By Walter Lamble
"This publication comes from a really high quality song educator with unprecedented adventure, who has good judgment and a true knowing of what a starting instructor may still understand. The e-book places into print concerns which are commonly mentioned at conventions and at meetings, and which are universal wisdom for the skilled instructor, yet that aren't coated in a tune schooling category. it's a simple and easy publication, written in a language that's effortless for a person going into the career to appreciate. It makes important feedback in exactly approximately each element of the function of a choral tune teacher." -- Michael Schwartzkopf, Professor of tune schooling, Indiana college university of tune
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Respondent 9: Warm-ups are very important, both for individuals and for the group. Individually I hope the students will come to rehearsal having made some sounds, if only enough to have their voices awake. As a group we work on vowel formation, tone quality, and blending from one register to another more than anything else. Question: What are common problems associated with placement of tone, and what can you do to correct them? Respondent 1: Are they all keeping the backs of their mouths open inside (the tonsil area), while allowing the sound to resonate naturally against the front of their faces?
These are usually students in band or orchestra or those who have studied piano. A lot of rehearsal time can be saved by letting these students “lead” their sections. However, there are deﬁnite problems with this method of learning/teaching music. First, it is very possible, indeed probable, that such a student will be pegged as a “pet,” and, although he or she may be very useful to the choir, the choral experience may be a less positive one for him or her. Second, the leader may hurt his or her voice by singing uncomfortably low or high for the sake of the section.
It is necessary to begin teaching this skill from square one with each new group of students. A note: This is an expression of honesty. I never learned to sight-sing by any of the various systems. I just “winged it” and found most of the pitches. Having discussed this with a number of my friends, I ﬁnd it is true with many of them as well. If you need to learn the concept of solfeggio with your students, you are not alone, believe me. Before beginning to teach sight-singing skills, several decisions need to be made.
A Handbook for Beginning Choral Educators by Walter Lamble