A Weekly update from Andrew with resources to help you rehearse at home
Each weekly you will find here:
Instructions! - Andrew will supply instructions for the warm-up and vocal exercises, and directions for repertoire learning and preparation.
Audio Instruction file - Andrew will supply an audio file with which members can practically engage and sing along (with his accompaniments) to the instructions
Other Audio files - Robert Brown is providing Audio files for each voice part and also audio files extracted from online performances with orchestral accompaniment so that you can sing along. (Thanks Robert!)
Notices - it is also possible to add information of the type that is normally given at rehearsals, and also any items that choir members might like to offer - ie updates and/or relevant information, general items of interest and/or humorous items - just let Ruth have the info in time for it to be uploaded.
Possibility of singing together - unfortunately we can't all sing together as normal, it has been suggested that Zoom software (www.zoom.us) could be used but there are time lag issues with this, and if the whole choir tried to log on together it would be a bit like the tower of babel!! Small groups might like to use it to have a go at singing together
Facebook Page - there is also a facebook group "HCS Members only" where you can share things
Please note that the directives and exercises are for the personal use of HCS members only, and not to be copied or distributed to anyone who is not a member of the Harrogate Choral Society.
Each weekly you will find here:
Instructions! - Andrew will supply instructions for the warm-up and vocal exercises, and directions for repertoire learning and preparation.
Audio Instruction file - Andrew will supply an audio file with which members can practically engage and sing along (with his accompaniments) to the instructions
Other Audio files - Robert Brown is providing Audio files for each voice part and also audio files extracted from online performances with orchestral accompaniment so that you can sing along. (Thanks Robert!)
Notices - it is also possible to add information of the type that is normally given at rehearsals, and also any items that choir members might like to offer - ie updates and/or relevant information, general items of interest and/or humorous items - just let Ruth have the info in time for it to be uploaded.
Possibility of singing together - unfortunately we can't all sing together as normal, it has been suggested that Zoom software (www.zoom.us) could be used but there are time lag issues with this, and if the whole choir tried to log on together it would be a bit like the tower of babel!! Small groups might like to use it to have a go at singing together
Facebook Page - there is also a facebook group "HCS Members only" where you can share things
Please note that the directives and exercises are for the personal use of HCS members only, and not to be copied or distributed to anyone who is not a member of the Harrogate Choral Society.
Wednesday 25 November 2020
This week, the focus is the 6th Movement of Brahms’ Requiem up to bar 208.
Soprano Alto Tenor Bass Performance File
(and here is the on screen with score version - noting that this is for the whole of movement 6: 6a ends at 7min 10s).
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 1st movement of Brahms Requiem again to gain familiarity and confidence.
Soprano Alto Tenor Bass Performance file
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah Page 146 The Lord Gave the Word
Soprano Alto Tenor Bass Performance File
Ensure the vowel is as long as possible in the word ‘Great’. Tenors watch the repeated note C in bars 12 and 13. In bar 14 everyone should join’ company’ to ‘of’.
Messiah Page 151 Their sound is gone out
Soprano Alto Tenor Bass Performance File
Give the word ‘out’ its full 2 beats (putting the ‘t’ on the 3rd beat). Tenors ensure the A natural and the E natural in bar 14 is bright enough. Sopranos note that you have a similar phrase in bars 15 – 16, BUT the E is a flat!
Messiah Page 161 Let us break
Soprano Alto Tenor Bass Performance File
TENORS!!! Bars 1-3 compared with bars 5-6. Basses watch the F sharp at the start of bar 21 and the pitches in bar 28. Altos – bar 53-54 watch the F naturals on the word ‘their’.
Now please use my Audio file to find some vocal exercises to keep the voice in good shape.
TONAL FOCUS, RESONANCE and PROJECTION
Andrew
This week, the focus is the 6th Movement of Brahms’ Requiem up to bar 208.
Soprano Alto Tenor Bass Performance File
(and here is the on screen with score version - noting that this is for the whole of movement 6: 6a ends at 7min 10s).
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 1st movement of Brahms Requiem again to gain familiarity and confidence.
Soprano Alto Tenor Bass Performance file
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah Page 146 The Lord Gave the Word
Soprano Alto Tenor Bass Performance File
Ensure the vowel is as long as possible in the word ‘Great’. Tenors watch the repeated note C in bars 12 and 13. In bar 14 everyone should join’ company’ to ‘of’.
Messiah Page 151 Their sound is gone out
Soprano Alto Tenor Bass Performance File
Give the word ‘out’ its full 2 beats (putting the ‘t’ on the 3rd beat). Tenors ensure the A natural and the E natural in bar 14 is bright enough. Sopranos note that you have a similar phrase in bars 15 – 16, BUT the E is a flat!
Messiah Page 161 Let us break
Soprano Alto Tenor Bass Performance File
TENORS!!! Bars 1-3 compared with bars 5-6. Basses watch the F sharp at the start of bar 21 and the pitches in bar 28. Altos – bar 53-54 watch the F naturals on the word ‘their’.
Now please use my Audio file to find some vocal exercises to keep the voice in good shape.
TONAL FOCUS, RESONANCE and PROJECTION
- Humming descending scales to ‘m’, ‘n’, and ‘ng’
- The Ash Grove humming then ‘She shall sew silky sheets’ (tongue control)
- Articulation Popacatapetal / Copper Plated Kettle
- Mouth Shape ee/ ah
- Vowel Unification ah-oh, ee---eh
- Intervals to numbers with quality TONE
Andrew
Wednesday 18 November 2020
For this week, I would like you to continue Brahms Requiem ( 5th Movement). I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Soprano Alto Tenor Bass Performance File plus link to the online recording which has the score on screen
Also, in a ‘live’ rehearsal, I would revise the 2nd & 3rd movements to build confidence and assurance, as well as the 5th Movement.
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
Brahms Requiem (last part of 3rd Movement)
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Choral Classics Page 111 Zadok the Priest
Soprano1 Soprano 2 Alto1 Alto2 Tenor Bass1 Bass2 Performance File
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
(note from Robert linked to the midi files - all parts and performance file start at bar 20 on page 112; Sopranos have an extra dotted rhythm at bar 11 (first 3 notes on p115); in Choral Classics there is a wrong note for the Tenors, the last note on p119 should be C#, not F# )
Please also look at
Messiah Page 127 Lift up your heads
Lots of consonants that need energy in articulation! Get the feeling of the questioning in the text.
Soprano1 Soprano2 Alto Tenor Bass Performance File
(note from Robert - various conductors have different interpretations. Brian Kay - who will be conducting our next Messiah in 2021 - may wish to interpret things differently to these midi file which in general follow Andrews conventions, for instance if there are dotted rhythm options the rehearsal files will follow these even where they are not indicated in the score. In Lift up your heads - a movement which we have not sung for some time but which Brian may wish to perform (note from Ruth that I hope we do get to sing it!!) - the Tenors & Basses have extra dotted notes in bars 14 & 15 and S2 follows what's written for S1 at bar 32. Please be aware that the score is not very clear in terms of what parts are singing what - the Altos are sometimes called 2nd Altos (e.g. 1st entry, semi-chorus). But at rehearsal letter B (bar 19) it's still semi-chorus but the top line changes to 1st Alto. To further complicate things the 2nd line becomes Tenors at this point - only indication is the change of clef! There's also a strange editors note "1st Altos should include any male singers available" – which in our case will not be the Tenors! Presumably it would be trebles in an all male choir. Also note that on p129 the top line is still A T B, but line 2 mysteriously becomes S1, S2, A2! There is only have one Alto file, so all Altos to sing A1 or A2, whichever is indicated, but you will need to mark your score to show which line you're singing.)
Messiah Page 134 Let all the Angels of God
Sing the whole of the 1st 4 bars in one breath. Sopranos watch the C natural in bar 12, and Basses negotiate the entry in bar 27 carefully. (Note from Robert and Ruth - we can't remember ever singing this before but it will be fun to learn something new! There are no score issues but do note that altos and tenors could possibly divide at bars 10, 15 & 27)
Soprano Alto Tenor Bass Performance File
Happy practising!
Andrew
For this week, I would like you to continue Brahms Requiem ( 5th Movement). I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Soprano Alto Tenor Bass Performance File plus link to the online recording which has the score on screen
Also, in a ‘live’ rehearsal, I would revise the 2nd & 3rd movements to build confidence and assurance, as well as the 5th Movement.
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
Brahms Requiem (last part of 3rd Movement)
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Choral Classics Page 111 Zadok the Priest
Soprano1 Soprano 2 Alto1 Alto2 Tenor Bass1 Bass2 Performance File
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
(note from Robert linked to the midi files - all parts and performance file start at bar 20 on page 112; Sopranos have an extra dotted rhythm at bar 11 (first 3 notes on p115); in Choral Classics there is a wrong note for the Tenors, the last note on p119 should be C#, not F# )
Please also look at
Messiah Page 127 Lift up your heads
Lots of consonants that need energy in articulation! Get the feeling of the questioning in the text.
Soprano1 Soprano2 Alto Tenor Bass Performance File
(note from Robert - various conductors have different interpretations. Brian Kay - who will be conducting our next Messiah in 2021 - may wish to interpret things differently to these midi file which in general follow Andrews conventions, for instance if there are dotted rhythm options the rehearsal files will follow these even where they are not indicated in the score. In Lift up your heads - a movement which we have not sung for some time but which Brian may wish to perform (note from Ruth that I hope we do get to sing it!!) - the Tenors & Basses have extra dotted notes in bars 14 & 15 and S2 follows what's written for S1 at bar 32. Please be aware that the score is not very clear in terms of what parts are singing what - the Altos are sometimes called 2nd Altos (e.g. 1st entry, semi-chorus). But at rehearsal letter B (bar 19) it's still semi-chorus but the top line changes to 1st Alto. To further complicate things the 2nd line becomes Tenors at this point - only indication is the change of clef! There's also a strange editors note "1st Altos should include any male singers available" – which in our case will not be the Tenors! Presumably it would be trebles in an all male choir. Also note that on p129 the top line is still A T B, but line 2 mysteriously becomes S1, S2, A2! There is only have one Alto file, so all Altos to sing A1 or A2, whichever is indicated, but you will need to mark your score to show which line you're singing.)
Messiah Page 134 Let all the Angels of God
Sing the whole of the 1st 4 bars in one breath. Sopranos watch the C natural in bar 12, and Basses negotiate the entry in bar 27 carefully. (Note from Robert and Ruth - we can't remember ever singing this before but it will be fun to learn something new! There are no score issues but do note that altos and tenors could possibly divide at bars 10, 15 & 27)
Soprano Alto Tenor Bass Performance File
Happy practising!
Andrew
Wednesday 11 November 2020
This week, the focus is the 5th Movement of Brahms’ Requiem. Here are the midi files to help you learn the notes.
Soprano Alto Tenor Bass Performance File
and here is a link to the online recording which has the score on screen
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the difficult 3rd movement again to gain familiarity and confidence.
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
Brahms Requiem (last part of 3rd Movement)
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah All we like sheep Page 106 Watkins Shaw
Make the ‘i’ in ‘Like’ a really bright Italian ‘ah’ sound. Make the melismas on ‘stray’ really legato with a sense of forward progression – not sung as notes in pairs. Bars 67 – 70 need precision in the semiquavers!
Soprano Alto Tenor Bass Performance File
Messiah He trusted in God Page 115
A fairly aggressive, nasal tone to convey the sneering sentiment of the unruly mob.
Soprano Alto Tenor Bass Performance File
Also from Choral Classics How Lovely (in German Wie Lieblich) on page 44 which is of course the same as Movement 4 from the Brahms Requiem
Soprano Alto Tenor Bass Performance File
Now some vocal exercises to keep the voice in good shape - you will find them on my audio file
Andrew
This week, the focus is the 5th Movement of Brahms’ Requiem. Here are the midi files to help you learn the notes.
Soprano Alto Tenor Bass Performance File
and here is a link to the online recording which has the score on screen
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the difficult 3rd movement again to gain familiarity and confidence.
