<

Choral Techniques

Download for free at http://cnx.org/contents/b6664924-d28c-4e43-bf93-3b730c6fc752@1.1

Table of contents
Chapter One. Introduction
1.1 - Choral Techniques Foreward
Chapter Two. Conducting Techniques
2.1 - Conducting Posture and Use of a Baton
2.2 - Use of a Baton
2.3 - Holding the Baton
2.4 - The Preparatory Beat
2.5 - Starting on the First Beat
2.6 - Starting on the Last Beat
2.7 - Starting on Other Beats
2.8 - Starting on Fractions of Beats
2.9 - The Release
2.10 - The Conducting Beat Patterns
2.11 - Conducting Asymmetrical Beat Patterns
2.12 - Practicing the Patterns
2.13 - Conducting Fast Tempos
2.14 - Conducting Divided Beat Patterns
2.15 - Unmetered or Free Rhythms
2.16 - Mixed Meters and Other Conducting Problems
2.17 - The Fermata
2.18 - Use Of The Left Hand In Conducting
2.19 - Tempo Determination
2.20 - Change of Tempo
2.21 - Establishing the Mood
2.22 - Expressive Conducting
2.23 - Performance Conducting
Chapter Three. Score Study
3.1 - Melodic Considerations
3.2 - Harmonic Considerations
3.3 - Rhythmic Considerations
3.4 - Part Examination
3.5 - Text Considerations
3.6 - Texture of the Choral Piece
3.7 - Applied Score Study
3.8 - Rehearsal Analysis of Indeterminate Music
Chapter Four. Interpreting Choral Music
4.1 - Interpreting Choral Music
4.2 - The Renassiance Period (1400-1600)
4.3 - The Baroque Period (1600-1750)
4.4 - The Classic Period (1750-1820)
4.5 - The Romantic Period (1820-1900)
4.6 - The Twentieth Century And Early Twenty-First Century
Chapter Five. Choral Diction: English and Latin
5.1 - Choral Diction: English and Latin
5.2 - English
5.3 - Formation of Vowels
5.4 - A Relaxed Jaw
5.5 - A Relaxed Tongue
5.6 - Proper Space in the Mouth
5.7 - Vowel Modification and Range Considerations
5.8 - Darkening Vowels
5.9 - Consonants
5.10 - Marcato and Legato Diction
5.11 - Special Diction Problems
5.12 - Prefixes
5.13 - Word Separation and Text Flow
5.14 - Liturgical Pronunciation
Chapter Six. Choral Tone
6.1 - Choral Tone
6.2 - Abdominal, Diaphragmatic, or Intercostal Breathing
6.3 - Fundamentals of Voice
6.4 - Resonation
6.5 - The Choral Tone
6.6 - The Vibrato and Choral Singing
6.7 - Warm-Ups and Warm-up as a Tune-up
6.8 - Growth in the Choral Tone
Chapter Seven. Selection and Placement of Voices
7.1 - Selection and Placement of Voices
7.2 - Personal Data Card for Auditions
7.3 - The Audition for A Select Ensemble
7.4 - Pitch Retention Test
7.5 - Length of Audition
7.6 - Auditions for the Adult Chorus
7.7 - Auditioning Nonselect Choirs in Schools
7.8 - Categorizing Voices
7.9 - Chorus Seating Arrangements
7.10 - Placing Individual Voices in Choral Ensembles
Chapter Eight. Selection of Repertoire
8.1 - Selection of Repertoire: Nonmusical Considerations
8.2 - The Choral Director's Unique Role in Education
8.3 - Building a Reference File
8.4 - Overall Characteristics of a Choral Piece
8.5 - Ranges of Each Part
8.6 - The Composer's Craftmanship
8.7 - The Rhythmic Life of the Work
8.8 - The Harmony
8.9 - Will the Piece Withstand Intense Rehearsal?
8.10 - Memorization
8.11 - Arrangements
8.12 - Programming
8.13 - Difficulty
8.14 - Changing a Composition to Fit your Choir
Chapter Nine. The First Rehearsal
9.1 - The First Rehearsal
9.2 - The Rehearsal Room and Selecting an Accompanist
9.3 - Pacing the First Rehearsal
9.4 - Conducting the First Rehearsal
Chapter Ten. Regular Rehearsals
10.1 - Regular Rehearsals
10.2 - Planning for Rehearsals and a Rehearsal Guide
10.3 - Establishing a Rapport and Pacing Daily (Regular) Rehearsals
10.4 - Repetition with Meaning
10.5 - Special Day Rehearsals and Use of Rehearsal Time
10.6 - Introducing a Choral Piece New to the Choir
