By Walter Lamble
"This e-book comes from a really effective song educator with extraordinary adventure, who has good judgment and a true figuring out of what a starting instructor may still comprehend. The ebook 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 coated in a tune schooling type. it's a simple and straightforward e-book, written in a language that's effortless for someone going into the career to appreciate. It makes helpful feedback in exactly approximately each element of the function of a choral song teacher." -- Michael Schwartzkopf, Professor of tune schooling, Indiana collage college of track
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Extra info for A Handbook for Beginning Choral Educators
To achieve this mouth position, simply drop the jaw as far as it will go without straining; let the tongue lie in the bottom of the mouth with its tip forward, even to touching the lower front teeth. By imitating a yawn or the sensation of sipping water from a fountain, raise the soft palate; the same imagery will allow the throat to open. With the lips in a mostly open position, the ah vowel can be produced. A slight closing of the jaw causes the aw vowel sound to be produced, and a rounding of the lips will enable the singer to sing an oh vowel; a further closing of the jaw and even more rounding of the lips will produce the oo vowel, and a ﬁnal closure of the lips (with the jaws still open) will create a very open hum.
These are all terms that the student needs to handle when reading a score. There are also symbols that are unique to the structure of a piece of music, such as dal segno, and the symbols which mark measure numbers. Keyboard proﬁciency is important in my classroom. The goal is not to teach a student to play piano, but to make it possible for him or her to play a single part to learn notes outside of the classroom. Using keyboard skills to play another part while singing your own is encouraged. Many teachers might not feel this is a valid goal in their classroom.
After a month or so of working at this level, it is time to relate the basic theory skills to a melody which is more like the music in the students’ folders. Read simple rhythmic patterns and relate them to several different time signatures. Figure out the placement of do by relating it to a key signature. A lot of drill will be necessary to acquire these skills, but once they have been addressed, both teacher and class are ready to apply these basic exercise skills to songs. Keep them simple, no chromaticism or syncopation; try to ﬁnd tunes composed mainly using conjunct motion.
A Handbook for Beginning Choral Educators by Walter Lamble