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
Brahms Requiem (last part of 3rd Movement)
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah All we like sheep Page 106 Watkins Shaw
Make the ‘i’ in ‘Like’ a really bright Italian ‘ah’ sound. Make the melismas on ‘stray’ really legato with a sense of forward progression – not sung as notes in pairs. Bars 67 – 70 need precision in the semiquavers!
Soprano Alto Tenor Bass Performance File
Messiah He trusted in God Page 115
A fairly aggressive, nasal tone to convey the sneering sentiment of the unruly mob.
Soprano Alto Tenor Bass Performance File
Also from Choral Classics How Lovely (in German Wie Lieblich) on page 44 which is of course the same as Movement 4 from the Brahms Requiem
Soprano Alto Tenor Bass Performance File
Now some vocal exercises to keep the voice in good shape - you will find them on my audio file
- Blowing out candles (and sucking in) 5. Then. 9
- Detached ‘sh’. sounds to ‘Jingle Bells’
- Focus - hums Descending scales from ng to eh, then ng to ah, then m to ee
- Staccato ee (up and down 5 notes). Then to oo
- ARTICULATION! Peter Pan’s got a head like a ping pong ball.
Andrew
Wednesday 4 November 2020
For this week, I would like you to continue Brahms Requiem (last part of 3rd Movement). I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Here are the midi files (from the last beat of bar 163. )
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
If you want to use the Schoenberg choir version for this movement - with score on screen which can be found via this link - please note that this section starts at 7 minutes 25 seconds.
Also, in a ‘live’ rehearsal, I would revise the 2nd movement to build confidence and assurance, as well as the whole of the 3rd Movement.
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Choral Classics Page 176 Blest pair of Sirens
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE
to maintain pitch in this unaccompanied item.
Messiah Page 98 Surely he hath borne
Soprano Alto Tenor Bass Performance file
Give prominence to the sibilants, and swell on the vowels. Shade off softly on …’ly’. Basses be precise on the E natural in Bar 17.
Page 102 And with His stripes
Strong ‘d’ on ‘And’ and sing legato. Altos watch the A flat in bar 36.
Soprano Alto Tenor Bass Performance file
Aim for absolute clarity of diction.
Happy practising!
Andrew
For this week, I would like you to continue Brahms Requiem (last part of 3rd Movement). I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Here are the midi files (from the last beat of bar 163. )
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
If you want to use the Schoenberg choir version for this movement - with score on screen which can be found via this link - please note that this section starts at 7 minutes 25 seconds.
Also, in a ‘live’ rehearsal, I would revise the 2nd movement to build confidence and assurance, as well as the whole of the 3rd Movement.
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Choral Classics Page 176 Blest pair of Sirens
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE
to maintain pitch in this unaccompanied item.
Messiah Page 98 Surely he hath borne
Soprano Alto Tenor Bass Performance file
Give prominence to the sibilants, and swell on the vowels. Shade off softly on …’ly’. Basses be precise on the E natural in Bar 17.
Page 102 And with His stripes
Strong ‘d’ on ‘And’ and sing legato. Altos watch the A flat in bar 36.
Soprano Alto Tenor Bass Performance file
Aim for absolute clarity of diction.
Happy practising!
Andrew
Wednesday 28 October 2020
This week, the focus is the last part of the 3rd Movement of Brahms’ Requiem from the last beat of bar 163.
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
If you want to use the Schoenberg choir version for this movement - with score on screen which can be found via this link - please note that this section starts at 7 minutes 25 seconds.
Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text.
Files for Ave Maria
Soprano1 Soprano2 Alto1 Alto2 Performance file
and for Alto Rhapsody
Tenor1 Tenor2 Bass1 Bass2 Performance file
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 2nd movement and first half of the 3rd movements to gain familiarity and confidence.
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah His Yoke is easy Page 86 Watkins Shaw
One of the most difficult choruses in Messiah! Basses pitch the As in bar 10 carefully, and also be precise in bars 24 – 26. Altos and Sopranos pitch the A flats precisely in Bars 28/29. Tenors watch that rhythm is correct in bar 38 and pitch the top G carefully!
Soprano Alto Tenor Bass Performance File
Also Messiah Behold the Lamb of God Page 91
Notes are fairly predictable and instinctive, but be neat on the dotted rhythms – Tenors last beat of bar 6 should be dotted. I use the written rhythms for the Basses in bars 19/20 and 24/25. Please note that the performance file differs slightly from my interpretation, note also that there is no accompaniment for the voice parts this week, they all start at bar 4.
Soprano Alto Tenor Bass Performance File
Ave Verum Elgar Choral Classics Page 67
Very calm and legato in flow. Breathe at the commas in the text (not intuitive!)
Soprano Alto Tenor Bass Performance File
Now some vocal exercises to keep the voice in good shape, please use the Audio File to practice
BREATH MANAGEMENT
The actual vocal exercises are as for last time
Andrew
This week, the focus is the last part of the 3rd Movement of Brahms’ Requiem from the last beat of bar 163.
Soprano 3b Alto 3b Tenor 3b Bass 3b Performance file 3b
If you want to use the Schoenberg choir version for this movement - with score on screen which can be found via this link - please note that this section starts at 7 minutes 25 seconds.
Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text.
Files for Ave Maria
Soprano1 Soprano2 Alto1 Alto2 Performance file
and for Alto Rhapsody
Tenor1 Tenor2 Bass1 Bass2 Performance file
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 2nd movement and first half of the 3rd movements to gain familiarity and confidence.
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Brahms Requiem 1st part of 3rd Movement
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah His Yoke is easy Page 86 Watkins Shaw
One of the most difficult choruses in Messiah! Basses pitch the As in bar 10 carefully, and also be precise in bars 24 – 26. Altos and Sopranos pitch the A flats precisely in Bars 28/29. Tenors watch that rhythm is correct in bar 38 and pitch the top G carefully!
Soprano Alto Tenor Bass Performance File
Also Messiah Behold the Lamb of God Page 91
Notes are fairly predictable and instinctive, but be neat on the dotted rhythms – Tenors last beat of bar 6 should be dotted. I use the written rhythms for the Basses in bars 19/20 and 24/25. Please note that the performance file differs slightly from my interpretation, note also that there is no accompaniment for the voice parts this week, they all start at bar 4.
Soprano Alto Tenor Bass Performance File
Ave Verum Elgar Choral Classics Page 67
Very calm and legato in flow. Breathe at the commas in the text (not intuitive!)
Soprano Alto Tenor Bass Performance File
Now some vocal exercises to keep the voice in good shape, please use the Audio File to practice
BREATH MANAGEMENT
The actual vocal exercises are as for last time
- Humming down scales (To achieve a focus and resonance within sinuses)
- Ee eh ah oh---oo (Thinking about jaw and lip shapes for the vowels)
- Ah with a legato connection between notes (particularly opening octave leap)
- Arpeggios/Dominant 7ths (Mouth shape changes for pitch and staccato technique)
- Chicken Tikka Mango Chutney and a pint of lager x 3, with naan and pilau rice. ………….ARTICULATION! ARTICULATION! ARTICULATION!................
Andrew
Wednesday 21 October 2020
For this week, I would like you to continue Brahms Requiem (1st part of 3rd Movement). I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
Also, in a ‘live’ rehearsal, I would revise the 1st & 2nd movements to build confidence and assurance, as well as this section of the 3rd Movement.
Brahms Requiem 1st movement
Soprano Alto Tenor Bass Performance file
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Don't forget that should you find it helpful there is the Schoenberg choir version - with score on screen - please see previous weeks for links to the various sections (noting that it is the same link for all three sections of the 2nd movement - though you may find it appearing several times below!)
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
Other Repertoire - to maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week - I was Glad Parry (Choral Classics Page 204 - don't forget we cut the section from page 210 to page 212 )
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance File
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE to maintain pitch in this unaccompanied item.
Glory to God Handel (Messiah - Watkins Shaw ed. Page 68)
Attack the ‘G’ on ‘Glory’ and crescendo on ‘high-…..’ to move into the 2nd syllable. T & B at bar 14 piano for ‘and peace on earth’. In ‘goodwill towards men’ ensure there are 3 notes on ‘to..’.
Soprano Alto Tenor Bass Performance File
Aim for absolute clarity of diction.
Happy practising!
Andrew
For this week, I would like you to continue Brahms Requiem (1st part of 3rd Movement). I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
Also, in a ‘live’ rehearsal, I would revise the 1st & 2nd movements to build confidence and assurance, as well as this section of the 3rd Movement.
Brahms Requiem 1st movement
Soprano Alto Tenor Bass Performance file
Brahms Requiem 1st part of 2nd Movement.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
Brahms Requiem 2nd part of 2nd Movement. (don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
Don't forget that should you find it helpful there is the Schoenberg choir version - with score on screen - please see previous weeks for links to the various sections (noting that it is the same link for all three sections of the 2nd movement - though you may find it appearing several times below!)
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
Other Repertoire - to maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week - I was Glad Parry (Choral Classics Page 204 - don't forget we cut the section from page 210 to page 212 )
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance File
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE to maintain pitch in this unaccompanied item.
Glory to God Handel (Messiah - Watkins Shaw ed. Page 68)
Attack the ‘G’ on ‘Glory’ and crescendo on ‘high-…..’ to move into the 2nd syllable. T & B at bar 14 piano for ‘and peace on earth’. In ‘goodwill towards men’ ensure there are 3 notes on ‘to..’.
Soprano Alto Tenor Bass Performance File
Aim for absolute clarity of diction.
Happy practising!
Andrew
Wednesday 14 October 2020
This week, the focus is the first part of the 3rd Movement of Brahms’ Requiem up to Bar 161. The most difficult bars being the 10 bars from Bar 144.
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
If you wish to use the Schoenberg choir version of the 3rd movement, with score on screen. Section 3a (up to bar 161) finishes at 7min 20s. The performance file corresponds to this recording.
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 1st & 2nd movements to gain familiarity and confidence. (midi files and other info can be found below)
Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text. (again please see previous weeks for the midi files)
Further Repertoire - I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on Messiah - For unto us which is on Page 55 Watkins Shaw. Eliminate the ‘r’ at the end of ‘For’ and minimise the ‘s’ at the end of ‘us’. Light and buoyant singing (save the voice-weight for ‘Wonderful, Counsellor,……’ Give plenty of length to the vowels on the dotted notes in ‘And the government shall be’.
Soprano Alto Tenor Bass Performance file
and God so loved the World Choral Classics Page 218 of Choral Classics. This is an unaccompanied item that needs lots of energy to maintain the pitch: because it is slow, fairly quiet and in a comfortable part of the voice, being gentle in dynamics inertia can easily take over and pitch can slip so take deep breaths and keep an energetic enthusiasm throughout!
Soprano Alto Tenor Bass Performance Recording
Now some vocal exercises to keep the voice in good shape. Please listen to the Audio File whist you practice.
BREATH MANAGEMENT
Andrew
This week, the focus is the first part of the 3rd Movement of Brahms’ Requiem up to Bar 161. The most difficult bars being the 10 bars from Bar 144.
Soprano 3a Alto 3a Tenor 3a Bass 3a Performance File 3a
If you wish to use the Schoenberg choir version of the 3rd movement, with score on screen. Section 3a (up to bar 161) finishes at 7min 20s. The performance file corresponds to this recording.
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 1st & 2nd movements to gain familiarity and confidence. (midi files and other info can be found below)
Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text. (again please see previous weeks for the midi files)
Further Repertoire - I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on Messiah - For unto us which is on Page 55 Watkins Shaw. Eliminate the ‘r’ at the end of ‘For’ and minimise the ‘s’ at the end of ‘us’. Light and buoyant singing (save the voice-weight for ‘Wonderful, Counsellor,……’ Give plenty of length to the vowels on the dotted notes in ‘And the government shall be’.
Soprano Alto Tenor Bass Performance file
and God so loved the World Choral Classics Page 218 of Choral Classics. This is an unaccompanied item that needs lots of energy to maintain the pitch: because it is slow, fairly quiet and in a comfortable part of the voice, being gentle in dynamics inertia can easily take over and pitch can slip so take deep breaths and keep an energetic enthusiasm throughout!
