Rehearsal material for the concerts planned for the 2021-22 Season
At the bottom of this page are various vocal exercises provided by Andrew Padmore - some including audio files.
In the sections above them are midi files, provided by Robert Brown, with instructions for various works which we will (hopefully) perform in our planned 2021-22 concert season. There are also midi files for various works - which are part of our repertoire - from Choral Classics
Some YouTube links are also included - please note that they may contain adverts - you can close these by clicking on the x in the top right corner.
Also every Wednesday at the time members would normally be gathering for rehearsals there is a Zoom session for everyone to have a chat - please see emails giving the link.
Please note that the midi files etc etc 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.
At the bottom of this page are various vocal exercises provided by Andrew Padmore - some including audio files.
In the sections above them are midi files, provided by Robert Brown, with instructions for various works which we will (hopefully) perform in our planned 2021-22 concert season. There are also midi files for various works - which are part of our repertoire - from Choral Classics
Some YouTube links are also included - please note that they may contain adverts - you can close these by clicking on the x in the top right corner.
Also every Wednesday at the time members would normally be gathering for rehearsals there is a Zoom session for everyone to have a chat - please see emails giving the link.
Please note that the midi files etc etc 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.
Brahms - Requiem - planned for 13 November 2021
First Movement
This audio file which covers the danger spots!
Soprano Alto Tenor Bass
and here is a Performance audio file of the 1st Movement from YouTube - if you follow this link you can see the score online - this is a recording by the Arnold Schonberg Choir
Second Movement (first part - up to bar 206)
Start on page 20 in Peter's edition - not Allegro non troppo!
(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.)
This audio file should help with some difficult areas of text pronunciation and in tuning and intervals,
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
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. Note that this includes 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.
Second Movement (second part - from letter H, ie bar 198 to bar 337)
This audio file a few of the areas that can cause some problems, ie 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
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.
Third Movement (up to Bar 161)
The most difficult bars being the 10 bars from Bar 144. The audio file gives areas that can cause some problems.
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.
Third Movement ( from the last beat of bar 163)
The audio file highlights a few of the areas that can cause some problems.
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.
Fourth Movement
Soprano Alto Tenor Bass Performance File
Fifth Movement
The audio file should help with a few of the areas that can cause some problems.
Soprano Alto Tenor Bass Performance File plus link to the online recording which has the score on screen
Sixth Movement - first part up to bar 208.
Soprano 6a Alto 6a Tenor 6a Bass 6a Performance File 6a
(and here is the on screen with score version - noting that this is for the whole of movement 6: 6a ends at 7min 10s and 6 b - this weeks new music starts at that point).
Sixth Movement - second part
Soprano 6b Alto 6b Tenor 6b Bass 6b Performance File 6b
The audio file highlights a few of the areas that can cause some problems.
Seventh Movement
The audio file should help with a few of the areas that can cause some problems, both in text pronunciation and in rhythms and intervals. (Note from Robert - if you listen to Andrew's Audio file he suggests that the Altos join the Tenors for their entry at bar 103 which is about 5 mins 30s from the start, to enable Altos to hear this the midi file for Altos has the tenor line slightly emphasised for those 6 bars. The Performance file does not have this enhancement)
Soprano Alto Tenor Bass Performance File
If you wish to rehearse with the score on screen then use this link
First Movement
This audio file which covers the danger spots!
Soprano Alto Tenor Bass
and here is a Performance audio file of the 1st Movement from YouTube - if you follow this link you can see the score online - this is a recording by the Arnold Schonberg Choir
Second Movement (first part - up to bar 206)
Start on page 20 in Peter's edition - not Allegro non troppo!
(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.)
This audio file should help with some difficult areas of text pronunciation and in tuning and intervals,
Soprano 2a Alto 2a Tenor 2a Bass 2a Performance file 2a
Soprano 2b Alto 2b Tenor 2b Bass 2b Performance file 2b
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. Note that this includes 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.
Second Movement (second part - from letter H, ie bar 198 to bar 337)
This audio file a few of the areas that can cause some problems, ie 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
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.
Third Movement (up to Bar 161)
The most difficult bars being the 10 bars from Bar 144. The audio file gives areas that can cause some problems.
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.
Third Movement ( from the last beat of bar 163)
The audio file highlights a few of the areas that can cause some problems.
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.
Fourth Movement
Soprano Alto Tenor Bass Performance File
Fifth Movement
The audio file should help with a few of the areas that can cause some problems.
Soprano Alto Tenor Bass Performance File plus link to the online recording which has the score on screen
Sixth Movement - first part up to bar 208.
Soprano 6a Alto 6a Tenor 6a Bass 6a Performance File 6a
(and here is the on screen with score version - noting that this is for the whole of movement 6: 6a ends at 7min 10s and 6 b - this weeks new music starts at that point).