10.7 - Ensemble Intonation
Chapter Eleven. Final Rehearsals and Preparations for the Concert
11.1 - Final Rehearsals and Preparations for the Concert
11.2 - Five Rehearsals Before The Concert
11.3 - Four Rehearsals and Three Rehearsals Before the Concert
11.4 - Two Rehearsals Before the Concert
11.5 - The Final Rehearsal
11.6 - Combining Ensembles for a Concert
11.7 - Adding Instruments to a Choral Concert
11.8 - Concert Checklist
Chapter Twelve. Building a Concert Program
12.1 - Building a Concert Program
12.2 - Three-Year Plan of Choral Study Through Rehearsal and Performance
12.3 - Christmas Concert Programs
12.4 - General Concert Programs
12.5 - Concert Points to Consider
12.6 - Special Programs
Chapter Thirteen. Organizing Small Ensembles
13.1 - Organizing Small Ensembles
13.2 - The Madrigal
13.3 - The Madrigal Dinner
13.4 - The Chamber Choir and the Jazz Choir
Chapter Fourteen. Clinics, Festivals and Contests
14.1 - Clinics, Festivals and Contests
14.2 - Choral Clinics
14.3 - Choral Festivals
14.4 - Music Contests
14.5 - Contest Preparation
14.6 - Large Ensemble Contest
14.7 - Small Ensemble: Contest Preparation and Music Selection
14.8 - Contest Rehearsal Schedule
14.9 - Last Week of Contest Rehearsals
14.10 - Last Week of Contest Rehearsals
14.11 - Contest Solos
14.12 - The Accompanist for Contests
Chapter Fifteen. Management of a Choral Department
15.1 - Management of a Choral Department
15.2 - Scheduling Choral Ensembles
15.3 - Choral Department Ensembles
15.4 - Choral Department Budget
15.5 - Choral Department Purchases
15.6 - Buying Choral Music
15.7 - Copying Music
15.8 - The Choral Library
15.9 - Concert and Rehearsal Risers
15.10 - Concert Ensemble Apparel
15.11 - Student Choral Officers
15.12 - Choral Department Public Relations
15.13 - Choral Activities
Chapter Sixteen. Student Teaching and Securing a Position
16.1 - Student Teaching and Securing a Position
16.2 - Cooperating Teacher
16.3 - College or University Student Teaching Supervisor
16.4 - Student Teaching Procedures
16.5 - Selecting and Securing a Position
16.6 - Professional Credentials
16.7 - Job Application Letter
16.8 - Reinforce the Job Application
16.9 - Investigate the Choral Position
16.10 - The Interview
16.11 - Accept or Decline Position
Chapter Seventeen. Professional Ethics and Teacher Relationships
17.1 - Professional Ethics and Teacher Relationships
17.2 - Teacher-Teacher Relationships
17.3 - Teacher-Student Relationships
17.4 - Teacher-Administrator Relationships
17.5 - Teacher-Community Relationships
17.6 - Professional Organizations
Chapter Eighteen. Appendix
18.1 - Appendix- Introduction
18.2 - Appendix - Music for Mixed Voices
18.3 - Appendix- Music for Women's Voices
18.4 - Appendix - Music for Men's Voices
Chapter Nineteen. Attributions
Choral Techniques
1st Edition
Gordon Lamb
© ‎9‎ Mar 2010. Gordon Lamb. Textbook content produced by Gordon Lamb is licensed under a Creative Commons Attribution License 2.0 license.
Table Of Contents
  • Introduction - Choral Techniques
  • Chapter One - Introduction
    • 1.1 - Choral Techniques Foreward
  • Chapter Two - Conducting Techniques
    • 2.1 - Conducting Posture and Use of a Baton
    • 2.2 - Use of a Baton
    • 2.3 - Holding the Baton
    • 2.4 - The Preparatory Beat
    • 2.5 - Starting on the First Beat
    • 2.6 - Starting on the Last Beat
    • 2.7 - Starting on Other Beats
    • 2.8 - Starting on Fractions of Beats
    • 2.9 - The Release
    • 2.10 - The Conducting Beat Patterns
    • 2.11 - Conducting Asymmetrical Beat Patterns
    • 2.12 - Practicing the Patterns
    • 2.13 - Conducting Fast Tempos
    • 2.14 - Conducting Divided Beat Patterns
    • 2.15 - Unmetered or Free Rhythms