Soprano Alto Tenor Bass Performance Recording
Now some vocal exercises to keep the voice in good shape. Please listen to the Audio File whist you practice.
BREATH MANAGEMENT
- Humming down scales (To achieve a focus and resonance within sinuses)
- Ee eh ah oh---oo (Thinking about jaw and lip shapes for the vowels)
- Ah with a legato connection between notes (particularly opening octave leap)
- Arpeggios/Dominant 7ths (Mouth shape changes for pitch and staccato technique)
- Chicken Tikka Mango Chutney and a pint of lager x 3, with naan and pilau rice. (ARTICULATION! ARTICULATION! ARTICULATION!)
Andrew
Wednesday 7 October 2020
For this week, I would like you to continue Brahms Requiem 2nd part of 2nd Movement. I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
as per last week if you wish to use the recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, with score on screen then follow this link , this section starts at 10 mins 0s.
Also, in a ‘live’ rehearsal, I would revise the 1st movement to build confidence and assurance, as well as the whole of this 2nd Movement. Here are the files for the First movement
Soprano Alto Tenor Bass Performance file
(and the YouTube recording with online score can be found at this link)
and for the 1st part of section of the Second Movement (remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
There is also a recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link giving you a recording to listen to with the score on screen!
You may also wish to run through the Alto Rhapsody / Ave Maria
Files for Ave Maria
Soprano1 Soprano2 Alto1 Alto2 Performance file
and for Alto Rhapsody
Tenor1 Tenor2 Bass1 Bass2 Performance file
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation.
The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Locus Iste Bruckner (Choral Classics Page 62)
Soprano Alto Tenor Bass Performance file
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE to maintain pitch in this unaccompanied item.
and O Thou that tellest Handel (Messiah - Watkins Shaw ed. Page 46)
Soprano Alto Tenor Bass Performance File
Aim for absolute clarity of diction.
Happy practising!
Andrew
For this week, I would like you to continue Brahms Requiem 2nd part of 2nd Movement. I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals.
Don't forget that when using the following midi files that Brahms Requiem 2c overlaps 2b, starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. The midi files take this into account.
Soprano 2c Alto 2c Tenor 2c Bass 2c Performance file 2c
as per last week if you wish to use the recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, with score on screen then follow this link , this section starts at 10 mins 0s.
Also, in a ‘live’ rehearsal, I would revise the 1st movement to build confidence and assurance, as well as the whole of this 2nd Movement. Here are the files for the First movement
Soprano Alto Tenor Bass Performance file
(and the YouTube recording with online score can be found at this link)
and for the 1st part of section of the Second Movement (remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
There is also a recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link giving you a recording to listen to with the score on screen!
You may also wish to run through the Alto Rhapsody / Ave Maria
Files for Ave Maria
Soprano1 Soprano2 Alto1 Alto2 Performance file
and for Alto Rhapsody
Tenor1 Tenor2 Bass1 Bass2 Performance file
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation.
The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Locus Iste Bruckner (Choral Classics Page 62)
Soprano Alto Tenor Bass Performance file
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE to maintain pitch in this unaccompanied item.
and O Thou that tellest Handel (Messiah - Watkins Shaw ed. Page 46)
Soprano Alto Tenor Bass Performance File
Aim for absolute clarity of diction.
Happy practising!
Andrew
Wednesday 30 September 2020
This week, the focus is the last part of the 2nd Movement of Brahms’ Requiem. This week’s section is from letter H (Bar198 of the movement up to the end of the movement (Bar 337). Please work with the midi files and with the complete performance of this section to learn the notes, and I will talk more about it next week.
Please note that Brahms Requiem 2c overlaps 2b (as learned over the last two weeks), starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. So the midi files take this into account
Soprano Alto Tenor Bass Performance file
If you wish to use the recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, with score on screen then follow this link , this section starts at 10 mins 0s.
Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text. - see the last two weeks for the relevant midi files.
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I like to recap
on previous work, so please also look back at the 1st movement and the 1st part of this 2nd Movement to gain familiarity and confidence. Again please scroll down to previous weeks for the midi files.
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah - And he shall purify Page 35 Watkins Shaw
Clearly articulate “And he” – both d and h consonants need energy. Watch lip shape on the first of the high repeated notes on ‘he’. Basses watch a naturals in Bar 28 and Altos and Tenors be confident in entry on Bar 29. Sopranos be precise on notes in Bar 40. Soprano Alto Tenor Bass Performance File
Insane et vanae curae Choral Classics Page 126
Be precise over rhythms in bar 27. Hold minim for full 2 beats in bar 43. Sopranos be precise on tuning the G sharp in bar 128 Soprano Alto Tenor Bass Performance File
Now some Vocal Exercises to keep the voice in good shape.
BREATH MANAGEMENT
Please follow the instructions in the audio file
The exercises are as follows
Andrew
This week, the focus is the last part of the 2nd Movement of Brahms’ Requiem. This week’s section is from letter H (Bar198 of the movement up to the end of the movement (Bar 337). Please work with the midi files and with the complete performance of this section to learn the notes, and I will talk more about it next week.
Please note that Brahms Requiem 2c overlaps 2b (as learned over the last two weeks), starting at H (bar 198), so that it includes the tempo change at bar 206. This is particularly important for the Basses who carry on singing at that point. So the midi files take this into account
Soprano Alto Tenor Bass Performance file
If you wish to use the recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, with score on screen then follow this link , this section starts at 10 mins 0s.
Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text. - see the last two weeks for the relevant midi files.
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I like to recap
on previous work, so please also look back at the 1st movement and the 1st part of this 2nd Movement to gain familiarity and confidence. Again please scroll down to previous weeks for the midi files.
I also would like to keep Messiah and Choral Classics items in the Repertoire, so this week I would like you to concentrate on:
Messiah - And he shall purify Page 35 Watkins Shaw
Clearly articulate “And he” – both d and h consonants need energy. Watch lip shape on the first of the high repeated notes on ‘he’. Basses watch a naturals in Bar 28 and Altos and Tenors be confident in entry on Bar 29. Sopranos be precise on notes in Bar 40. Soprano Alto Tenor Bass Performance File
Insane et vanae curae Choral Classics Page 126
Be precise over rhythms in bar 27. Hold minim for full 2 beats in bar 43. Sopranos be precise on tuning the G sharp in bar 128 Soprano Alto Tenor Bass Performance File
Now some Vocal Exercises to keep the voice in good shape.
BREATH MANAGEMENT
Please follow the instructions in the audio file
The exercises are as follows
- HUMMING (Focus) ‘m’ ‘n’ ‘ng’
- LIP TRILLS (Forward focus)
- ROLLED ‘Rs’
- Triumphing Trumpets arpeggios.
- SOFT PALATE AWARENESS ‘Hung-ah’
- ARTICULATION Broken Chords to ‘:Vee Veh Vah: Vee’
Andrew
Wednesday 23 September 2020
For this week, I would like you to continue Requiem 1st part of 2nd Movement. I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals, together with a misprint in the text in some editions. Please use the midi files which are the same as last week.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
There is also a recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link giving you a recording to listen to with the score on screen!
Also, in a ‘live’ rehearsal, I would revise the 1st movement to build confidence and assurance, as well as the other 2 Brahms pieces – the Ave Maria (S & A) and the Alto Rhapsody (T & B). So, please sing through these to develop greater familiarity.
Here are the files for the First movement
Soprano Alto Tenor Bass Performance audio file
(and the YouTube recording with online score can be found at this link)
Files for Ave Maria
Soprano1 Soprano2 Alto1 Alto2 Performance file
and for Alto Rhapsody
Tenor1 Tenor2 Bass1 Bass2 Performance file
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Cantique de Jean Racine Faure (Choral Classics Page 91)
Soprano Alto Tenor Bass Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
And the Glory of the Lord Handel (Messiah - Watkins Shaw ed. Page 11)
Soprano Alto Tenor Bass Performance Recording
Aim for absolute clarity of diction - clear “AND” and remember ‘Glaw -ryov’!
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire
Happy practising!
Andrew
For this week, I would like you to continue Requiem 1st part of 2nd Movement. I have indicated on the audio file a few of the areas that can cause some problems, both in text pronunciation and in tuning and intervals, together with a misprint in the text in some editions. Please use the midi files which are the same as last week.
(remembering that to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
There is also a recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link giving you a recording to listen to with the score on screen!
Also, in a ‘live’ rehearsal, I would revise the 1st movement to build confidence and assurance, as well as the other 2 Brahms pieces – the Ave Maria (S & A) and the Alto Rhapsody (T & B). So, please sing through these to develop greater familiarity.
Here are the files for the First movement
Soprano Alto Tenor Bass Performance audio file
(and the YouTube recording with online score can be found at this link)
Files for Ave Maria
Soprano1 Soprano2 Alto1 Alto2 Performance file
and for Alto Rhapsody
Tenor1 Tenor2 Bass1 Bass2 Performance file
When practising, whether learning your own part, or when confident enough to sing with the complete performances, please try to focus also on posture, breathing and articulation. The vocal and choral exercises from last week can be used to concentrate on these key aspects of technique.
To maintain connection with our ‘go-to’ repertoire pieces (from Choral Classics), as well as Messiah, so that the choir will be in a position to return to performance (when allowed), I would like you to sing the following items this week.
Cantique de Jean Racine Faure (Choral Classics Page 91)
Soprano Alto Tenor Bass Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
And the Glory of the Lord Handel (Messiah - Watkins Shaw ed. Page 11)
Soprano Alto Tenor Bass Performance Recording
Aim for absolute clarity of diction - clear “AND” and remember ‘Glaw -ryov’!
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire
Happy practising!
Andrew
Wednesday 16 September 2020
This week, the focus is the 1st part of the 2nd Movement of Brahms’ Requiem (Not the whole movement, as it is quite lengthy and will be split into 2 sessions). This week’s section is from the start of the movement up to Bar 206. Please work with the midi files and with the complete performance of this section to familiarise yourself with the music and the text, and I will talk more about it next week. Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text.
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 1st movement to gain familiarity and confidence. I also would like to keep Messiah and Choral Classics items in the Repertoire, so will include items from these books in subsequent rehearsals.
Now some vocal exercises to keep the voice in good shape.
SINGING IS A WHOLE-BODY EXPERIENCE
As a choir we sing Requiems, Masses and Passions, so why has movement anything to do with us?
Just watch an African Traditional Choir or a Gospel Choir to see how ‘natural’ movement and gesture is to the performers! Yet, what an impact it has on their singing and sense of communication & PERFORMANCE! As reserved citizens of the UK we tend to shun any movement when singing. However, communication (which is what singing is all about) relies on body language as much as the sounds that come out of our mouths. So, in the privacy of one’s own home, in this period of enforced isolation, please experiment with moving about and giving freedom to the hands and arms whilst singing. I’m not suggesting this will become a feature of performances, but in experimenting with this in private practising, it helps to get better interpretation and emotion into our singing, and can release any tension that can impede our singing. Also, try singing with the hands clasped at the back of the head, or with arms stretched up as high as possible. Any ‘unusual’ posture, so long as the ribcage is expanded and lifted, is worth trying. Also try getting greater facial mobility – engage the ‘chuckle muscles’ and the eyebrows.
WARM-UP EXERCISES
Focus on breathing, by standing with ribcage open and raised, and shoulders pulled back and down. Take in a low-placed deep breath – hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Then even if the lungs are not empty, top up to a full deep breath and repeat i.e. hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Do this 3 times, but if at any time you feel ‘light headed’, sit down!
BRAHMS REQUIEM
Now have a look at the 2nd Movt to Bar 206 (which is page 20 in Peters edition) - not Allegro non troppo! Work on learning the notes and the text with the use of the midi files and performance file. You may also like to make use of this pronunciation guide for part 2.
