I. Major (Ionian) Intonation

• Anchor note for Major (Ionian)mode is “Do”.
II. Aeolian Intonation
• Anchor note for Aeolian mode is “La”.
III. Dorian Intonation
• Anchor note for Aeolian mode is “Re”
IV. Mixolydian Intonation
• Anchor note for Aeolian mode is “Sol”
V. Phrygian Intonation
• Anchor note for Aeolian mode is “Mi”
VI. Lydian Intonation
• Anchor note for Aeolian mode is “Fa”
VII. Locrian Intonation
• Anchor note for Aeolian mode is “Ti”

Rehearal Procedures Employing Solfege

- Rehearse with syllables in a slow tempo!

- Have students point with their fingers on the attack of every note they sing.
- Constantly remind singers to point “with energy”. Rehearal Procedures Employing Solfege
- Give your accompanist the anchor notes to be played while the choir is reading place.
- On first reading, sing the piece without a metronome.
- On second reading, read the work with the metronome sounding.
- Constantly remind singers to sing to the “core” or center of the pitch.
- Reinforce the concepts of vowel closure and no diphthongs as the choir continues to solfege the
work.
- Maintain Spacious, high, and forward vocal sounds all the times.
- Rehearse with staccato singing.
- Make sure the proper portions of the metric organization.
Mahalvah Lou Ruiz - Torres
Part Two: STYLE

Fundamental Determinants of Style

Music's ultimate purpose is when it is brought to life by performance “Style:” (Webster)
'mode of expressing thought in language, especially such use of language as exhibits the spirit
and faculty of an artist; characteristic mode of expression.

To the interpreter
• the audience as they embrace the creative process of the performance why the term is applied
• It is said to be a characteristic of a person such as: the Bach style, the style of Palestrina
• It can also be a characteristic of a chronological or historical period such as:
- as one speaks of the “nineteenth-century style”,“the style of the Baroque Era” the 17th and
18th century composition
- It can be a manner common to national groups such as:
- North Germans, French style

The term is applied - It can be applied to the texture of the score as one speaks as: polyphonic or
harmonic style. To the medium of performance such as: pianistic or vocal style, oratorio style,
operatic style, madrigal style.

Style
it extends beyond the initial creative process, recreation in the performer's part of the composer's
idea, the interpreter interprets the concept of the style as a thought form,The artist can never
separate the style in interpretation and style in composition.

Interpretative Artist
He must know the modes of thoughts and types of the idea properly, the peculiar expression of
the artist distinguishes the composer's style from others. it also interprets what is common to
other composers the artist's performance must be formulated with strict respect the score must be
consistent with the musical language of its creator

The Composer's Style:

Personality and temperament, Technical equipment,'The state of the grammar of the art'
-Ferdinand Praeger, Geographical and national group affiliation, Historical and social
background.
Mahalvah Lou Ruiz -Torres

The Modern Period

• Rhythm became much more developed in the 20th century as it was often complex and
irregular
• Melody became of secondary importance; they were often unpredictable with wide leaps,
irregular rhythms, and unexpected phrases.
• In the words of Schoenberg, harmony was freed from “the tyranny of tonality”. Keys and
tonal centers became of less importance as atonality gained popularity.
• Timbre was explored in further depth. New playing techniques were developed on
traditional instruments which expanded their tonal range. New electronic instruments
were created that were unique to ethnic music.

Elements –
Impressionism
The pioneers of Impressionism were Claude Debussy, and Maurice Ravel. Impressionist
music often contained non-functional harmonies
• Rich textures
• Ambiguity of form
• Unresolved dissonances
• Whole-tone scales, use of 9th chords, frequent use of modality, and exotic scales.

Expressionism
The pioneers of Expressionism were (and are) Arnold Schoenberg, and Milton Babbitt.
Expressionist music contained:
• Dissolution of tonality
• Extreme contrasts of dynamics
• Constantly changing textures
• ‘Distorted’ melodies and harmonies

Contemporary music should be understood its complexity of the pattern which the various
tendencies have found expression.
Mahalvah Lou Ruiz – Torres

Human Voice and Choral Singing

The diaphragm, located below the lungs, is the major muscle of respiration. It is a large,
domeshaped muscle that contracts rhythmically and continually, and most of the time,
involuntarily.
Upon exhalation, the diaphragm relaxes and returns to its domelike shape, and air is forced out of
the lungs.

