Body, Mind, Spirit & Voice ALLELUIA CHURCH MUSIC CONFERENCE Baylor University July 19-22, 2011 Dr. Anton E. Armstrong, Clinician St. Olaf College Northfield, Minnesota 55057 armstron@stolaf.eduPoatare/Body Alig Bem insacence (Breathing for: sted : ‘Tone Produttion {Photation) tS <1 “Aumetzong, A. &eGackde, L, 1999SELECTED BIBLIOGRAPHY VOCAL TECHNIQUE AND THE SINGER Compiled by Anton E, Armstrong, Bartle, Jean Ashworth. Lifeline for Children’s Choir Directors. Toronto: Gordon V. Thompson Music, 1988. Bertalot, John. 5 Wheels To Successful Sight-Singing. Minneapolis: Augsburg Fortress, 1993, Bunch, Meribeth, Dynamics ofthe Singing Voice. Vienna, New York: Spinger-Verlag, 1993, Second Edition, Christiansen, Olaf C. Voice Builder. San Diego: Neil A. Kjos Music Co,, 1959. Cooksey, John M. Working with Adolescent Votces. St. Louis: Concordia Publishing House, 1999 [1992}. Ehmann, Wilhelm and Haasemann, Frauke. Voice Building for Choirs. Chapel Hill: Hinshaw Music, Incy 1982 Haasemann, Frauke and James M. Jordan. Group Voce! Technique. Chapel Hill: Hinshaw Music, Ine, 1991. Herman, Sally. Building a Pyramid of Musicianship. San Diego: Curtis Music Press, 1988, Jennings, Kenneth. Sing Legato. San Diego: Neil A. Kjos Music Company, 1982, Kemp, Helen, Of Primary Importance. Garland, Texas: Choristers Guild, 1989. Kemp, Helen, Of Primary Importance I, Garland, Texas: Choristers Guild, 1991. Kemp, Helen, Where in the World: Folksong Warmups fom Many Lands. Minneapolis: Augsburg Fortress, 1989 Marshall, Madeleine. The Singers Manual of English Diction. New York: Macmillan Publishing Co, Ine, 1953. McClosky, David Blair and McClosky, Barbara H. Voice in Song and Speech. Boston: ‘The Boston Music Company, 1984. McClosky, David Blair. Your Voice at Its Best. Boston: The Boston Music Company, 1972 MeKenzie, Duncan. Training the Bay's Changing Voice. New Brunswick, NJ: Rutgers University Press, 1956. McKinney, James C. The Diaguosis ond Correction of Voen!Feulls. Nashville: Brondman Press, 1982. McRae, Shitley W. Directing the Children's Choir: A Comprehensive Resource. New York: Schirmer Books, 1991. Moriarity, John, Dietion. Boston: B.C. Schirmer Music Co, 1975, Nesheim, Paul with Weston Noble. Building Bewutful Voices. Dayton: Roger Dean Publishing Company, 1995. Phillips, Kenneth H, Teaching Kids fo Sing, New York: Schiemer Books, 1992. Rao, Doreen. The Young Singing Voice. Choral Music Experience... Education through Artistry, Vol.5. Boosey and ‘Hawkes, 1987. Reid, Cornelius L, The Free Voice. New York: ‘The Joseph Patelson Music House, 1972. Roach, Donald W. Hanook for Children’s aud Youth Choir Directors. Gatland, Texas: Choristers Guild, 1987. Rotermund, Donald. Children Sing His Praise, St.Louis: Concordia Publishing House, 1985, Stanton, Royal. Steps to Singing for Voice Classes. Belmont, CA: Wadsworth Publishing Company, Inc, 1976. Swanson, Frederich J. The Male Singing Voice, Ages Fight to Bighteen. Cedar Rapid Sweats, Linda, Teaching the Elementary School Chorus. West Nyack: Parker Publishing Company, 1985 Laurence Press, 1970. Telfer, Nancy. Successful Warmups, 2-vols, San Diego: Neil A. Kjos Music Company, 1995-1996, Vennard, William. Singing: The Mechanism and the Technigue. New York: Carl Fisher, Inc. 1967. Yarrington, John. Building the Youth Choir: Training and Motivating Teenage Singers. Minneapolis: Augsburg, Fortress, 1990 RECOMMENDED PERIODICALS Choristers Guild Letters ‘The Choral Journal ‘Music Educators Journal NATS BulletinTHE CHALLENGES OF THE UNDERDEVELOPED SINGER A. THE DEPENDENT SINGER 1. Those who sing on pitch witha group or accompaniment, but cannot maintain pitch when singing. alone. ‘REMBDIES: 1. Short echoing patterns that wil increase tonal memory and security 2, Developing "inne" voice--hearing the melody in thelr heads, B. TRE NON-UNISON SINGER 1. Singers who can sing and match a tone, but cannot sing in tune with another voice. 2. The Directional Singer~approximates phrase shape, but is not accurate on every pitch of a melody. 3. The Transposing Singer or Organum Singer who can sing intervals correctly, but often a dth or Sth ‘below the actual metody. 4, ‘The Too-Law Singer who sings inaccurately below the actual pitch of the melody. 