(to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
As per two weeks ago there is a recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link (noting that this will start with an advert which you can close by waiting a few seconds and then clicking "close ad", you will then get the music with the score on screen! so if the pdf which has been sent causes you any problems you may prefer to use this. Also if you zoom in with this version the score will fill the whole width of your screen. This does of course include the introduction so move cursor to 1min 0s to select 2a, or 6min 54s for 2b, please note that to match the rehearsal files 2b finishes at 10 mins 30 secs where the score says Allegro Non Troppo.
MORE BRAHMS
Also continue to work on Ave Maria and Alto Rhapsody, the pdfs were sent last week, here are the midi files again.
Ave Maria - Soprano1 Soprano2 Alto1 Alto2 Performance file
Alto Rhapsody - Tenor1 Tenor2 Bass1 Bass2 Performance file (in which Janet Baker is the soloist)
(Don't forget that that the Alto Rhapsody has about 9½ minutes of music (intro + Alto solo) before the chorus enters.
This is well over half of the total work, so the rehearsal files which Robert has created start at the end of this.
The pdf sent (again created by Robert ) also omits the 9½ min. introduction and thus is just 9 pages ! You may prefer the online recording on Youtube of the Alto Rhapsody with Kathleen Ferrier singing and with the score on screen! - here is a link. This features the whole work so if you only want the bit you will be singing then skip to 9½ minutes - after closing the ad which appears at the beginning! Sadly still no such recording for the Ave Maria
Happy practising!
Andrew
This week, the focus is the 1st part of the 2nd Movement of Brahms’ Requiem (Not the whole movement, as it is quite lengthy and will be split into 2 sessions). This week’s section is from the start of the movement up to Bar 206. Please work with the midi files and with the complete performance of this section to familiarise yourself with the music and the text, and I will talk more about it next week. Please also keep working on the Ave Maria (Sopranos and Altos) and the Alto Rhapsody (Tenors and Basses) to become confident with the notes and the text.
We will continue through the term working our way through the Requiem, but as in ‘live’ rehearsals, I would recap on previous work, please also look back at the 1st movement to gain familiarity and confidence. I also would like to keep Messiah and Choral Classics items in the Repertoire, so will include items from these books in subsequent rehearsals.
Now some vocal exercises to keep the voice in good shape.
SINGING IS A WHOLE-BODY EXPERIENCE
As a choir we sing Requiems, Masses and Passions, so why has movement anything to do with us?
Just watch an African Traditional Choir or a Gospel Choir to see how ‘natural’ movement and gesture is to the performers! Yet, what an impact it has on their singing and sense of communication & PERFORMANCE! As reserved citizens of the UK we tend to shun any movement when singing. However, communication (which is what singing is all about) relies on body language as much as the sounds that come out of our mouths. So, in the privacy of one’s own home, in this period of enforced isolation, please experiment with moving about and giving freedom to the hands and arms whilst singing. I’m not suggesting this will become a feature of performances, but in experimenting with this in private practising, it helps to get better interpretation and emotion into our singing, and can release any tension that can impede our singing. Also, try singing with the hands clasped at the back of the head, or with arms stretched up as high as possible. Any ‘unusual’ posture, so long as the ribcage is expanded and lifted, is worth trying. Also try getting greater facial mobility – engage the ‘chuckle muscles’ and the eyebrows.
WARM-UP EXERCISES
Focus on breathing, by standing with ribcage open and raised, and shoulders pulled back and down. Take in a low-placed deep breath – hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Then even if the lungs are not empty, top up to a full deep breath and repeat i.e. hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Do this 3 times, but if at any time you feel ‘light headed’, sit down!
- The purpose of the 1st exercise on the audio file – “Love lifted me” apart from getting the body moving, is to give the brain enough to think about so that Total Focus is given to the task in hand i.e. singing. Please use a dining chair or stool that is not too low to do this exercise.
- The next exercise is to use exaggerated lip and jaw movement to achieve full rich vowel sounds – singing, “I owe you five pounds”.
- Descending Chromatic Scale for precise tuning.
- Arpeggios/Dominant 7ths for agility, and the staccato to make awareness of abdominal involvement.
- To become aware of Tonal placing - arpeggios to “This is a fine, fine, fine day today”
BRAHMS REQUIEM
Now have a look at the 2nd Movt to Bar 206 (which is page 20 in Peters edition) - not Allegro non troppo! Work on learning the notes and the text with the use of the midi files and performance file. You may also like to make use of this pronunciation guide for part 2.
(to avoid listening to orchestral introductions and interludes Robert has further split this section of the movement into two parts - 2a starts at bar 19 and ends at bar 124, 2b starts at bar 143 and ends at 206.)
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
As per two weeks ago there is a recording of the 2nd Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link (noting that this will start with an advert which you can close by waiting a few seconds and then clicking "close ad", you will then get the music with the score on screen! so if the pdf which has been sent causes you any problems you may prefer to use this. Also if you zoom in with this version the score will fill the whole width of your screen. This does of course include the introduction so move cursor to 1min 0s to select 2a, or 6min 54s for 2b, please note that to match the rehearsal files 2b finishes at 10 mins 30 secs where the score says Allegro Non Troppo.
MORE BRAHMS
Also continue to work on Ave Maria and Alto Rhapsody, the pdfs were sent last week, here are the midi files again.
Ave Maria - Soprano1 Soprano2 Alto1 Alto2 Performance file
Alto Rhapsody - Tenor1 Tenor2 Bass1 Bass2 Performance file (in which Janet Baker is the soloist)
(Don't forget that that the Alto Rhapsody has about 9½ minutes of music (intro + Alto solo) before the chorus enters.
This is well over half of the total work, so the rehearsal files which Robert has created start at the end of this.
The pdf sent (again created by Robert ) also omits the 9½ min. introduction and thus is just 9 pages ! You may prefer the online recording on Youtube of the Alto Rhapsody with Kathleen Ferrier singing and with the score on screen! - here is a link. This features the whole work so if you only want the bit you will be singing then skip to 9½ minutes - after closing the ad which appears at the beginning! Sadly still no such recording for the Ave Maria
Happy practising!
Andrew
Wednesday 9 September 2020
SINGING AND FITNESS
As human beings, our bodies always aim to ‘take the easy way out’. This applies equally to breathing, and why exercise is important to good health. Singing is an excellent way to make our lungs work effectively, and by efficiently getting a good supply of oxygen into the bloodstream, has great health benefits. So, every singing session should start with a focus on BREATHING, and we should constantly remind ourselves throughout practice, rehearsals and performance about posture (keeping that ribcage lifted) and breathing into the lower areas of the lungs.
Following positive feedback, and requests for more ‘singing help’, I suggest the following:
BREATHING
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium. If at any time you feel faint or light-headed do sit down!
Then, as per last week, with raised ribcage and the hands now hanging loosely and elbows slightly pushed out, take in a deep breath allowing the tummy to expand. Hold a breath for 12 seconds, then release slowly over a further 12 seconds, then relax for 12seconds breathing normally. Repeat this twice more. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. To monitor the slow release of breath, it is often best to do it to a gentle hiss.
TONAL FOCUS, RESONANCE and PROJECTION
As for last week, I have put together an audio file. Please continue to use the exercises I gave last week, but here are a few extras.
Please have another look at Brahms REQUIEM movement 1 but now you are more familiar with the notes please use this audio file which covers the danger spots! Here are the voice parts again to sing along to and of course the performance file.
Soprano Alto Tenor Bass Performance audio file
(as per last week there is also the YouTube recording by the Arnold Schonberg Choir which has the score online for you to sing along with them - here is a link)
The other pieces which will complement the Requiem in a ‘Brahms Choral Concert’ show off the Sopranos and Altos in the Ave Maria and the Tenors and Basses in the Alto Rhapsody (the Alto being the soloist!).
The pdfs have been once again sent with the Sunday email and here are the audio files to help you learn your part, and also a performance file for each work to sing along to once you have learned the notes.
Ave Maria - Soprano1 Soprano2 Alto1 Alto2 Performance file
Alto Rhapsody - Tenor1 Tenor2 Bass1 Bass2 Performance file (in which Janet Baker is the soloist)
(Please note that the Alto Rhapsody has about 9½ minutes of music (intro + Alto solo) before the chorus enters.
This is well over half of the total work, so the rehearsal files which Robert has created start at the end of this.
The pdf sent (again created by Robert ) also omits the 9½ min. introduction and thus is just 9 pages ! )
(note from Robert - there is a second online recording on Youtube with Kathleen Ferrier singing - here is a link - it features the whole work so if you only want the bit you will be singing then skip to 9½ minutes - after closing the ad which appears at the beginning!- the sound quality is not as good as the Janet Baker recording but it does have the score on screen for you to sing along to. Sadly we haven't found any such recording for the Ave Maria.)
Next week we will work on the first section of the 2nd Movement of the Requiem.
No specific ‘go to’ repertoire this week, but we will use items from Choral Classics next week.
Happy practising!
Happy singing
Andrew
SINGING AND FITNESS
As human beings, our bodies always aim to ‘take the easy way out’. This applies equally to breathing, and why exercise is important to good health. Singing is an excellent way to make our lungs work effectively, and by efficiently getting a good supply of oxygen into the bloodstream, has great health benefits. So, every singing session should start with a focus on BREATHING, and we should constantly remind ourselves throughout practice, rehearsals and performance about posture (keeping that ribcage lifted) and breathing into the lower areas of the lungs.
Following positive feedback, and requests for more ‘singing help’, I suggest the following:
BREATHING
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium. If at any time you feel faint or light-headed do sit down!
Then, as per last week, with raised ribcage and the hands now hanging loosely and elbows slightly pushed out, take in a deep breath allowing the tummy to expand. Hold a breath for 12 seconds, then release slowly over a further 12 seconds, then relax for 12seconds breathing normally. Repeat this twice more. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. To monitor the slow release of breath, it is often best to do it to a gentle hiss.
TONAL FOCUS, RESONANCE and PROJECTION
As for last week, I have put together an audio file. Please continue to use the exercises I gave last week, but here are a few extras.
- Humming descending scales to ‘m’, ‘n’, and ‘ng’
- The Ash Grove humming then ‘She shall sew silky sheets’ (tongue control)
- Articulation Popacatapetal / Copper Plated Kettle
- Mouth Shape ee/ ah
- Vowel Unification ah-oh, ee---eh
- Intervals to numbers with quality TONE
Please have another look at Brahms REQUIEM movement 1 but now you are more familiar with the notes please use this audio file which covers the danger spots! Here are the voice parts again to sing along to and of course the performance file.
Soprano Alto Tenor Bass Performance audio file
(as per last week there is also the YouTube recording by the Arnold Schonberg Choir which has the score online for you to sing along with them - here is a link)
The other pieces which will complement the Requiem in a ‘Brahms Choral Concert’ show off the Sopranos and Altos in the Ave Maria and the Tenors and Basses in the Alto Rhapsody (the Alto being the soloist!).
The pdfs have been once again sent with the Sunday email and here are the audio files to help you learn your part, and also a performance file for each work to sing along to once you have learned the notes.
Ave Maria - Soprano1 Soprano2 Alto1 Alto2 Performance file
Alto Rhapsody - Tenor1 Tenor2 Bass1 Bass2 Performance file (in which Janet Baker is the soloist)
(Please note that the Alto Rhapsody has about 9½ minutes of music (intro + Alto solo) before the chorus enters.
This is well over half of the total work, so the rehearsal files which Robert has created start at the end of this.
The pdf sent (again created by Robert ) also omits the 9½ min. introduction and thus is just 9 pages ! )
(note from Robert - there is a second online recording on Youtube with Kathleen Ferrier singing - here is a link - it features the whole work so if you only want the bit you will be singing then skip to 9½ minutes - after closing the ad which appears at the beginning!- the sound quality is not as good as the Janet Baker recording but it does have the score on screen for you to sing along to. Sadly we haven't found any such recording for the Ave Maria.)
Next week we will work on the first section of the 2nd Movement of the Requiem.
No specific ‘go to’ repertoire this week, but we will use items from Choral Classics next week.
Happy practising!
Happy singing
Andrew
Wednesday 2 September 2020
Welcome and Introduction.