Survival Tips for choral singing

WARM UP, ENERGIZE - Most choral singers arrive at evening rehearsals exhausted after a long
day's work, so it's important to begin with an overall physical warm up.
POSTURE - A "collapsed" posture limits breathing capacity and puts stress on laryngeal
muscles.
BREATHE - This may seem obvious, but many choral singers simply do not allow themselves an
adequate breath, and instead, "gasp" for air in order to stay with the conductor's beat.
SING THE RIGHT PART - Singers may be incorrectly classified in order to accommodate the
needs of the choral group.
DON'T OVER-SING - Singing loudly in order to hear oneself over other singers usually stresses
the voice.
PREPARE YOUR MUSIC - Whenever possible, try to learn your part before coming to the
rehearsal.
TAKE VOICE LESSONS - If you really want to maximize your enjoyment of choral singing, a
few voice lessons can provide valuable insight.

The Art of Singing

 - THE VOICE
 - CORRECT POSTURE
 - ORRECT BREATHING (Inhalation and Exhalation)
 - CORRECT PLACEMENT OF THE VOICE
 - DICTION
 - INTERPRETATION

Unison Part Singing - Unison singing is the most valuable resource available to choral
conductors and the most neglected, partly because conductors.
Mahalvah Lou Ruiz – Torres

Classicism

Music from the Classical period is distinctive in style from what preceded and followed it. Some
of the questions related to performance practice in Renaissance and Baroque music are less
complex because at this point in Music history we have much clearer and more explicit
indications from the composer concerning the tempo, dynamics, and expressive qualities of the
Music under consideration. There have been public performances of this repertoire from the time
of its composition to the present. This is both a help and a hindrance in light of the fact that
through the last two centuries, certain Romantic conventions have become an accepted part of
the performance of this music, and they are not always appropriate to authentic Classical style
(this same Problem of inappropriate performance conventions added during the Romantic period
exists with Baroque repertoire and, to a lesser extent, music from the Renaissance).

Classical Chora Music

• Tends to be more homophonic.
• lighter in texture.
• Lighter in quality
• lightness pervade the choral lines.
• There is still rhythmic energy and drive, but without the weightiness of Baroque music.

Classical music also is derived from its slower harmonic movement. Baroque music, with its
emphasis on vertical structure and use of figured bass and basso continuo, is characterized by
frequent harmonic changes, sometimes on every beat. Classical music changes chords much less
frequently, giving it a more graceful sweep and lightness of phrasing than that created by the
pulsating feel of a harpsichordist realizing a Baroque figured bass part, supporting the choral
singing with rapidly changing embellished chords. During the Classic period, the keyboard
player was no longer typically the composer/ conductor, but instead was simply one of the
players in the orchestra. The keyboard part should be much less obtrusive and less highly
decorated than that of a Baroque work.
Mahalvah Lou Ruiz – Torres

What is Conducting?

Conducting is more than just keeping the beat; it is an expression of music that uses the whole
body.
All of these affects are achieved through a mirroring of our own movements and body language
as a conductor.

• When we breathe, our singers breathe with us.

• When we smile, they smile back.
• When we stand well, so do our singers.

The basic principles involved in singing, and that begins with a good old-‐fashioned warm-‐up.
A warm-‐up should ideally include at least one element of each of the following, and ideally in
this order:

• Posture
• Brain Gym
• Breathing & Support
• Opening the range
• Resonance
• Vowels
• Choral Skills (ensemble, rhythm & pulse, intonation, articulation)

“Support” describes how we control the release of air during singing. If we were to just push the
air out, it would cause tension on the vocal folds (or chords) and the end result is shouting rather
than singing. Instead we control the release of air by using both pushing and pulling muscles
simultaneously.

