Adding the Text
Just as the chorus has agreed upon the production of the other elements in a piece of music, so must it agree on matters regarding the production of text. Shaw emphasized the following axioms:
4 Every syllable in every language has a beginning, middle, and end. Each of these must be pronounced clearly and correctly.
4 Text is joined with rhythm before it is joined with proper pitches.
4 Initiating vowels must occur on their respective beats or sub-beats. Consonants that precede these vowels must occur in advance. For additional clarity of consonants, add a neutral syllable (the “schwa”), and assign it a rhythmic value, much like one would do in expressive solo singing.
Text can be added to the texture of the music in several ways, none of which include speaking, and all of which require that singers maintain accurate tuning as they progress through the series of vowels and consonants.
Some examples are:
4 Homophonic texture – text is sung with proper rhythms on a unison pitch. If possible, a keyboard accompaniment of shifting chordal harmonies (that employ the selected unison pitch) will provide support to the voices.
4 Contrapuntal texture – text is sung with proper rhythms on a whole-tone cluster of D, E, F#, and G#. The use of this somewhat dissonant combination of pitches allows the conductor and the singers the opportunity to clearly hear the structure of the counterpoint. Shaw used the pitches in two ways:
Bass – D; Tenor – F#; Alto – E; Soprano – G#
Bass – E; Tenor – G#; Alto – D; Soprano – F#
Again, keyboard support at this stage is helpful – the accompanist should play the assigned pitches according to the rhythms of the voice parts, rather than simply repeating all of the pitches on a continuous basis.
(The ACDA National Conference is just one of the many benefits of membership in the American Choral Directors Association. Join ACDA today.)
Leave a Reply
You must be logged in to post a comment.