Sixth Movement - second part
Soprano 6b Alto 6b Tenor 6b Bass 6b Performance File 6b
The audio file highlights a few of the areas that can cause some problems.
Seventh Movement
The audio file should help with a few of the areas that can cause some problems, both in text pronunciation and in rhythms and intervals. (Note from Robert - if you listen to Andrew's Audio file he suggests that the Altos join the Tenors for their entry at bar 103 which is about 5 mins 30s from the start, to enable Altos to hear this the midi file for Altos has the tenor line slightly emphasised for those 6 bars. The Performance file does not have this enhancement)
Soprano Alto Tenor Bass Performance File
If you wish to rehearse with the score on screen then use this link
Brahms - possibly part of the concert on 13 November 2021
Ave Maria - for Sopranos and Altos
Soprano1 Soprano2 Alto1 Alto2 Performance file
Alto Rhapsody - for Tenors and Basses(the Alto being the soloist!).
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.)
Ave Maria - for Sopranos and Altos
Soprano1 Soprano2 Alto1 Alto2 Performance file
Alto Rhapsody - for Tenors and Basses(the Alto being the soloist!).
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.)
Handel - Messiah - planned for 11 December 2021
And the Glory of the Lord (page 11 Watkins Shaw)
Soprano Alto Tenor Bass Performance Recording
Aim for absolute clarity of diction - clear “AND” and remember ‘Glaw -ryov’!
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
O Thou that tellest (page 46 Watkins Shaw )
Soprano Alto Tenor Bass Performance File
Aim for absolute clarity of diction.
For unto us (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
Glory to God (page 68 Watkins Shaw)
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
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
Behold the Lamb of God (Page 91 Watkins Shaw)
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. Note note that the performance file differs slightly from Andrew's 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
Surely he hath borne (page 98 Watkins Shaw)
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.
And with His stripes (page 102 Watkins Shaw)
Strong ‘d’ on ‘And’ and sing legato. Altos watch the A flat in bar 36.
Soprano Alto Tenor Bass Performance file
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
He trusted in God (Page 115 Watkins Shaw)
A fairly aggressive, nasal tone to convey the sneering sentiment of the unruly mob.
Soprano Alto Tenor Bass Performance File
Lift up your heads (Page 127 Watkins Shaw)
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. We have not sung this movement for some time and 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. The Tenors & Basses have extra dotted notes in bars 14 & 15 and S2 following 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.)
Let all the Angels of God (Page 134 Watkins Shaw)
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! Note that altos and tenors could possibly divide at bars 10, 15 & 27)
Soprano Alto Tenor Bass Performance File
The Lord Gave the Word (page 146 Watkins Shaw)
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’.
Their sound is gone out (page 151 Watkins Shaw)
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!
Let us break (Page 161 Watkins Shaw)
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’.
Hallelujah (Page 171 Watkins Shaw)
There are some differences to be made to the Hallelujah score:- Tenor in bar 5 the 2nd note becomes D (so that it matches bar 4), also in bar23 the quaver A becomes 2 semiquavers, to match underlying words. Alto in bars 24 & 26 the quaver E becomes 2 semiquavers, to match underlying words and finally Bass in bar 43 the trill is omitted
Soprano Alto Tenor Bass Performance file
Since by Man came Death (Page 186 Watkins Shaw)
Soprano Alto Tenor Bass Performance file
But thanks be to God (page 199 Watkins Shaw)
noting that you may never have sung this chorus but Brian Kay may wish to do it!
Soprano Alto Tenor Bass Performance file
Worthy is the Lamb (page 217 Watkins Shaw)
Soprano Alto Tenor Bass Performance File
Basses be precise over the rhythm in bars 37 – 38. Tenors, the entry in bar 59 needs confidence in finding the first note (listen to the soprano entry in bar 58 and go up a tone from their D). Tenors also be precise over pitch and rhythm in bars 66 – 68. Tenors D# in bar 132 needs to be high enough! As does the C# in bar 139 for both Sopranos and Tenors. Aim for absolute clarity of diction.
And the Glory of the Lord (page 11 Watkins Shaw)
Soprano Alto Tenor Bass Performance Recording
Aim for absolute clarity of diction - clear “AND” and remember ‘Glaw -ryov’!
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
O Thou that tellest (page 46 Watkins Shaw )
Soprano Alto Tenor Bass Performance File
Aim for absolute clarity of diction.
For unto us (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
Glory to God (page 68 Watkins Shaw)
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
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
Behold the Lamb of God (Page 91 Watkins Shaw)
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. Note note that the performance file differs slightly from Andrew's 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
Surely he hath borne (page 98 Watkins Shaw)
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.