Opening the vocal range can be achieved with many exercises, and there are numerous methods
for getting there, but the first voiced sounds in your warm--‐up should always descend from the
top of the vocal range.

Resonance is the vibration of sound that we use to amplify our voice. If our voice were a HiFi--‐
speaker, then our body is the speaker box which allows the sound to vibrate and maximise itself.
Mahalvah Lou Ruiz – Torres

Singing – Synthesis of habits

The purpose of choral singing should provide a means of self-expression through contact with
the great masterpieces of the literature.
-when the choir sung the song the way the composer expressed when he composed the song the
result is an esthetically meaningful. And the listener as well will have a sense of satisfaction.
To make a meaningful and effective presentation of the literature, a well-established technique is
pre-requisite.
- A conductor must develop a group of a habit of singing with the greatest artisty and musical
skill that is applicable to each composition in which the choir is capable.
Skillfull and artistic singing has 2 elements –
- The tone be characterized a physical beauty
- The text should be projected with clarity and understanding
Having a good tone breath control should be developed. Breathing is the single most important
element in singing. In order to control your voice you have to put out exactly the amount of
breath you need for the sound you want. That breath needs to be as focused as a laser beam.
Having clear diction is important when singing so you can convey the meaning of the song.
Diction begins with properly formed vowels and properly articulated consonants.
There are diction exercises we can try
- Tongue twister
- Study phonetic
- It should be the intent of choir conductor to train his singers to developed for themselves
a set of habits that will enable them always sing to the full extent of their capabilities.
Equip them so that when they leave and have no longer benefits of his instruction they
will take with them a technique that will continue to serve then in good stead.

When the singer developed a habit like:

- noting the basic problems

- giving attention to phrase contour
- relative time-value
- pitch relationships
- appropriate dynamic schemes
- good tone quality and production
He is on the way to becoming a creative singer in his own right.
Mahalvah Lou Ruiz – Torres

The Renaissance

In investigating the choral work of each era the question will be described with reference to the
following points:

- Meter and tempo

- Structural relationship between counterpoint and harmony
- Expressive quality of the score
- Dynamic scheme
- The first problem of the interpreter of Renaissance music is the understanding the true
meaning of the score.

“The performance of music becomes a problem only in modern music and in old music,
that is to say, only when a traditional manner of performance not yet or no longer exists.”
- Manfred F. Bukofzer

No score, however accurate in notation, can indicate the exact performance intention of
the composer.

The interpreter must reconstruct out of his knowledge.

a. Meter and tempo –

Rhythmical accentuation of each part is free, but independently of the actual rhythmic
accents, there is an imaginary metrical accentuation which imposes a regular alternation
of strong and weak beats to which the harmony of the composition has to conform.

Musical rhythm in this period derives from word-rhythm.

The basic tempo is determined by the emotional or dramatic mood of the text.

b. Structural relationship between counterpoint and harmony – the Renaissance concept

of texture is a predominantly contrapuntal (piece of music with two or more independent
melodic lines).

During the time of Dufay the use of imitation had begun.

The term “point of imitation” indicates a passage in which a figure or motive is given out
by one voice and taken up in imitative fashion by other voices successively.

The singer of Renaissance music must have the ability to execute his part with complete
freedom and independence. While maintaining his independence he must weave his
melodic line into the web shared by the other parts.
Expressive quality of the score – the manner of dramatic and emotional expression is the

Renaissance music is determined largely by the meaning of the words.

Dynamic scheme – like expressive quality, dynamic design is closely related to textual
considerations. Dynamic variation proceeds according to the phrase contour.
 Mahalvah Lou Ruiz – Torres