    • 2.16 - Mixed Meters and Other Conducting Problems
    • 2.17 - The Fermata
    • 2.18 - Use Of The Left Hand In Conducting
    • 2.19 - Tempo Determination
    • 2.20 - Change of Tempo
    • 2.21 - Establishing the Mood
    • 2.22 - Expressive Conducting
    • 2.23 - Performance Conducting
  • Chapter Three - Score Study
    • 3.1 - Melodic Considerations
    • 3.2 - Harmonic Considerations
    • 3.3 - Rhythmic Considerations
    • 3.4 - Part Examination
    • 3.5 - Text Considerations
    • 3.6 - Texture of the Choral Piece
    • 3.7 - Applied Score Study
    • 3.8 - Rehearsal Analysis of Indeterminate Music
  • Chapter Four - Interpreting Choral Music
    • 4.1 - Interpreting Choral Music
    • 4.2 - The Renassiance Period (1400-1600)
    • 4.3 - The Baroque Period (1600-1750)
    • 4.4 - The Classic Period (1750-1820)
    • 4.5 - The Romantic Period (1820-1900)
    • 4.6 - The Twentieth Century And Early Twenty-First Century
  • Chapter Five - Choral Diction: English and Latin
    • 5.1 - Choral Diction: English and Latin
    • 5.2 - English
    • 5.3 - Formation of Vowels
    • 5.4 - A Relaxed Jaw
    • 5.5 - A Relaxed Tongue
    • 5.6 - Proper Space in the Mouth
    • 5.7 - Vowel Modification and Range Considerations
    • 5.8 - Darkening Vowels
    • 5.9 - Consonants
    • 5.10 - Marcato and Legato Diction
    • 5.11 - Special Diction Problems
    • 5.12 - Prefixes
    • 5.13 - Word Separation and Text Flow
    • 5.14 - Liturgical Pronunciation
  • Chapter Six - Choral Tone
    • 6.1 - Choral Tone
    • 6.2 - Abdominal, Diaphragmatic, or Intercostal Breathing
    • 6.3 - Fundamentals of Voice
    • 6.4 - Resonation
    • 6.5 - The Choral Tone
    • 6.6 - The Vibrato and Choral Singing
    • 6.7 - Warm-Ups and Warm-up as a Tune-up
    • 6.8 - Growth in the Choral Tone
  • Chapter Seven - Selection and Placement of Voices
    • 7.1 - Selection and Placement of Voices
    • 7.2 - Personal Data Card for Auditions
    • 7.3 - The Audition for A Select Ensemble
    • 7.4 - Pitch Retention Test
    • 7.5 - Length of Audition
    • 7.6 - Auditions for the Adult Chorus
    • 7.7 - Auditioning Nonselect Choirs in Schools
    • 7.8 - Categorizing Voices
    • 7.9 - Chorus Seating Arrangements
    • 7.10 - Placing Individual Voices in Choral Ensembles
  • Chapter Eight - Selection of Repertoire
    • 8.1 - Selection of Repertoire: Nonmusical Considerations
    • 8.2 - The Choral Director's Unique Role in Education
    • 8.3 - Building a Reference File
    • 8.4 - Overall Characteristics of a Choral Piece
    • 8.5 - Ranges of Each Part
    • 8.6 - The Composer's Craftmanship
    • 8.7 - The Rhythmic Life of the Work
    • 8.8 - The Harmony
    • 8.9 - Will the Piece Withstand Intense Rehearsal?
    • 8.10 - Memorization
    • 8.11 - Arrangements
    • 8.12 - Programming
    • 8.13 - Difficulty
    • 8.14 - Changing a Composition to Fit your Choir
  • Chapter Nine - The First Rehearsal
    • 9.1 - The First Rehearsal
    • 9.2 - The Rehearsal Room and Selecting an Accompanist
    • 9.3 - Pacing the First Rehearsal
    • 9.4 - Conducting the First Rehearsal
  • Chapter Ten - Regular Rehearsals
    • 10.1 - Regular Rehearsals
    • 10.2 - Planning for Rehearsals and a Rehearsal Guide
    • 10.3 - Establishing a Rapport and Pacing Daily (Regular) Rehearsals
    • 10.4 - Repetition with Meaning
    • 10.5 - Special Day Rehearsals and Use of Rehearsal Time
    • 10.6 - Introducing a Choral Piece New to the Choir
    • 10.7 - Ensemble Intonation
  • Chapter Eleven - Final Rehearsals and Preparations for the Concert
    • 11.1 - Final Rehearsals and Preparations for the Concert