In these Virtual ‘rehearsals’ I aim to produce some resources to help keep our voices and bodies fit and healthy for singing, our minds engaged and our musical imaginations expressing our inner feelings and emotions.
The files attached contain some ‘warm up’ exercises to keep the vocal apparatus in peak condition. Use it or lose it! The muscles which enable us to sing with accuracy and control need a regular, ideally daily, workout. However, as with any exercise, going through the physical motions without the mental focus is very restricted in value. For every different exercise that you do, you must constantly be aware of WHY you are doing it, and WHAT you aim to achieve. I will explain these on the attached audio files.
EXERCISE REGIME
Before the vocalisation exercises, it is good to get the Breathing working efficiently.
Stand with the ribcage lifted (by pulling the shoulders back and down) then take in a slow deep breath - feel that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 10 seconds, then release slowly over a further 10 seconds, then relax for 10 seconds breathing normally. Repeat this twice more.
To monitor the slow release of breath, it is often best to do it to a gentle hiss. Always stand with feet about 12 inches apart, with the hands hanging loosely and elbows slightly pushed out. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP.
Maintain this posture and approach to breathing for the recorded exercises.
BRAHMS REQUIEM
As mentioned in the introduction this week we are looking at the first movement and here are some midi files to sing along with to learn your part. The score in full has been emailed as a pdf as has the first movement on it's own.
Soprano Alto Tenor Bass
and here is a Performance audio file of the 1st Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link (noting that the Youtube link will probably start with an advert which you can close by clicking the x in the top right corner of it, you will then get the music with the score on screen! so if the pdf which has been sent causes you any problems you may prefer to use this. Also if you zoom in with this version the score will fill the whole width of your screen.
To futher aid you in learning the Brahms here is a pronunciation guide for the first movement.
Continuing the work on REPERTOIRE
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. For your own enjoyment, this week, please sing (from memory if possible – if not, Page 172) Ave Verum by Mozart - here are voice parts and a performance recording.
Soprano Alto Tenor Bass
Performance recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of all these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
Happy singing
Andrew
Welcome and Introduction.
In these Virtual ‘rehearsals’ I aim to produce some resources to help keep our voices and bodies fit and healthy for singing, our minds engaged and our musical imaginations expressing our inner feelings and emotions.
The files attached contain some ‘warm up’ exercises to keep the vocal apparatus in peak condition. Use it or lose it! The muscles which enable us to sing with accuracy and control need a regular, ideally daily, workout. However, as with any exercise, going through the physical motions without the mental focus is very restricted in value. For every different exercise that you do, you must constantly be aware of WHY you are doing it, and WHAT you aim to achieve. I will explain these on the attached audio files.
EXERCISE REGIME
Before the vocalisation exercises, it is good to get the Breathing working efficiently.
Stand with the ribcage lifted (by pulling the shoulders back and down) then take in a slow deep breath - feel that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 10 seconds, then release slowly over a further 10 seconds, then relax for 10 seconds breathing normally. Repeat this twice more.
To monitor the slow release of breath, it is often best to do it to a gentle hiss. Always stand with feet about 12 inches apart, with the hands hanging loosely and elbows slightly pushed out. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP.
Maintain this posture and approach to breathing for the recorded exercises.
- Humming descending scales on ‘m’ ‘n’ and ‘ng’
- Singing down scales to ‘new’ ‘mee’ ‘may’ ‘mah’
- Arpeggios to ‘ah’
- Octave leaps ‘ee’ – ‘ah ah ah’
- Articulation ‘lee’ ‘lay’ ‘lah’
- Which wristwatch is a Swiss wristwatch
BRAHMS REQUIEM
As mentioned in the introduction this week we are looking at the first movement and here are some midi files to sing along with to learn your part. The score in full has been emailed as a pdf as has the first movement on it's own.
Soprano Alto Tenor Bass
and here is a Performance audio file of the 1st Movement from YouTube recording by the Arnold Schonberg Choir, if you wish to watch it on You Tube here is a link (noting that the Youtube link will probably start with an advert which you can close by clicking the x in the top right corner of it, you will then get the music with the score on screen! so if the pdf which has been sent causes you any problems you may prefer to use this. Also if you zoom in with this version the score will fill the whole width of your screen.
To futher aid you in learning the Brahms here is a pronunciation guide for the first movement.
Continuing the work on REPERTOIRE
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. For your own enjoyment, this week, please sing (from memory if possible – if not, Page 172) Ave Verum by Mozart - here are voice parts and a performance recording.
Soprano Alto Tenor Bass
Performance recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of all these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
Happy singing
Andrew
Wednesday 24 June 2020
BREATH MANAGEMENT
Please use this Audio File for the following
EXERCISES
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria KYRIE (Page 3 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the choir’s most well-known and most well-rehearsed movement. Make it expressive by observing all the dynamics and articulation markings. Basses – watch the D naturals in final bar of top line and 1st bar bottom line of Page 4 and the F sharp (1st note of Bar 7). Tenors watch the 1st note in the lat bar top line of Page 5 C flat is the same as B natural – therefore it is only a semitone above your previous note, but the last 3 note of the top line are B flats (back down a semitone).
Soprano Alto Tenor Bass
Performance Recording
Now for the more difficult challenge! Please do the same with the 10th movement from the Rossini Stabat Mater (In sempiternam) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is fast and requires real precision.
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Stainer’s ‘God so loved the world’ firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 218. An unaccompanied item that needs lots of energy to maintain the pitch: because it is slow, fairly quiet and in a comfortable part of the voice, inertia can easily take over and pitch can slip!
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and to build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability. This should enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
BREATH MANAGEMENT
Please use this Audio File for the following
EXERCISES
- HUMMING (Focus) ‘m’ ‘n’ ‘ng’
- LIP TRILLS (Forward focus)
- ROLLED ‘Rs’
- Triumphing Trumpets arpeggios.
- SOFT PALATE AWARENESS ‘Hung-ah’
- ARTICULATION Broken Chords to ‘:Vee Veh Vah: Vee’
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria KYRIE (Page 3 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the choir’s most well-known and most well-rehearsed movement. Make it expressive by observing all the dynamics and articulation markings. Basses – watch the D naturals in final bar of top line and 1st bar bottom line of Page 4 and the F sharp (1st note of Bar 7). Tenors watch the 1st note in the lat bar top line of Page 5 C flat is the same as B natural – therefore it is only a semitone above your previous note, but the last 3 note of the top line are B flats (back down a semitone).
Soprano Alto Tenor Bass
Performance Recording
Now for the more difficult challenge! Please do the same with the 10th movement from the Rossini Stabat Mater (In sempiternam) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is fast and requires real precision.
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Stainer’s ‘God so loved the world’ firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 218. An unaccompanied item that needs lots of energy to maintain the pitch: because it is slow, fairly quiet and in a comfortable part of the voice, inertia can easily take over and pitch can slip!
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and to build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability. This should enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
Wednesday 17 June 2020
BREATHING. Again!! Such a vital aspect to focus on before vocalising.
It is so important to successful singing (and to good health generally) to adopt a good posture. The body should be aligned so that when standing with the back against a wall, with shoulders pulled back and down you should feel a few centimetres taller. With this posture really deep breaths can be taken, allowing the lower area of the lungs to expand.
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium.
Then do some silent laughter, being conscious of the tension and usage of the epigastrium muscles.
Remain standing with the ribcage lifted (by pulling the shoulders back and down) but now with the hands hanging loosely and elbows slightly pushed out. Then take in a slow deep breath – be aware that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 12 seconds, then release slowly over a further 12 seconds (not allowing the ribcage to move at all), then relax for 12 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP.
Maintain this posture and approach to breathing for the recorded exercises, please listen to the Audio File
EXERCISES
1 HUMMING (Focus) The Ash Grove ‘m’ ‘n’ ‘ng’
2 VOCALISATION (Tonal Projection) Ash Grove ‘oo’ gently, ‘ee’ louder, ‘ah’ loudly
3 INTONATION a) Major Scales descending - small downward steps
b) Melodic Minor Scales ascending & descending – really lift 6th & 7th ascending.
c) Chromatic Scales
d) Arpeggios
4 ARTICULATION ‘The big bloke bled in the big blue bed’
5 DIAPHRAGM ENGAGEMENT “Love’ to octaves with a strong ’v’ at the top.
MEMORY PIECES (you already have the pdfs)
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Credo (Page 49 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. Watch all the fp markings. Tenors be precise in pitching the 1st note on Page 51 on ‘Jesum’ (and similarly on the bottom of Page 53). SUDDENLY quiet at the start of P 55. Basses watch the leap up to the f natural in the 4th bar of P 56. All men sing Pages 58 & 59 (though tenors will have to omit the lower notes!). Because of the length of this movement, it is divided up into 3 files.
Soprano pg 49-57 Alto pg 49-57 Tenor pg 49-57 Bass pg 49-57
Credo Performance Recording pg 49-57
Tenors and Basses pg 58-59
Bass Solo Performance Recording pg 58-59
Soprano pg 59-72 Alto pg 59-72 Tenor pg 59-72 Bass pg 59-7
Et Resurrexit (Final section) Performance Recording pg 59-72
Please do the same with the 5th movement from the Rossini Stabat Mater (Eia Mater) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 5 minute movement is totally unaccompanied, so also poses a real challenge to pitch and intonation! Please note that the Basses start on page 31 as does the performance recording, all other parts start on page 32.
Soprano Alto Tenor 1 Tenor 2 Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Parry’s Blest Pair of Sirens firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 176.
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance Recording
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
BREATHING. Again!! Such a vital aspect to focus on before vocalising.
It is so important to successful singing (and to good health generally) to adopt a good posture. The body should be aligned so that when standing with the back against a wall, with shoulders pulled back and down you should feel a few centimetres taller. With this posture really deep breaths can be taken, allowing the lower area of the lungs to expand.
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium.
Then do some silent laughter, being conscious of the tension and usage of the epigastrium muscles.
Remain standing with the ribcage lifted (by pulling the shoulders back and down) but now with the hands hanging loosely and elbows slightly pushed out. Then take in a slow deep breath – be aware that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 12 seconds, then release slowly over a further 12 seconds (not allowing the ribcage to move at all), then relax for 12 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP.
Maintain this posture and approach to breathing for the recorded exercises, please listen to the Audio File
EXERCISES
1 HUMMING (Focus) The Ash Grove ‘m’ ‘n’ ‘ng’
2 VOCALISATION (Tonal Projection) Ash Grove ‘oo’ gently, ‘ee’ louder, ‘ah’ loudly
3 INTONATION a) Major Scales descending - small downward steps
b) Melodic Minor Scales ascending & descending – really lift 6th & 7th ascending.
c) Chromatic Scales
d) Arpeggios
4 ARTICULATION ‘The big bloke bled in the big blue bed’
5 DIAPHRAGM ENGAGEMENT “Love’ to octaves with a strong ’v’ at the top.
MEMORY PIECES (you already have the pdfs)
- Fisherman’s Night Song
- Afton Water
- Moon River
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Credo (Page 49 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. Watch all the fp markings. Tenors be precise in pitching the 1st note on Page 51 on ‘Jesum’ (and similarly on the bottom of Page 53). SUDDENLY quiet at the start of P 55. Basses watch the leap up to the f natural in the 4th bar of P 56. All men sing Pages 58 & 59 (though tenors will have to omit the lower notes!). Because of the length of this movement, it is divided up into 3 files.
Soprano pg 49-57 Alto pg 49-57 Tenor pg 49-57 Bass pg 49-57
Credo Performance Recording pg 49-57
Tenors and Basses pg 58-59
Bass Solo Performance Recording pg 58-59
Soprano pg 59-72 Alto pg 59-72 Tenor pg 59-72 Bass pg 59-7
Et Resurrexit (Final section) Performance Recording pg 59-72
Please do the same with the 5th movement from the Rossini Stabat Mater (Eia Mater) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 5 minute movement is totally unaccompanied, so also poses a real challenge to pitch and intonation! Please note that the Basses start on page 31 as does the performance recording, all other parts start on page 32.
Soprano Alto Tenor 1 Tenor 2 Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Parry’s Blest Pair of Sirens firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 176.