5. The Too-High Singer. REMEDIES 1, Determine i itis a matter of a weak musical ear oF a vocal concept 2. Encourage voeal experimentation to discover the difference between the “speaking channel and singing channel." Use of sirens, sls. "spooky 00", bird cals, ete. 3. Use of kinesthatc gestures to release the voice. 4, Create unison singing experiences without accompaniment, matching other voices. You may Initially have to go to where the singer is comfortable and then lead them to the correct pitch. 5. Use of visuals o help the hearing and fecling of what should be happening properly withthe voice. SINGER 1. Speech-like Singer~This person is still discovering the difference between their speaking and singing voices, They match and sing in avery limited range of their speaking (esstuta 2. Vocally Distressed Singer caused by allergies, acid-rflux oF other medical issues which ean impact, the vocal folds, 3. The "Yeller*.a singer who shouts or "belts" the song. 4, The "Drone" Singer-~one who gets stuck ina very narrow compass ofthe speaking chanel. Both pitches and ciythin are incorrect, '5. Possibly physical defects ofthe ear or throat. 66. Extreme emotional or physical tension. REMEDIES: 1. Begin with an area of the voice (a range of notes often associated where they spesk) that works ‘consistently and proceed from there. 2. Encourage vocal experimentation to discover the difference between the "speaking channel and singing channel." Use of sirens, glissand. "spooky oo", bird calls te 3. Use of kinesthetic gestures to release the voice. 44, Use of visuals to help the hearing and feeling of what should be happening property with the voice, D, OTHER TYPES: 1. The lasufficient Breather 2, The Whisperer 3. The Octave-Low Singer-often a mate singer, perhaps atthe onset of vocal expansion.‘REMEDIES: 1, Give good vocal examples via modeling, recording, and taping ofthe actual singer so they can heat ‘themselves. 2. Use of kinesthetic gestures to release and energize the singer as needed 3. Use of visuals to help she hearing and feeling of what should be happening properly with the voice.VIDEO MATERIALS Compiled by Anton B. Armstrong “5 Wheels to Successful Sight-Singing,” John Bertalot. ‘This video features John Bertalot in actual sessions guiding young singers in a practical and musical approach to sight-singing and music literacy. Augsburg Fortress #11-26933, “A Helen Kemp Portrait.” ‘his video provides insight and inspiration from a master teacher of children’s choirs. Choristers Guild (Tetephone: 972-271-1521, Fax: 972-840-3113, or web ste: www.choristersguild.org). “Body, Mind, Spitit, Voice,” with Anton Armstrong and Andre Thomas. ‘This video (in DVD and VHS formats) explores teaching strategies in working with adolescent singers. The American Boychoir School, Princeton, N.J. (Telephone: 609-924-5859) or St. Olaf Records, Northfield, Minn, (www stolafiecords.com) “Body, Mind, Spirit, Voice: Developing the Young Singer,” a 45-minute video cassette in which Helen Kemp demonstrates techniques choir directors can use in assisting boys with changing voices, youngsters with intonation problems, hesitant singers, etc. (Order number: VHS-87MZ0236, Beta I[-87MZ0238). Concordi Publishing House. “Daily Workout for a Beautiful Voice,” presented by Charlotte Adams and the Cherry Creek High School Girls’ 21, Denver, Colorado. ‘This video contains vocal exercises designed to help singers develop a free, warm tone and increase vocal range, A manual of the exercises is included with the video. Santa Barbara Music Publishing #21 “Empowered to Join the Song: A Congregational Resoutce for the Children in Your Midst” featuring Anton Armstrong and Carole Lea Arenson. Association of Lutheran Church Musicians (order through the web wwwalem.org or 1-800-624-AL.CM). “Enhancing Musicalty through Movement,” with Rodney Fickenberger. This video examines the use of movement by singers to increase their musicality. Santa Barbara Musie Publishing. (Telephone: 805-962-5800 oor web site: www. shmp.com) “Ensemble Diction: Language and Style, Principles and Application,” James Jordan and Constantina ‘Tsolainou. ‘This 90-minute video teaches general principles of diction (English, Latin, and German) while presenting specific ways to apply those concepts to any choral situation. Hinshaw Music Ine. (Telephone: 919-933-1691 or Fax: 919-967-3399) ““Evoking Sound: Body Mapping Principles and Basic Conducting Technique,” James