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 has kindly offered to provide Audio files for each voice part and also audio files extracted from online performances with orchestral accompaniment so that you can sing along. Where applicable there will also be You Tube links to the work
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.
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 has kindly offered to provide Audio files for each voice part and also audio files extracted from online performances with orchestral accompaniment so that you can sing along. Where applicable there will also be You Tube links to the work
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 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