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance Recording
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
Wednesday 10 June 2020
IMAGINATION
For any artistic pursuit, we need to develop and use our imagination. So, in this week’s session I want to guide your thoughts towards this aim. We begin with our usual breathing exercises.
BREATHING.
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium.
Then do some silent laughter, being conscious of the tension and usage of the epigastrium muscles.
Remain standing with the ribcage lifted (by pulling the shoulders back and down) but now with the hands hanging loosely and elbows slightly pushed out. Then take in a slow deep breath – be aware that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 12 seconds, then release slowly over a further 12 seconds (not allowing the ribcage to move at all), then relax for 12 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP.
Maintain this posture and approach to breathing for the recorded exercises on the audio file.
EXERCISES
The song ‘Moon River’ (pdf here ) requires a very smooth connection between the notes – making one note grow into the next e.g. start ‘Moon’ softly and make a crescendo into the strong first syllable of ‘river’, but softer for the second syllable but again with a crescendo leading into the strong fist syllable of ‘wider’ etc. The first syllable of each bar (except the last bar of each phrase) requires pressure, but not an accent. Make each phrase (between the breathing ticks) have a crescendo and then a diminuendo at the end. Note the breathing marks. Once it is ‘from memory’ you can concentrate on PERFORMANCE: good posture, flexible arms, expressive face, clear diction and conveying the emotion convincingly. This love song requires you to use your imagination and to convey that sense of your entire body smiling with a feeling of romance. ‘Go on – try it! Don’t be shy – in the privacy of your own home allow romance and your emotions to run riot: but I stress that I won’t be expecting this to happen, and I certainly will not let HCS sing this song at our next real rehearsal!!!!! Singing is all about communication: use of the imagination is vital to make any performance have real conviction. Singing from memory is a great aid to achieving that aim.
REPERTOIRE
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Sanctus and Agnus Dei (Page73 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. The Sanctus needs a real legato approach with generous dynamic shaping of the initial phrases (crescendos and diminuendos). The intervals in the 1st and 3rd bars of Page 74 are notoriously tricky! `In the Agnus Dei, Basses be careful to pitch the note G in the penultimate bar of Page 78). Everyone remember how I extend final note of the work until the orchestra finish. (This may not be done in other recording you may hear!). This is less than 6 mins in performance.
Soprano Alto Tenor Bass
Performance Recording
Please do the same with the 9th movement from the Rossini Stabat Mater (Quando Corpus) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is totally unaccompanied, so poses a real challenge to pitch and intonation!
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Haydn’s Insane et Vanae Curae firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 126.
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
OTHER MUSIC
During this ‘lock down’ period, with more free time on our hands, it would be good to keep those items we know from the Choral Classics books in our repertoire. In previous weeks you have looked at ‘I was Glad’ by Parry, 'Ave Verum" by Mozart, 'How Lovely' by Brahms, 'Cantique de Jean Racine' by Faure and 'Locus Iste' by Brucker . For your own ENJOYMENT, please keep singing through this repertoire in this book constantly remembering the aspects of BREATHING, POSTURE and RESONANCE/TONAL FOCUS which are explained and practised from the audio files. The previous weeks’ exercises can always be incorporated into the weekly routine to develop the basic singing technique and vocal confidence.
I am hoping that this difficult period of confinement will have some positive outcomes – one being (for HCS members) a significantly greater individual awareness and confidence in vocal ability from these singing development strategies. If everyone could maintain this routine, I feel the benefit for the choir will be enormous.
HAPPY PRACTISING!
Andrew
IMAGINATION
For any artistic pursuit, we need to develop and use our imagination. So, in this week’s session I want to guide your thoughts towards this aim. We begin with our usual breathing exercises.
BREATHING.
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium.
Then do some silent laughter, being conscious of the tension and usage of the epigastrium muscles.
Remain standing with the ribcage lifted (by pulling the shoulders back and down) but now with the hands hanging loosely and elbows slightly pushed out. Then take in a slow deep breath – be aware that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 12 seconds, then release slowly over a further 12 seconds (not allowing the ribcage to move at all), then relax for 12 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP.
Maintain this posture and approach to breathing for the recorded exercises on the audio file.
EXERCISES
- Imaginatively hum like an angry wasp, down these scales to an ‘n’ hum
- Imaginatively hum as if very happy seeing a G & T being brought to you, down scales to an ‘m’ hum.
- Sadly sing descending arpeggio ‘It is a grey day today’.
- Happily sing ascending arpeggio ‘It is a fine day today’.
- Triplet scales ascending to ‘ah’ start with hands at the centre and move to the edge of a rainbow, and descending bringing the hands together to complete the elliptical shape as if ending at the base of the keel of a large ship. (Feel the widening of the jaw).
- ARTICULATION ‘The tip of the tongue the teeth and the lips’ – as you sing the words think of the parts of the mouth you are using to articulate this text.
- Melodic Minor scales feeling the brightening of mood as you reach the top and the sadness and you reach the bottom.
- Sing octave with cheeky determination – ‘Merrily madden the maestro’!
The song ‘Moon River’ (pdf here ) requires a very smooth connection between the notes – making one note grow into the next e.g. start ‘Moon’ softly and make a crescendo into the strong first syllable of ‘river’, but softer for the second syllable but again with a crescendo leading into the strong fist syllable of ‘wider’ etc. The first syllable of each bar (except the last bar of each phrase) requires pressure, but not an accent. Make each phrase (between the breathing ticks) have a crescendo and then a diminuendo at the end. Note the breathing marks. Once it is ‘from memory’ you can concentrate on PERFORMANCE: good posture, flexible arms, expressive face, clear diction and conveying the emotion convincingly. This love song requires you to use your imagination and to convey that sense of your entire body smiling with a feeling of romance. ‘Go on – try it! Don’t be shy – in the privacy of your own home allow romance and your emotions to run riot: but I stress that I won’t be expecting this to happen, and I certainly will not let HCS sing this song at our next real rehearsal!!!!! Singing is all about communication: use of the imagination is vital to make any performance have real conviction. Singing from memory is a great aid to achieving that aim.
REPERTOIRE
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Sanctus and Agnus Dei (Page73 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. The Sanctus needs a real legato approach with generous dynamic shaping of the initial phrases (crescendos and diminuendos). The intervals in the 1st and 3rd bars of Page 74 are notoriously tricky! `In the Agnus Dei, Basses be careful to pitch the note G in the penultimate bar of Page 78). Everyone remember how I extend final note of the work until the orchestra finish. (This may not be done in other recording you may hear!). This is less than 6 mins in performance.
Soprano Alto Tenor Bass
Performance Recording
Please do the same with the 9th movement from the Rossini Stabat Mater (Quando Corpus) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is totally unaccompanied, so poses a real challenge to pitch and intonation!
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Haydn’s Insane et Vanae Curae firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 126.
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
OTHER MUSIC
During this ‘lock down’ period, with more free time on our hands, it would be good to keep those items we know from the Choral Classics books in our repertoire. In previous weeks you have looked at ‘I was Glad’ by Parry, 'Ave Verum" by Mozart, 'How Lovely' by Brahms, 'Cantique de Jean Racine' by Faure and 'Locus Iste' by Brucker . For your own ENJOYMENT, please keep singing through this repertoire in this book constantly remembering the aspects of BREATHING, POSTURE and RESONANCE/TONAL FOCUS which are explained and practised from the audio files. The previous weeks’ exercises can always be incorporated into the weekly routine to develop the basic singing technique and vocal confidence.
I am hoping that this difficult period of confinement will have some positive outcomes – one being (for HCS members) a significantly greater individual awareness and confidence in vocal ability from these singing development strategies. If everyone could maintain this routine, I feel the benefit for the choir will be enormous.
HAPPY PRACTISING!
Andrew
Wednesday 3 June 2020
Welcome to Virtual Rehearsal Number 5! The first part of each session always focuses on basic singing technique, which will develop your skills more effectively with regular concentrated practice sessions. Although I am producing these on a weekly basis for use on a Wednesday, if you really want to develop your singing ability and confidence, using these 10 to 15 minute warm-up exercises on a daily basis will make great improvements. You could rotate the exercises in these 5 sessions on a daily basis. That short discipline over a period of a few weeks could transform your singing, and the focus on breathing will have other physical health benefits too.
BREATHING.
Stand with the ribcage lifted (by pulling the shoulders back and down) then take in a slow deep breath - feel that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 12 seconds, then release slowly over a further 12 seconds, then relax for 12 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. Always stand with feet about 12 inches apart, with the hands hanging loosely and elbows slightly pushed out. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. Maintain this posture and approach to breathing for the recorded exercises.
WARM-UP EXERCISES - all on the audio file
An exercise for breathing. In each of the verses sing 4 bars to a breath – that takes some stamina and requires good, controlled breath management. (Breaths are marked with ticks). Posture is of the essence – keep the ribcage raised with shoulders pulled back and down, and ensure that each breath fills the lower part of the lungs by extending the area between the navel and the lower ribs and rounds the sides and the back. Exaggerate the words and feel a vibrant buzz of focussed tone around the eyes. Maintain that feeling of a smile inside the mouth – lift the cheeks. Now give an expressive, colourful performance!
REPERTOIRE
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria 2nd Movement (Page 8 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the longest movement in the work, and with some of the greatest technical challenges! See how well you have remembered it! (note from Ruth and Robert - there are three files per voice part for this movement so that the files themselves are not huge - please see relevant page numbers in title, also a reminder that if you right click on a link you get the option to "save link as" so you can save it to your own computer)
Soprano p8-16 Soprano p21-33 Soprano p 33-48
Alto p8-16 Alto p21-33 Alto p33-48
Tenor p8-16 Tenor p21-33 Tenor p33-48
Bass p8-16 Bass p21-33 Bass p33-48
Performance recording p8-16 Performance recording p21-33 Performance recording p33-48
Please do the same with the 8th movement from the Rossini Stabat Mater (Inflamatus) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. Ensure that you hold the vowel sounds through dotted and double dotted notes, not allowing ‘s’ sounds to arrive too soon! Notice the vivid dynamic contrasts in this movement. Note that all these files start from page 58.
Soprano Alto Tenor Bass
Performance file
During this ‘lock down’ period, with more free time on our hands, it is good to keep those items we know from "The Greatest Choral Classics" books in our repertoire. This week – ‘I was Glad’ by Parry which is some of our standard ‘go to’ repertoire. Please concentrate on the work firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 204, don't forget we cut the section from page 210 to page 212.
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance File
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
For your own ENJOYMENT, please keep singing through other repertoire in this book constantly remembering the aspects of BREATHING, POSTURE and RESONANCE/TONAL FOCUS which are explained and practised from the audio files. The previous weeks’ exercises can always be incorporated into the weekly routine to develop the basic singing technique and vocal confidence.
I am hoping that this difficult period of confinement will have some positive outcomes – one being (for HCS members) a significantly greater individual awareness and confidence in vocal ability from these singing development strategies. If everyone could maintain this routine, I feel the benefit for the choir will be enormous.
HAPPY PRACTISING!
Andrew
Welcome to Virtual Rehearsal Number 5! The first part of each session always focuses on basic singing technique, which will develop your skills more effectively with regular concentrated practice sessions. Although I am producing these on a weekly basis for use on a Wednesday, if you really want to develop your singing ability and confidence, using these 10 to 15 minute warm-up exercises on a daily basis will make great improvements. You could rotate the exercises in these 5 sessions on a daily basis. That short discipline over a period of a few weeks could transform your singing, and the focus on breathing will have other physical health benefits too.
BREATHING.
Stand with the ribcage lifted (by pulling the shoulders back and down) then take in a slow deep breath - feel that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 12 seconds, then release slowly over a further 12 seconds, then relax for 12 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. Always stand with feet about 12 inches apart, with the hands hanging loosely and elbows slightly pushed out. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. Maintain this posture and approach to breathing for the recorded exercises.