And with His stripes (page 102 Watkins Shaw)
Strong ‘d’ on ‘And’ and sing legato. Altos watch the A flat in bar 36.
Soprano Alto Tenor Bass Performance file
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
He trusted in God (Page 115 Watkins Shaw)
A fairly aggressive, nasal tone to convey the sneering sentiment of the unruly mob.
Soprano Alto Tenor Bass Performance File
Lift up your heads (Page 127 Watkins Shaw)
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. We have not sung this movement for some time and 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. The Tenors & Basses have extra dotted notes in bars 14 & 15 and S2 following 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.)
Let all the Angels of God (Page 134 Watkins Shaw)
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! Note that altos and tenors could possibly divide at bars 10, 15 & 27)
Soprano Alto Tenor Bass Performance File
The Lord Gave the Word (page 146 Watkins Shaw)
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’.
Their sound is gone out (page 151 Watkins Shaw)
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!
Let us break (Page 161 Watkins Shaw)
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’.
Hallelujah (Page 171 Watkins Shaw)
There are some differences to be made to the Hallelujah score:- Tenor in bar 5 the 2nd note becomes D (so that it matches bar 4), also in bar23 the quaver A becomes 2 semiquavers, to match underlying words. Alto in bars 24 & 26 the quaver E becomes 2 semiquavers, to match underlying words and finally Bass in bar 43 the trill is omitted
Soprano Alto Tenor Bass Performance file
Since by Man came Death (Page 186 Watkins Shaw)
Soprano Alto Tenor Bass Performance file
But thanks be to God (page 199 Watkins Shaw)
noting that you may never have sung this chorus but Brian Kay may wish to do it!
Soprano Alto Tenor Bass Performance file
Worthy is the Lamb (page 217 Watkins Shaw)
Soprano Alto Tenor Bass Performance File
Basses be precise over the rhythm in bars 37 – 38. Tenors, the entry in bar 59 needs confidence in finding the first note (listen to the soprano entry in bar 58 and go up a tone from their D). Tenors also be precise over pitch and rhythm in bars 66 – 68. Tenors D# in bar 132 needs to be high enough! As does the C# in bar 139 for both Sopranos and Tenors. Aim for absolute clarity of diction.
Rossini - Stabat Mater - planned for 19 March 2022
Stabat Mater Dolorosa
Soprano Alto Tenor Bass
Performance recording
Eia Mater 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
Inflamatus 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
Quando Corpus this 6 minute movement is totally unaccompanied, so poses a real challenge to pitch and intonation!
Soprano Alto Tenor Bass
Performance Recording
In sempiternam this 6 minute movement is fast and requires real precision.
Soprano Alto Tenor Bass
Performance Recording
Stabat Mater Dolorosa
Soprano Alto Tenor Bass
Performance recording
Eia Mater 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
Inflamatus 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
Quando Corpus this 6 minute movement is totally unaccompanied, so poses a real challenge to pitch and intonation!
Soprano Alto Tenor Bass
Performance Recording
In sempiternam this 6 minute movement is fast and requires real precision.
Soprano Alto Tenor Bass
Performance Recording
Puccini - Messa di Gloria - planned for 19 March 2022
Kyrie - 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
Gloria - 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
Credo - 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
Sanctus and Agnus Dei - 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
Kyrie - 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
Gloria - 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
Credo - 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
Sanctus and Agnus Dei - 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
Choral Classics - part of our standard repertoire
Locus Iste - Bruckner
Soprano Alto Tenor Bass
Performance Recording
Ave Verum - Elgar
Very calm and legato in flow. Breathe at the commas in the text (not intuitive!)
Soprano Alto Tenor Bass Performance File
Cantique de Jean Racine - Faure
Soprano Alto Tenor Bass
Performance Recording
Zadok the Priest - Handel
Soprano1 Soprano 2 Alto1 Alto2 Tenor Bass1 Bass2 Performance File
(note from Robert linked to the midi files - they all 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# )
Insane et Vanae Curae - Haydn 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 Recording
Ave Verum - Mozart
Soprano Alto Tenor Bass
Performance recording
Blest Pair of Sirens - Parry
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance Recording
I was Glad - Parry 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
God so loved the world - Stainer, 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
Locus Iste - Bruckner
Soprano Alto Tenor Bass
Performance Recording
Ave Verum - Elgar
Very calm and legato in flow. Breathe at the commas in the text (not intuitive!)
