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Choral Caffeine: Daily Details

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Among the countless things about the choral art that one finds irresistible is that there is always more to do with the choir’s sound.  Of course, we sometimes run out of time, or perhaps we move a particular group of singers as far as they can go under a particular set of circumstances, but that just leaves one pondering, “Hmmm, how can this be improved next season?”
 
It would appear that Edith Copley thinks along the same lines.  In her article, “Key Concepts in Choral Singing” (Indiana Notations, Vol.33, No.3), she lists a couple dozen ways to improve the choir’s sound on a daily basis.  Here are just a few of them:
 
<> Consonants are almost always short and ahead of the beat.
<> Consonants do not need muscular strength. They need air turbulence. Let the air carry the consonants, especially with the letter K.
<> Long notes are either < (cresc.) or > (decresc.) or < > (messa di voce). Long tones never “sit.”
<> Dynamics are not just a question of volume. They are changes of breath intensity.
<>  Sing with the most beautiful sound you can produce all the time. “Never sing louder than lovely.”
<>  “Singers are 1/3 vocal technician, 1/3 musician, and 1/3 dramatic actor.” (Donald Neuen)
<>  Never think the same pitch on repeated notes. Always think pitch slightly higher.
 
Try a couple of thee in your rehearsal today.  You will notice an immediate difference.
 
 
(To access the full article, simply click the highlighted title. For additional articles on a dazzling array of choral topics, visit ChorTeach.)
 

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Comments

  1. I agree, and I think there are many words that could be used along with, or instead of, interesting as we continually remind choirs.  Interesting can be vauge – which may or may not be good depending on the singers.  Some other ideas:
     
    <> Make each successive repeated note more vibrant
    <> Make each successive repeated note fresh and new
    <> Make each successive repeated note an important part of a melody.

  2. <>  Never think the same pitch on repeated notes. Always think pitch slightly higher.
     
    This is one of those instructions, like ‘keep major 3rds sharp’ and ‘raise your chest’ that assumes that the default for all humans is to slouch and sing flat. I grant you that if people are going to drop in pitch it may well happen as their attention wanes over repeated notes, but phrasing the correction in terms changing pitch undermines the more important goal of developing integrity of tonal centre. (I blogged about this kind of thing recently, so it’s a bit of a hot button for me right now! http://www.helpingyouharmonise.com/instructions)
     
    I’d like, therefore, to propose a variant of this more akin to the point about keeping long notes alive:
     
    <>Make each successive repeated note more interesting
     
    I like the point about air turbulence – good way to get muscle out of the process by giving something else to focus on.
     
    liz
     
     

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