WARM-UP EXERCISES - all on the audio file
- Humming down scales (To achieve a focus and resonance within sinuses)
- Ee eh ah oh---oo (Thinking about jaw and lip shapes for the vowels)
- Ah with a legato connection between notes (particularly opening octave leap)
- Arpeggios/Dominant 7ths (Mouth shape changes for pitch and staccato technique)
- Chicken Tikka Mango Chutney and a pint of lager x 3, with naan and pilau rice. ………….ARTICULATION! ARTICULATION! ARTICULATION!................
An exercise for breathing. In each of the verses sing 4 bars to a breath – that takes some stamina and requires good, controlled breath management. (Breaths are marked with ticks). Posture is of the essence – keep the ribcage raised with shoulders pulled back and down, and ensure that each breath fills the lower part of the lungs by extending the area between the navel and the lower ribs and rounds the sides and the back. Exaggerate the words and feel a vibrant buzz of focussed tone around the eyes. Maintain that feeling of a smile inside the mouth – lift the cheeks. Now give an expressive, colourful performance!
REPERTOIRE
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria 2nd Movement (Page 8 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the longest movement in the work, and with some of the greatest technical challenges! See how well you have remembered it! (note from Ruth and Robert - there are three files per voice part for this movement so that the files themselves are not huge - please see relevant page numbers in title, also a reminder that if you right click on a link you get the option to "save link as" so you can save it to your own computer)
Soprano p8-16 Soprano p21-33 Soprano p 33-48
Alto p8-16 Alto p21-33 Alto p33-48
Tenor p8-16 Tenor p21-33 Tenor p33-48
Bass p8-16 Bass p21-33 Bass p33-48
Performance recording p8-16 Performance recording p21-33 Performance recording p33-48
Please do the same with the 8th movement from the Rossini Stabat Mater (Inflamatus) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. Ensure that you hold the vowel sounds through dotted and double dotted notes, not allowing ‘s’ sounds to arrive too soon! Notice the vivid dynamic contrasts in this movement. Note that all these files start from page 58.
Soprano Alto Tenor Bass
Performance file
During this ‘lock down’ period, with more free time on our hands, it is good to keep those items we know from "The Greatest Choral Classics" books in our repertoire. This week – ‘I was Glad’ by Parry which is some of our standard ‘go to’ repertoire. Please concentrate on the work firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 204, don't forget we cut the section from page 210 to page 212.
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance File
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
For your own ENJOYMENT, please keep singing through other repertoire in this book constantly remembering the aspects of BREATHING, POSTURE and RESONANCE/TONAL FOCUS which are explained and practised from the audio files. The previous weeks’ exercises can always be incorporated into the weekly routine to develop the basic singing technique and vocal confidence.
I am hoping that this difficult period of confinement will have some positive outcomes – one being (for HCS members) a significantly greater individual awareness and confidence in vocal ability from these singing development strategies. If everyone could maintain this routine, I feel the benefit for the choir will be enormous.
HAPPY PRACTISING!
Andrew
Wednesday 27 May 2020
WARM-UP EXERCISES - these are all on the audio file
Focus on breathing, by standing with ribcage open and raised, and shoulders pulled back and down. Take in a low-placed deep breath – hold for 12 seconds – release the breath slowly (over 12 seconds) in a hiss on an ‘f’ or an ‘s’. Then relax! Do this twice more, but if at any time you feel ‘lightheaded’, sit down.
Then humming sirens – choose your own pitches
Aim for:
1. Clarity of diction
2. Breathing as marked - to make sense of the text and really tell the story with conviction
3. A well-projected and fully focussed, resonant tone.
Sing this several times until learned from memory – then you can really concentrate on the technical and interpretative aspects of effective communication.
REPERTOIRE
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria KYRIE (Page 3 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the choir’s most well-known and most well-rehearsed movement. Make it expressive by observing all the dynamics and articulation markings. Basses – watch the D naturals in final bar of top line and 1st bar bottom line of Page 4 and the F sharp (1st note of Bar 7). Tenors watch the 1st note in the lat bar top line of Page 5 C flat is the same as B natural – therefore it is only a semitone above your previous note, but the last 3 note of the top line are B flats (back down a semitone).
Soprano Alto Tenor Bass
Performance Recording
Now for the more difficult challenge! Please do the same with the 10th movement from the Rossini Stabat Mater (In sempiternam) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is fast and requires real precision.
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Bruckner’s ‘Locus Iste’ firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 62.
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and to build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability. This should enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
WARM-UP EXERCISES - these are all on the audio file
Focus on breathing, by standing with ribcage open and raised, and shoulders pulled back and down. Take in a low-placed deep breath – hold for 12 seconds – release the breath slowly (over 12 seconds) in a hiss on an ‘f’ or an ‘s’. Then relax! Do this twice more, but if at any time you feel ‘lightheaded’, sit down.
Then humming sirens – choose your own pitches
- Humming descending scales on: ‘m’ ‘n’ and ‘ng’
- Singing down scales to: ‘new’ ‘mee’ ‘may’ ‘mah’
- Arpeggios/Dominant 7ths for agility, and this time all legato.
- Octave leaps ‘ee’ – ‘ah ah ah’
- Articulation - “Rubber Baby-buggy bumpers”
- Intonation - Chromatic Scales
Aim for:
1. Clarity of diction
2. Breathing as marked - to make sense of the text and really tell the story with conviction
3. A well-projected and fully focussed, resonant tone.
Sing this several times until learned from memory – then you can really concentrate on the technical and interpretative aspects of effective communication.
REPERTOIRE
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria KYRIE (Page 3 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the choir’s most well-known and most well-rehearsed movement. Make it expressive by observing all the dynamics and articulation markings. Basses – watch the D naturals in final bar of top line and 1st bar bottom line of Page 4 and the F sharp (1st note of Bar 7). Tenors watch the 1st note in the lat bar top line of Page 5 C flat is the same as B natural – therefore it is only a semitone above your previous note, but the last 3 note of the top line are B flats (back down a semitone).
Soprano Alto Tenor Bass
Performance Recording
Now for the more difficult challenge! Please do the same with the 10th movement from the Rossini Stabat Mater (In sempiternam) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is fast and requires real precision.
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Bruckner’s ‘Locus Iste’ firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 62.
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and to build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability. This should enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
Wednesday 20 May 2020
SINGING IS A WHOLE-BODY EXPERIENCE
As a choir we sing Requiems, Masses and Passions, so why has movement anything to do with us?
Just watch an African Traditional Choir or a Gospel Choir to see how ‘natural’ movement and gesture is to the performers! Yet, what an impact it has on their singing and sense of communication & PERFORMANCE! As reserved citizens of the UK we tend to shun any movement when singing. However, communication (which is what singing is all about) relies on body language as much as the sounds that come out of our mouths. So, in the privacy of one’s own home, in this period of enforced isolation, please experiment with moving about and giving freedom to the hands and arms whilst singing. I’m not suggesting this will become a feature of our performances, but in experimenting with this in private practising, it helps to get better interpretation and emotion into our singing, and can release any tension that can impede our singing. Also, try singing with the hands clasped at the back of the head, or with arms stretched up as high as possible. Any ‘unusual’ posture, so long as the ribcage is expanded and lifted, is worth trying. Also try getting greater facial mobility – engage the ‘chuckle muscles’ and the eyebrows.
WARM-UP EXERCISES
Focus on breathing, by standing with ribcage open and raised, and shoulders pulled back and down. Take in a low-placed deep breath – hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Then even if the lungs are not empty, top up to a full deep breath and repeat i.e. hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Do this 3 times, but if at any time you feel ‘light headed’, sit down!
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Credo (Page 49 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. Watch all the fp markings. Tenors be precise in pitching the 1st note on Page 51 on ‘Jesum’ (and similarly on the bottom of Page 53). SUDDENLY quiet at the start of P 55. Basses watch the leap up to the f natural in the 4th bar of P 56. All men sing Pages 58 & 59 (though tenors will have to omit the lower notes!). Because of the length of this movement, it is divided up into 3 files.
(note that these are split into three for each voice part as otherwise the midi files are huge!)
Soprano pg 49-57 Alto pg 49-57 Tenor pg 49-57 Bass pg 49-57
Credo Performance Recording pg 49-57
Tenors and Basses pg 58-59
Bass Solo Performance Recording pg 58-59
Soprano pg 59-72 Alto pg 59-72 Tenor pg 59-72 Bass pg 59-7
Et Resurrexit (Final section) Performance Recording pg 59-72
Please do the same with the 5th movement from the Rossini Stabat Mater (Eia Mater) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 5 minute movement is totally unaccompanied, so also poses a real challenge to pitch and intonation! Please note that the Basses start on page 31 as does the performance recording, all other parts start on page 32.
Soprano Alto Tenor 1 Tenor 2 Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Faure ‘Cantique de Jean Racine’ firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 91. This is another item we have performed from memory in past concerts!
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
ENJOY YOUR PRACTICE
Andrew
SINGING IS A WHOLE-BODY EXPERIENCE
As a choir we sing Requiems, Masses and Passions, so why has movement anything to do with us?
Just watch an African Traditional Choir or a Gospel Choir to see how ‘natural’ movement and gesture is to the performers! Yet, what an impact it has on their singing and sense of communication & PERFORMANCE! As reserved citizens of the UK we tend to shun any movement when singing. However, communication (which is what singing is all about) relies on body language as much as the sounds that come out of our mouths. So, in the privacy of one’s own home, in this period of enforced isolation, please experiment with moving about and giving freedom to the hands and arms whilst singing. I’m not suggesting this will become a feature of our performances, but in experimenting with this in private practising, it helps to get better interpretation and emotion into our singing, and can release any tension that can impede our singing. Also, try singing with the hands clasped at the back of the head, or with arms stretched up as high as possible. Any ‘unusual’ posture, so long as the ribcage is expanded and lifted, is worth trying. Also try getting greater facial mobility – engage the ‘chuckle muscles’ and the eyebrows.
WARM-UP EXERCISES
Focus on breathing, by standing with ribcage open and raised, and shoulders pulled back and down. Take in a low-placed deep breath – hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Then even if the lungs are not empty, top up to a full deep breath and repeat i.e. hold for 10 seconds – release the breath in 10 short puffs to a hiss on an ‘f’ or an ‘s’. Do this 3 times, but if at any time you feel ‘light headed’, sit down!
- The purpose of the 1st exercise on the audio file – “Love lifted me” apart from getting the body moving, is to give the brain enough to think about so that Total Focus is given to the task in hand i.e. singing. Please use a dining chair or stool that is not too low to do this exercise.
- The next exercise is to use exaggerated lip and jaw movement to achieve full rich vowel sounds – singing, “I owe you five pounds”.
- Descending Chromatic Scale for precise tuning.
- Arpeggios/Dominant 7ths for agility, and the staccato to make awareness of abdominal involvement.
- To become aware of Tonal placing - arpeggios to “This is a fine, fine, fine day today”
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Credo (Page 49 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. Watch all the fp markings. Tenors be precise in pitching the 1st note on Page 51 on ‘Jesum’ (and similarly on the bottom of Page 53). SUDDENLY quiet at the start of P 55. Basses watch the leap up to the f natural in the 4th bar of P 56. All men sing Pages 58 & 59 (though tenors will have to omit the lower notes!). Because of the length of this movement, it is divided up into 3 files.
(note that these are split into three for each voice part as otherwise the midi files are huge!)
Soprano pg 49-57 Alto pg 49-57 Tenor pg 49-57 Bass pg 49-57
Credo Performance Recording pg 49-57
Tenors and Basses pg 58-59
Bass Solo Performance Recording pg 58-59
Soprano pg 59-72 Alto pg 59-72 Tenor pg 59-72 Bass pg 59-7
Et Resurrexit (Final section) Performance Recording pg 59-72
Please do the same with the 5th movement from the Rossini Stabat Mater (Eia Mater) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 5 minute movement is totally unaccompanied, so also poses a real challenge to pitch and intonation! Please note that the Basses start on page 31 as does the performance recording, all other parts start on page 32.
Soprano Alto Tenor 1 Tenor 2 Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Faure ‘Cantique de Jean Racine’ firstly with Midi file to be secure in your own part, then with the recorded performance. This begins on Page 91. This is another item we have performed from memory in past concerts!