Soprano Alto Tenor Bass Performance File
Cantique de Jean Racine - Faure
Soprano Alto Tenor Bass
Performance Recording
Zadok the Priest - Handel
Soprano1 Soprano 2 Alto1 Alto2 Tenor Bass1 Bass2 Performance File
(note from Robert linked to the midi files - they all 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# )
Insane et Vanae Curae - Haydn 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 Recording
Ave Verum - Mozart
Soprano Alto Tenor Bass
Performance recording
Blest Pair of Sirens - Parry
Soprano 1 Soprano 2 Alto 1 Alto 2 Tenor 1 Tenor 2 Bass 1 Bass 2
Performance Recording
I was Glad - Parry 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
God so loved the world - Stainer, 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
Choral Exercises and Folk Songs
6 May 2020
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’
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.
Watch an African Traditional Choir or a Gospel Choir to see how ‘natural’ movement and gesture is to the performers and the impact it has on their singing and sense of communication & performance! In the privacy of your own home, try experimenting with moving about and giving freedom to the hands and arms whilst 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!
Using 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
Sing this several times until learned from memory – then you can really concentrate on the technical and interpretative aspects of effective communication. 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.
3 June 2020
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. and using 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). Keep your 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!
10 June 2020
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on 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. Then do some silent laughter, being conscious of the tension and usage of your muscles.
Remain standing with the ribcage lifted 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.
17 June 2020
Repeat last week's panting and silent laughter etc then use this Audio File
BREATH MANAGEMENT
Please use this Audio File for the following
Use this audio file and before the vocalisation exercises 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.
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. 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. Repeat the exercises from last week and then use this audio file to add on.
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. 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!
BREATH MANAGEMENT
Please follow the instructions in the audio file, the exercises are as follows
repeat previous weeks
7 October 2020
repeat previous weeks
14 October 2020
Please listen to the Audio File whist you practice the following for breath management
repeat previous weeks
28 October 2020
use previous weeks
4 November 2020
repeat previous weeks
11 November 2020
Now some vocal exercises to keep the voice in good shape - which can be found on the audio file
repeat previous week
25 November 2020
use this Audio file to find some vocal exercises to keep the voice in good shape, focusing on projection
repeat previous week
9 December 2020
First of all, some Christmas warm-up/vocal exercises on this audio file.
6 May 2020
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
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
Watch an African Traditional Choir or a Gospel Choir to see how ‘natural’ movement and gesture is to the performers and the impact it has on their singing and sense of communication & performance! In the privacy of your own home, try experimenting with moving about and giving freedom to the hands and arms whilst 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”
Using 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
Sing this several times until learned from memory – then you can really concentrate on the technical and interpretative aspects of effective communication. 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.
3 June 2020
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. and using 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!
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). Keep your 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!
10 June 2020
Stand with feet about 12 inches apart, shoulders pulled back and down, (which raises the ribcage), and place both hands on 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. Then do some silent laughter, being conscious of the tension and usage of your muscles.
Remain standing with the ribcage lifted 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.
- 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’!
17 June 2020
Repeat last week's panting and silent laughter etc then use this Audio File
- HUMMING (Focus) The Ash Grove ‘m’ ‘n’ ‘ng’
- VOCALISATION (Tonal Projection) Ash Grove ‘oo’ gently, ‘ee’ louder, ‘ah’ loudly
- INTONATION a) Major Scales descending - small downward steps
- b) Melodic Minor Scales ascending & descending – really lift 6th & 7th ascending.
- c) Chromatic Scales
- d) Arpeggios
- ARTICULATION ‘The big bloke bled in the big blue bed’
- DIAPHRAGM ENGAGEMENT “Love’ to octaves with a strong ’v’ at the top.
BREATH MANAGEMENT
Please use this Audio File for the following
- 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’
Use this audio file and before the vocalisation exercises 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
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. 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. Repeat the exercises from last week and then use this audio file to add on.
- 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
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. 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
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’
repeat previous weeks
7 October 2020
repeat previous weeks
14 October 2020
Please listen to the Audio File whist you practice the following for 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!
repeat previous weeks
28 October 2020
use previous weeks
4 November 2020
repeat previous weeks
11 November 2020
Now some vocal exercises to keep the voice in good shape - which can be found on the 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.
repeat previous week
25 November 2020
use this Audio file to find some vocal exercises to keep the voice in good shape, focusing on 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
repeat previous week
9 December 2020
First of all, some Christmas warm-up/vocal exercises on this audio file.
- Posture and Breathing.
- Descending Scales to ‘ah’ to rhythm of ‘Joy to the World’.
- Articulation – descending scales to ‘Roasting Chestnuts’ and ‘Twirling Tinsel Round the Trees’.
- Legato Arpeggios to ‘Rudolph’s running round with Santa’s sleigh’.
- Diaphragmatic control - ‘Ho, Ho, Ho’ to ‘Jingle Bells
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Built by Core Digital Consulting, Photography by Ernesto Rogata
Built by Core Digital Consulting, Photography by Ernesto Rogata