Correct Singing Posture

There are many different aspects of singing posture that can affect the sound produced by
vocalists. While singing, vocalists should pay close attention to the position of their feet, knees,
hips, abdomen, chest, shoulders, arms, hands, and head. Correct positioning of these makes it
easier for sound to be produced. Singers should understand the importance of good singing
posture and use it while singing. Being at ease does not equal good posture. You may need to
relearn how to relax while properly aligning the body. Not only does proper posture improve
your vocal tone, but your overall health as well. Such considerations as posture, breath support,
articulation of tongue, lips, and jaw, and freedom of activity on the part of the throat muscles, the
head, and the arms are important in determining tonal quality.
Shoulders should be held back and down, with chest held high, but not in a strained position. The
chin should be about parallel to the floor. Abdomen should be flat and firm, held in an
expandable position. Hands should be relaxed and still at the sides. Knees should be flexibly
loose, and never locked. Feet should be slighty apart, one slightly in front of the other.
The weight of the body is slightly forward. The muscular apparatus should be resilient, firm but
not rigid. The chest and shoulders should be held normally high, without undue effort, but in
such a position as to suggest vitality.The head should be erect, balance, lightly but firmly so that
the singer can move his head freely, with no sensation of binding in the neck muscles.The elbows
are not pressed against the side in such a manner that undue constriction ensues.
Align body
• feet to knees, knees to hips, hips to shoulders, shoulders to ears

Following procedures may be helpful

• A. Singers are asked to “push the hips as far back in the chair as possible.
• B. They are requested to “ Place the feet firmly on the floor”
• C. “Throw the weight forward to the feet”
• D. “Square off’ the shoulders
• E. Then singers are finally requested to “Hold the head high and to move it freely from
side to side and up and down.”
Mahalvah Lou Ruiz –Torres

Introduction to Conducting 2

Conducting is more than waving your arms in front of the band. The conductor has two primary
responsibilities:
1. To start the ensemble, to establish a clear, uniform tempo, and keep it throughout the
performance.
2. To help the musical quality of the piece (expression, dynamics, cues).

There are many different conducting styles. The one presented below is a very basic style,
suitable for beginning conductors. It is recommended that beginners start at the beginning of this
page and look at the practice tips as they continue.

• The starting position is important because it not only sets the correct conducting posture,
it sets the focal point as well. The focal point is where the heels of your hands rest when
in the starting position.
• Your upper arms should be away from your body. They should be slightly in front. Your
forearms should be parallel to the ground. Your palms should show a little bit and your
fingers should be up.
• Your upper arms should be slightly away from your sides, elbows out, but not too far. (If
you feel like you are doing the little birdie dance, you are out too far). Your hands should
come in and should line up with your arm pits.

5 Rules of Conducting

These rules should be kept in mind when conducting. They are very important for clear and
consistent conducting.
1. All beats are down beats.
2. All beats strike the focal point.
3. All beats rebound.
4. All rebounds are equal in all ways to the down beat.
5. The size of the rebound depends on the speed of the music.

• The legato pattern is another four pattern. It is good for legato music with soaring
phrases.
• When conducting, this expressive pattern uses only the right hand (don't mirror). The
pattern is similar to the above pattern in that it crosses the body for beat two and extends
away from the body on beat three.
• The wrist is much more relaxed for this pattern. From beats two to three the wrist leads,
'pulling' the pattern out. The wrist leads again from three to four, 'pulling' the pattern up.
• The size of the pattern is fairly large since most legato music has a slow or moderate
tempo.
Mahalvah Lou Ruiz – Torres

Diction: Vowel

Correct pronunciation, involving manner of utterance with regard to sound and accent.
Clear Enunciation, dealing with clarity and distinctness of delivery.
In dealing with the word, either in speaking or in singing, one must be aware of its two
constituents: vowel and consonant.
The singer who expects to achieve any degree of proficiency must respect both of these
elements.
The beauty of the diction in large measure depends upon the quality of the vowel. Its clarity
results chiefly from the proper articulation of the consonant. Beautiful vowel sound without
clearly articulated consonants result in formlessness.
Cleanly articulated consonants without accompanying roundness and purity in vowel formation
produce brittleness.

Consonant gives spine to the tone; the vowel gives it flesh.

Americans tend to emphasize the diphthongal aspect of certain vowels or to give vowels a
diphthongal quality which they should not properly possess. The tendency to extend the
diphthongal element is illustrated by the vowel ay. With this vowel there is a tendency to pass
from a pure ay to an ee at the end, producing the combination ay-ee.

