By Walter Lamble
"This ebook comes from a truly positive track educator with extraordinary event, who has logic and a true realizing of what a starting instructor should still understand. The publication places into print concerns which are greatly mentioned at conventions and at meetings, and which are universal wisdom for the skilled instructor, yet that aren't lined in a track schooling classification. it's a undeniable and easy publication, written in a language that's effortless for somebody going into the occupation to appreciate. It makes worthwhile feedback in exactly approximately each element of the function of a choral song teacher." -- Michael Schwartzkopf, Professor of song schooling, Indiana collage institution of song
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Extra info for A Handbook for Beginning Choral Educators
There are two options for acquiring texts at this level. If you have a healthy choral library, go into the literature and use the music in it. The music can get more sophisticated as the skills improve. A second option is to purchase one of the several published texts which are divided into ability levels. The second level books are perfect for this intermediate singer. I still recommend that the musical activity be mainly conjunct and tonal. For students in an advanced choir, sight-singing means getting out the hymnals and singing several chorales on solf `ege each day.
In addition to bringing the singers’ attention to the necessity of clean articulation of these consonants, these exercises can be a lot of fun for the singer. A simple but energetic accompaniment at the keyboard can make this part of the warm-up period bright. While these exercises should be an extension of the range-developing warm-ups, it is again important not to overextend the voice in terms of range. To plan in advance of the rehearsal how long this part of the warm-up period should last is usually not possible.
During and after the time in which these basic theory skills are being taught, simple and short examples should be presented to the class. , assumptions will be made regarding these basic knowledges. First, explain to the students that the note in the ﬁrst cell of the piece (“called a measure”) is a whole note, and often it gets four beats (“taps of the toe”). Have the students clap and count a series of whole notes. Half notes and quarter notes can be introduced in the same manner. Have the class count a variety of patterns of these three notes until they are able to look at the exercise and count and clap it.
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