ChoralEd: Suggestions for Implementing Vocal Exercises

In Episode 11, ChoralEd begins a new series on vocal exercises.  For the first episode of the series, ChoralEd host Micah Bland shares some general considerations for incorporating vocal exercises in the choral rehearsal.

In rehearsal, the vocal warm-up should not be taken for granted.  Vocal exercises provide conductors with a dedicated time in rehearsal to train and develop the voices in their ensemble.  To optimize the warm-up time, exercises should be purposefully selected, targeting specific areas in need of improvement. 

There are varied opinions as to the categorization and implementation of vocal exercises, but it is the opinion of this author that during each rehearsal a conductor should address each of the following categories.  (ChoralEd episodes 12-17 will address each of these areas in more detail.)

1. Posture, Air flow
2. Relaxation
3. Tone (Onset, Phonation, Resonance)
4. Musicianship (Dynamics, Articulation, Expressivity)
5. Ensemble Cohesion
6. Mental Activation
7. Fun

As a conductor begins a vocal exercise, it is beneficial to briefly describe its purpose to the singers.  This is recommended as it establishes a goal for the ensemble to work towards, as opposed to absent mindedly singing through the exercise.  As students perform the exercise, provide feedback related to the established goal.  As previously mentioned, this is the teacher’s opportunity to train the voice. 

Vocal exercises are often implemented exclusively at the beginning of rehearsal.  However, it is perfectly acceptable to incorporate a vocal exercise at any point in the rehearsal.  This approach is most advantageous when the exercise has been created by the conductor for a specific musical selection. 

As vocal exercises are performed, it is advised that the conductor minimize support from the piano.  This action encourages active listening and reduces a singer’s reliance on the piano for pitch and rhythmic accuracy.  Active listening can also be encouraged through altering the modality of the exercise (i.e., avoid singing every exercise in a major key), and changing the interval between exercise repetitions.  For example, directors traditionally ascend or descend by half step with each repetition of an exercise.  Instead, increase this interval to a whole step or sporadically jump around.  This simple alteration immediately improves student attentiveness as they are no longer able to coast through the exercise on auto pilot.

To watch ChoralEd, Episode 11 on YouTube click HERE