A difficulty commonly encountered is that of properly connecting two successive vowels. One
frequently can detect an improperly interjected y or w. The improper sounding of the consonant y
arises from excessive activity in the tongue in proceeding from one vowel to the next; the
improper sounding of the w results from excessive lip activity. The formation of each vowel to
be pure in character. The quality of the individual vowel sound to be uniform throughout the
ensemble. The principal element of the vowel to be maintained for its full duration without
distortion through over-emphasis of the diphthongal element. Each vowel to be joined smoothly
to the following vowel without disturbance in the flow of the tonal line. The vowel succession
maintained to be that of pure vowel sound without interjection of any consonantal sound between
successive vowels.
Mahalvah Lou Ruiz – Torres

Baroque Period

Italian words were used to tell how music is to be played.

Homophonic – MONODY (one/solo Song)
Organs and harpsichord are the main keyboard instruments, VIOLA DE GAMBA is for stringed
instruments.

Vocal:
Opera - An art where musicians perform a dramatic composition putting the libretto (text) and
musical score accompanied by orchestra or ensemble.
• Themes are mostly based on history and mythology.
• “L ’Orfeo” is the first great opera by Claudio Monteverde.
Cantata -From the Italian word “ cantare” which means “sung” . Is a vocal composition for a soloist
or choir accompanied by instruments.
Oratorio - A dramatic but unstaged telling of a biblical or religious story uses no scenery or
costumes and no dramatic action.
Mahalvah Lou Ruiz – Torres

Historical Periods and Geographical Influences

In order properly to interpret works from the choral literature, the conductor must first have a
knowledge of the great historic periods. This is fundamental in arriving at an understanding of
the background of the individual composition.

Great historical periods may be indicated roughly as follows:

Renaissance, 1425-1600. It is in the Renaissance that a many-voiced choral literature may be

said to have its origin. Choral polyphony as a style of writing comes into existence in the
fifteenth century, notably in the music of the Northern French school, the leaders of which were:
Guillaume Dufay, c. 1400-1474
Gilles Binchois, c. 1400-1460
Baroque, 1600-1750. A change in the current of musical thought is evident around the year 1600
with the new monadic style of the Florentine Camerata.
Classicism, 1750-1825. The period of Josef Haydn, 1732-1809, Wolfgang Amadeus Mozart,
1756-1791, and Ludwig van Beethoven has been considered a “man of transition,” in that he
constitutes a bridge between Classicism and succeeding Romanticism.

Romanticism, 1800-1900. The Romantic period corresponds roughly to the historical era of
nationalistic expansion. The Romantic style was so widespread in its effect and so universally
adopted by the practitioners of all the arts that the terms Romanticism and Nineteenth-century
Style are employed interchangeably to indicate the characteristics expressional manner of the
period.

Modern Period, 1875 to the present. Modern developments in music may be said to open with
French Impressionism, which as a musical style appeared during the last quarter of the
nineteenth century. Impressionism is regarded by some authorities as a late Romantic
phenomenon and by others as the first phase of present-day Modernism. The existence of this
disagreement illustrates the difficulty of making any categorical separation between historical
periods.
Coming shortly thereafter in point of time, Claudio Monteverdi, 1567-1643, stands out as one of
the great masters of the early Baroque. The era may be said to close with Johann Sebastian Bach,
1685-1750, and George Frideric Handel, 1685-1759.
Mahalvah Lou Ruiz – Torres

Musical Comprehension

This term designates the singer s alertness to the properties of the score, the quality of
intelligence which enables him to use the direction and indications provided by the composer or
the editor for assistance in performance.