    • 11.2 - Five Rehearsals Before The Concert
    • 11.3 - Four Rehearsals and Three Rehearsals Before the Concert
    • 11.4 - Two Rehearsals Before the Concert
    • 11.5 - The Final Rehearsal
    • 11.6 - Combining Ensembles for a Concert
    • 11.7 - Adding Instruments to a Choral Concert
    • 11.8 - Concert Checklist
  • Chapter Twelve - Building a Concert Program
    • 12.1 - Building a Concert Program
    • 12.2 - Three-Year Plan of Choral Study Through Rehearsal and Performance
    • 12.3 - Christmas Concert Programs
    • 12.4 - General Concert Programs
    • 12.5 - Concert Points to Consider
    • 12.6 - Special Programs
  • Chapter Thirteen - Organizing Small Ensembles
    • 13.1 - Organizing Small Ensembles
    • 13.2 - The Madrigal
    • 13.3 - The Madrigal Dinner
    • 13.4 - The Chamber Choir and the Jazz Choir
  • Chapter Fourteen - Clinics, Festivals and Contests
    • 14.1 - Clinics, Festivals and Contests
    • 14.2 - Choral Clinics
    • 14.3 - Choral Festivals
    • 14.4 - Music Contests
    • 14.5 - Contest Preparation
    • 14.6 - Large Ensemble Contest
    • 14.7 - Small Ensemble: Contest Preparation and Music Selection
    • 14.8 - Contest Rehearsal Schedule
    • 14.9 - Last Week of Contest Rehearsals
    • 14.10 - Last Week of Contest Rehearsals
    • 14.11 - Contest Solos
    • 14.12 - The Accompanist for Contests
  • Chapter Fifteen - Management of a Choral Department
    • 15.1 - Management of a Choral Department
    • 15.2 - Scheduling Choral Ensembles
    • 15.3 - Choral Department Ensembles
    • 15.4 - Choral Department Budget
    • 15.5 - Choral Department Purchases
    • 15.6 - Buying Choral Music
    • 15.7 - Copying Music
    • 15.8 - The Choral Library
    • 15.9 - Concert and Rehearsal Risers
    • 15.10 - Concert Ensemble Apparel
    • 15.11 - Student Choral Officers
    • 15.12 - Choral Department Public Relations
    • 15.13 - Choral Activities
  • Chapter Sixteen - Student Teaching and Securing a Position
    • 16.1 - Student Teaching and Securing a Position
    • 16.2 - Cooperating Teacher
    • 16.3 - College or University Student Teaching Supervisor
    • 16.4 - Student Teaching Procedures
    • 16.5 - Selecting and Securing a Position
    • 16.6 - Professional Credentials
    • 16.7 - Job Application Letter
    • 16.8 - Reinforce the Job Application
    • 16.9 - Investigate the Choral Position
    • 16.10 - The Interview
    • 16.11 - Accept or Decline Position
  • Chapter Seventeen - Professional Ethics and Teacher Relationships
    • 17.1 - Professional Ethics and Teacher Relationships
    • 17.2 - Teacher-Teacher Relationships
    • 17.3 - Teacher-Student Relationships
    • 17.4 - Teacher-Administrator Relationships
    • 17.5 - Teacher-Community Relationships
    • 17.6 - Professional Organizations
  • Chapter Eighteen - Appendix
    • 18.1 - Appendix- Introduction
    • 18.2 - Appendix - Music for Mixed Voices
    • 18.3 - Appendix- Music for Women's Voices
    • 18.4 - Appendix - Music for Men's Voices
  • Chapter Nineteen - Attributions
Introduction
Choral Techniques

 

 

By:

Gordon Lamb

 

 

Online:

< http://cnx.org/content/col11191/1.1/ >

 

 

C O N N E X I O N S

Rice University, Houston, Texas

 

 

This selection and arrangement of content as a collection is copyrighted by Gordon Lamb. It is licensed under the Creative Commons Attribution 2.0 license
(http://creativecommons.org/licenses/by/2.0/).

Collection structure revised: March 8, 2010

For copyright and attribution information for the modules contained in this collection, see Chapter 19.

Purchase this material to get access to the full version

Add to cart

Showing only first chapter for book preview.