Soprano Alto Tenor Bass
Performance Recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
ENJOY YOUR PRACTICE
Andrew
Wednesday 13 May 2020
SINGING AND FITNESS
As human beings, our bodies always aim to ‘take the easy way out’. This applies equally to breathing, and why exercise is important to good health. Singing is an excellent way to make our lungs work effectively, and by efficiently getting a good supply of oxygen into the bloodstream, has great health benefits. So, every singing session should start with a focus on BREATHING, and we should constantly remind ourselves throughout practice, rehearsals and performance about posture (keeping that ribcage lifted) and breathing into the lower areas of the lungs. Following positive feedback, and requests for more ‘singing help’, I suggest the following:
BREATHING
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium. If at any time you feel faint or light-headed do sit down!
Then, as per last week, with raised ribcage and the hands now hanging loosely and elbows slightly pushed out, take in a deep breath allowing the tummy to expand. Hold a breath for 12 seconds, then release slowly over a further 12 seconds, then relax for 12seconds breathing normally. Repeat this twice more. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. To monitor the slow release of breath, it is often best to do it to a gentle hiss.
TONAL FOCUS, RESONANCE and PROJECTION
As for last week, I have put together an audio file. Please continue to use the ones I gave last week, but here are a few extras.
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Sanctus and Agnus Dei (Page73 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. The Sanctus needs a real legato approach with generous dynamic shaping of the initial phrases (crescendos and diminuendos). The intervals in the 1st and 3rd bars of Page 74 are notoriously tricky! In the Agnus Dei, Basses be careful to pitch the note G in the penultimate bar of Page 78). Everyone remember how I extend final note of the work until the orchestra finish. (This may not be done in other recording you may hear!). This is less than 6 mins in performance.
Soprano Alto Tenor Bass
Performance Recording
Please do the same with the 9th movement from the Rossini Stabat Mater (Quando Corpus) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is totally unaccompanied, so poses a real challenge to pitch and intonation!
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Brahms’ How lovely – but in German "Wie Lieblich sind deine Wohnungen"(ready for when we perform the entire German Requiem) firstly with Midi file to be secure in your own part, then with the recorded performance.
Soprano Alto Tenor Bass
Performance Recording with video or just audio
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING
Andrew
SINGING AND FITNESS
As human beings, our bodies always aim to ‘take the easy way out’. This applies equally to breathing, and why exercise is important to good health. Singing is an excellent way to make our lungs work effectively, and by efficiently getting a good supply of oxygen into the bloodstream, has great health benefits. So, every singing session should start with a focus on BREATHING, and we should constantly remind ourselves throughout practice, rehearsals and performance about posture (keeping that ribcage lifted) and breathing into the lower areas of the lungs. Following positive feedback, and requests for more ‘singing help’, I suggest the following:
BREATHING
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on the epigastrium (the area between the lower ribs and the navel) - thumbs extended to touch lowest ribs and middle fingertips touching each other at the navel. Now start panting – the ribcage must not move, but the hands will. As you inhale, the tummy comes out as you exhale it is pulled in. Start with slow deep panting and then increase to very fast small panting ensuring that the only movement is at the epigastrium. If at any time you feel faint or light-headed do sit down!
Then, as per last week, with raised ribcage and the hands now hanging loosely and elbows slightly pushed out, take in a deep breath allowing the tummy to expand. Hold a breath for 12 seconds, then release slowly over a further 12 seconds, then relax for 12seconds breathing normally. Repeat this twice more. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. To monitor the slow release of breath, it is often best to do it to a gentle hiss.
TONAL FOCUS, RESONANCE and PROJECTION
As for last week, I have put together an audio file. Please continue to use the ones I gave last week, but here are a few extras.
- Humming descending scales to ‘m’, ‘n’, and ‘ng’
- The Ash Grove humming then ‘She shall sew silky sheets’ (tongue control)
- Articulation Popacatapetal / Copper Plated Kettle
- Mouth Shape ee/ ah
- Vowel Unification ah-oh, ee---eh
- Intervals to numbers with quality TONE
To continue ensuring that the Puccini and Rossini works remain in our memory, I would like to aim over the next few weeks to cover all the movements. Again I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I aim to keep Messa di Gloria and Stabat Mater as ‘current repertoire’ as these are likely to be performed at some point in the future.
Please find the Puccini Messa di Gloria Sanctus and Agnus Dei (Page73 in your copies), and in the midi files. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. The Sanctus needs a real legato approach with generous dynamic shaping of the initial phrases (crescendos and diminuendos). The intervals in the 1st and 3rd bars of Page 74 are notoriously tricky! In the Agnus Dei, Basses be careful to pitch the note G in the penultimate bar of Page 78). Everyone remember how I extend final note of the work until the orchestra finish. (This may not be done in other recording you may hear!). This is less than 6 mins in performance.
Soprano Alto Tenor Bass
Performance Recording
Please do the same with the 9th movement from the Rossini Stabat Mater (Quando Corpus) i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file. This 6 minute movement is totally unaccompanied, so poses a real challenge to pitch and intonation!
Soprano Alto Tenor Bass
Performance Recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. This week, please concentrate on Brahms’ How lovely – but in German "Wie Lieblich sind deine Wohnungen"(ready for when we perform the entire German Requiem) firstly with Midi file to be secure in your own part, then with the recorded performance.
Soprano Alto Tenor Bass
Performance Recording with video or just audio
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING
Andrew
Wednesday 6 May 2020
Such difficult times we are enduring, and without a weekly fix of Rossini & Puccini our lives are becoming dull and empty! Before we had to adjourn due to this wretched COVID-19 pandemic, HCS were singing these 2 works so very well: it was such a disappointment that we could not perform them in March. In these Virtual ‘rehearsals’ I aim to produce some resources to help keep our voices and bodies fit and healthy for singing, our minds engaged and our musical imaginations expressing our inner feelings and emotions.
The audio file contains some ‘warm up’ exercises to keep the vocal apparatus in peak condition. Use it or lose it! The muscles which enable us to sing with accuracy and control need a regular, ideally daily, workout. However, as with any exercise, going through the physical motions without the mental focus is very restricted in value. For every different exercise that you do, you must constantly be aware of WHY you are doing it, and WHAT you aim to achieve. I will explain these on the attached audio files.
EXERCISE REGIME
Before the vocalisation exercises, it is good to get the Breathing working efficiently. Stand with the ribcage lifted (by pulling the shoulders back and down) then take in a slow deep breath - feel that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 10 seconds, then release slowly over a further 10 seconds, then relax for 10 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. Always stand with feet about 12 inches apart, with the hands hanging loosely and elbows slightly pushed out. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. Maintain this posture and approach to breathing for the recorded exercises. Please use this audio file and the following instructions.
Humming descending scales on ‘m’ ‘n’ and ‘ng’
As our next concert is likely to be the Puccini and Rossini, I would like all members to concentrate on these works to have them confident for when we are able to reconvene. However, I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I thought we would start on fairly familiar territory!
Please find the Puccini Messa di Gloria 2nd Movement (Page 8 in your copies), and in the midi files below. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the longest movement in the work, and with some of the greatest technical challenges! See how well you have remembered it!
(note from Ruth and Robert - there are three files per voice part for this movement so that the files themselves are not huge! - please see relevant page numbers in title, also if you right click on a link you get the option to "save link as" so you can save it to your own computer)
Soprano p8-16 Soprano p21-33 Soprano p 33-48
Alto p8-16 Alto p21-33 Alto p33-48
Tenor p8-16 Tenor p21-33 Tenor p33-48
Bass p8-16 Bass p21-33 Bass p33-48
Performance recording p8-16 Performance recording p21-33 Performance recording p33-48
Please do the same with the 1st movement from the Rossini Stabat Mater i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file.
Soprano Alto Tenor Bass
Performance recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. For your own enjoyment, this week, please sing (from memory if possible – if not, Page 172) Ave Verum by Mozart
Soprano Alto Tenor Bass
Performance recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
Such difficult times we are enduring, and without a weekly fix of Rossini & Puccini our lives are becoming dull and empty! Before we had to adjourn due to this wretched COVID-19 pandemic, HCS were singing these 2 works so very well: it was such a disappointment that we could not perform them in March. In these Virtual ‘rehearsals’ I aim to produce some resources to help keep our voices and bodies fit and healthy for singing, our minds engaged and our musical imaginations expressing our inner feelings and emotions.
The audio file contains some ‘warm up’ exercises to keep the vocal apparatus in peak condition. Use it or lose it! The muscles which enable us to sing with accuracy and control need a regular, ideally daily, workout. However, as with any exercise, going through the physical motions without the mental focus is very restricted in value. For every different exercise that you do, you must constantly be aware of WHY you are doing it, and WHAT you aim to achieve. I will explain these on the attached audio files.
EXERCISE REGIME
Before the vocalisation exercises, it is good to get the Breathing working efficiently. Stand with the ribcage lifted (by pulling the shoulders back and down) then take in a slow deep breath - feel that the area between the navel and the base of the ribs extends as you breathe in. Hold the breath for 10 seconds, then release slowly over a further 10 seconds, then relax for 10 seconds breathing normally. Repeat this twice more. To monitor the slow release of breath, it is often best to do it to a gentle hiss. Always stand with feet about 12 inches apart, with the hands hanging loosely and elbows slightly pushed out. As the breath is released maintain the high ribcage (and low shoulders) by pulling the tummy IN and UP. Maintain this posture and approach to breathing for the recorded exercises. Please use this audio file and the following instructions.
Humming descending scales on ‘m’ ‘n’ and ‘ng’
- Singing down scales to ‘new’ ‘mee’ ‘may’ ‘mah’
- Arpeggios to ‘ah’
- Octave leaps ‘ee’ – ‘ah ah ah’
- Articulation ‘lee’ ‘lay’ ‘lah’
- Which wristwatch is a Swiss wristwatch
As our next concert is likely to be the Puccini and Rossini, I would like all members to concentrate on these works to have them confident for when we are able to reconvene. However, I want to stress that I don’t want you to feel that we are just ‘treading water’ until normal rehearsals resume. These Virtual Rehearsals will cover a range of repertoire, but I thought we would start on fairly familiar territory!
Please find the Puccini Messa di Gloria 2nd Movement (Page 8 in your copies), and in the midi files below. Please just follow the music listening, and then go back to the start again and sing through. Then sing through once with the recorded performance. This is the longest movement in the work, and with some of the greatest technical challenges! See how well you have remembered it!
(note from Ruth and Robert - there are three files per voice part for this movement so that the files themselves are not huge! - please see relevant page numbers in title, also if you right click on a link you get the option to "save link as" so you can save it to your own computer)
Soprano p8-16 Soprano p21-33 Soprano p 33-48
Alto p8-16 Alto p21-33 Alto p33-48
Tenor p8-16 Tenor p21-33 Tenor p33-48
Bass p8-16 Bass p21-33 Bass p33-48
Performance recording p8-16 Performance recording p21-33 Performance recording p33-48
Please do the same with the 1st movement from the Rossini Stabat Mater i.e. once listening to the midi file, again with the midi file but this time singing, then singing through with the performance file.
Soprano Alto Tenor Bass
Performance recording
Items in the volume “The Greatest Choral Classics” are some of our standard ‘go to’ repertoire. For your own enjoyment, this week, please sing (from memory if possible – if not, Page 172) Ave Verum by Mozart
Soprano Alto Tenor Bass
Performance recording
Remember to concentrate on GOOD POSTURE, CLARITY OF DICTION, and VIBRANT TONAL FOCUS/RESONANCE.
The aim of these tasks is to keep our voices working efficiently and build vocal confidence, as well as developing assurance in the repertoire. Every session will build on the last, and the different tasks I set each time will hopefully bring us together (when that becomes possible) with greater self-confidence in our vocal ability, to enable even more vibrancy in our choral sound and greater conviction in our sense of performance.
HAPPY PRACTISING!
Andrew
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Built by Core Digital Consulting, Photography by Ernesto Rogata