Physical Preparation

Comprehension of the score involves

Just as building up a synthesis of responses involve physical preparation it was necessary to
consecrate upon several item and then combine them as soon as possible ,so in building up a
comprehension of the score First individual principles must be learned and immediately
combined
1st Awareness of the phrase design
In vocal music ,musical phrase & grammatical phrase
If an adjustment be made between literary and musical values ,the accommodation should be in
the favor of the musical phraseology
The phrase design must be delineated by the singers with references to (a) Articulation , (b)
Contour .
The production of the legato line is so nearly universal a principle of choral performances that
these principle of choral performance that these principle assumes the character of
generalization. Departure are to be made from it for
(a )specific interpretative effects,
(b)exceptional stylistic purposes
(c)unusual rhythmic devices

These exception may take the form of

(a) staccato passages
(b)dynamic passages
(c) marcato effects.
The second aspect of phrase design has to do with the contour of individual phrases , its curve or
quality of line. This curve is determined by the relationship of textual accentuation to musical
setting .Every phrase has at least one primary accent , that is one point of the high interest .
These point is determine by the textual values and if the piece is well set ,will be accorded
comparable musical importance .
Musical emphasis is not always brought about by application or dynamic intensity .it maybe
achieves through harmonic stress; it maybe brought about by manipulation of melodic line…..
The learning process should begin with a consideration of the basic phrase design of the work at
hand. Begin with the individual intervallic relationships, and from them attempt to build up the
phrase design, is to to start building a house by assembling the individual bricks before
determining the plan of the structure.
Mahalvah Lou Ruiz – Torres

Psychological Attitude

The state of mind, first of all, must be the responsiveness of willingness on the part of the singer
to make of himself an instrument by which the music may be made meaningful both to the
listener and to himself as participants.

In developing interpretation, the approach should be through the consideration of the words.
He must imbue with the spirit of the utterance and must be able to transmit it to the listener.
He must rid himself of all self- consciousness and must eliminate any individual person
reticence.
He must give himself up to the basic implication of the work, allowing himself to go with the
dramatic and emotional current of text and music.
Psychological responsiveness is possible only when the individual has become so thoroughly
absorbed in what the work has to say that all thought of self vanishes.
He also must be responsive to the activity of the group with which he is performing.
Each individual member of the organization must so integrate his own personality with that of
the other members that all react as one.

Precision of attack
Simultaneity of release
Uniformity in consonantal enunciation
Blend and balance of tone
Homogeneity of the vowel color
Psychological responsiveness is possible only when the individual has become so thoroughly
absorbed in what the work has to say that all thought of self vanishes.
He also must be responsive to the activity of the group with which he is performing.
Each individual member of the organization must so integrate his own personality with that of
the other members that all react as one.
Mahalvah Lou Ruiz – Torres

Consonants

It has been pointed out that the audibility and beauty of the tone in large measure depend upon
the proper treatment of the vowel, provided that adequate breath support is supplied. The
intelligibility for the most part results from proper treatment of the consonant. As in studying
vowels, the singer may employ a classification based on, but simplified from, the findings of
phoneticians. The processes which result in clear, well-defined speech have to do with the proper
articulation of the singing mechanism previously discussed in connection with the movement of
tongue, lips, and jaw.

For purposes of singing, consonants may be classified with regard to the type of articulation
needed to bring about their proper enunciation.
This is to say that the singer may best accomplish his aim by directing attention to the
point of articulation for each consonant.

1. Dentals ( d, t, n, l, th )
2. Labials ( b, p, m, w )
3. Labio-dentals ( f, v )
4. Sibilants ( s, soft c, z, soft g, j )
5. Palatals ( r, y )
6. Aspirate ( h )
7. Gutturals ( hard c, hard ch, k, hard g, q, x )

1. The combination is said to be voiceless, or unvoiced, when it occurs as in the word thin.
It may appear as an initial, as in the word thin, or a final, as in the word hath. The
phonetic sign for the voiceless sound consists simply of the letters without any additional
marking, thus: th.
2. The combination is said to be voiced when it occurs as in the word there, where it appears
as an initial and in the word smooth, where it occurs as a final. The diacritical marking
for the voiced sound is that of a horizontal stroke through the combination, thus th (there,
smooth), as compared with thin, hath).
3. Having obtained a certain degree of skill in the execution of the dental consonants, the
group will do well to take up next the labials, b, p, m and w. As the term indicates, these
are the lip consonants and must be forced with firm lip pressure.
4. A special class of sounds known as plosives includes the labials b and p. The term
indicates the characteristically explosive quality necessary for proper enunciation. The
plosives require particularly firm labial pressure, which produces a popping sensation at
the lips.