Read e-book online A Handbook for Beginning Choral Educators PDF

By Walter Lamble

ISBN-10: 0253110238

ISBN-13: 9780253110237

ISBN-10: 0253344344

ISBN-13: 9780253344342

"This booklet comes from a truly effective track educator with unheard of adventure, who has good judgment and a true knowing of what a starting instructor should still recognize. The e-book places into print concerns which are generally mentioned at conventions and at meetings, and which are universal wisdom for the skilled instructor, yet that aren't lined in a song schooling type. it's a simple and easy ebook, written in a language that's effortless for someone going into the career to appreciate. It makes invaluable feedback in precisely approximately each element of the position of a choral tune teacher." -- Michael Schwartzkopf, Professor of track schooling, Indiana college tuition of tune

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Additional resources for A Handbook for Beginning Choral Educators

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See Appendix B for some exercises that can be useful. B. The Unison Sound Producing a unison sound in the choir may very well be one of the most difficult chores a director can undertake. That unison is definitely one of the most thrilling sounds a choir can produce. Some directors—young and experienced alike—make the mistake of assuming that because there is only one part to learn a piece is simple to perform. They likewise assume that the piece or section of the piece that is unison will not have the impact of a big eight-part texture.

Instead of offering Boys/Girls Chorus, offer Treble Chorus and Bass Chorus. Thus you have established the groups you want by defining them musically, not sexually. I have never encountered a young man who asked to be assigned to the treble ensemble, even if his voice had not changed. I have, however, met several young women who insisted that they were tenors. A brief discussion of the harm that can be done to a young voice when it is pushed to sing too low solves that problem every time. When first encountering changing or unchanged voices, the teacher’s primary objective is to not harm the voice.

Because of its accessibility of notes, choirs of all ages and ability levels have performed it. But it was not until I heard the St. Olaf Choir perform it that I fully realized the brilliance of that unison choral presenta- Choral Basics in the Rehearsal 19 tion. Each sound was a gem, molded to perfection and creating a line of beauty and intensity as is seldom heard. This simple unison line was able to produce almost life-changing results in a listener. A note: Throughout this handbook you will find that I refer to specific pieces of music.

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A Handbook for Beginning Choral Educators by Walter Lamble

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