Jordan and Heather Buchanan, GIA Publications/VHS-530. www.giamusic.com “Group Vocal Technique,” Frank Haasemann and James M. Jordan. ‘This video contains demonstrations of group vocal exercises and is designed to be used as @ companion to the text of the same title, “Group Vocal Technique: The Choral Ensemble Warm-Up,” James Jordan with Craig Denison, Vinoent Metalio and Constantina ‘'solainou. ‘This self-instructional video contains four master teachers conducting more than fifty exercises with ensembles of both children an adults. Hinshaw Music Ine, (Telephone: 919- 933-1691 or Fax: 919-967-3999) “Robert Shaw: Preparing a Masterpiece,” a 160-minute video cassette that documents the rehearsals in preparation of Brahm’s A German Requiem. Camegie Hall Corporation, 1991, (1-800-683-7846). “Sing and Rejoice,” a 90-minute video cassette demonstrating examples and successful techniques for both classroom and performance (Order numbers: VHS-87MZ0231, Beta II-87MZ0233).. House. “The Children’s Choir with Doreen Rao and the Glen Ellyn Children’s Chorus, Volume I,” A 45-minute video cassette demonstrating conducting technique with an excellent children’s chorus, ‘The American Choral Directors Association, Lawton, Oklaltoma,“Voice Tour: A visual Journey through the Singing Voice,” Dr. Tom Cleveland. ‘This video explores the design of the human singing voice in words, pictures and actual video footage, Antara Music Group (1-800- 546-1546). “What They See Is What You Get,” Rodney Eichenberger with Andre Thomas. The purpose ofthis video is to demonstrate ways to communicate musical intent non-verbally. Hinshaw Musie Ine. (Telephone: 919- 933-1691 or Fax: 919-967-3399)CHORAL TECHNIQUES AND RESOURCES: A SELECTED BIBLIOGRAPHY Compiled by Anton E, Armstrong. Barham, Tetty J. Strategies for Teaching Junior High and Middle School Mate Singers: Master Teachers Speak. Santa Barbara: Santa Barbara Music Publishing, 2001 Barham, Terry J. and Darolyne L, Nelson, The Boy’s Changing Voice: New Solutions for Today's Choral Teacher, Miami: Belwin Mills, cfo CPP/Belwin, Ine, 1991 Bertalot, John, 5 Wheels to Successful Sight-Singing. Minneapolis: Augsburg Fortress, 1993. Boyd, Jack, Rehearsal Guide for the Choral Director. 2nd ed. Champaign: Mark Foster Music Co., 1977. . Teaching Choral Sight Reading. 2nd ed. Champaign: Mark Foster Music Co., 1981 Buchanan, Heather J. and Matthew W. Mehaffey, Compiled and ed. Teaching Music Through Performance in Choir, Volume 1, Chicago: GIA Publications, Inc.,.2005, Collins, Don L. Teaching Choral Music. Englewood Cliffs: Prentice-Hall, 1993. Decker, Harold A. and Julius Hesford, eds. Choral Conducting Sympesiun. 2nd ed. Englewood Cliffs: Prentice-Hall, 1988. Decker, Hatold A. and Colleen J. Kitk. Choral Conducting: Focus on Communication. Prospect Heights, IL: Waveland Press, 1988 (reissued in 1995). Dematee, Robert W. and Don V. Moses. The Complete Conductor. Englewood Cliffs: Prentice-Hall, 1995, Ehmann, Wilhelm and Frauke Hassemann, Choral Directing. Minneapolis: Augsburg Fortress, 1968. Gackle, Lynne. Finding Ophelia’s Voice, Opening Ophelia’s Heart. Dayton: Heritage Music Press, 2011 Garretson, Robert L. Conducting Choral Music, 8th ed. Englewood Cliffs: Prentice-Hall, 1998. Glenn, Carole, ed. In Quest of Answers: Interviews with American Choral Conductors. Chapel Hill Hinshaw Music, Inc., 1991. Green, Elizabeth A.H1, and Nicolai Malko, The Conductor's Score. Englewood Cliffs: Prentice-Hall, 1985, Green, Blizabeth A.H. The Modern Conductor. 6th ed, Englewood Cliffs: Prentice-Hall, 1997. Heffernan, Charles W. Choral Music: Technique and Artistry. Englewood Cliffs: Prentice-Hell,1982. Herman, Sally. In Search of Musical Excellence: Taking Advantage of Varied Learning Styles. Dayton: Roger Dean Publishing Co., 1994,Holt, Michele and James Jordan, The School Choral Program: Philosophy, Planning, Organizing, and Teaching. Chicago: GIA Publications, Inc., 2008, Hunsberger, Donald and Roy E. Emst. The Art of Conducting. 2nd ed. New York: McGraw-Hill, Ine., 1992. Jacobson, John. A Place in the Choir: Finding Harmony in a World of Many Voices. Milwaukee: Hal Leonard Corporation, 2006. Jeffers, Ron. Translations and Annotations of Choral Repertoire, Volume I: Sacred Latin Texts Corvallis: Earthsongs, 1988. Jeffers, Ron and Gordon Paine, Translations and Annotations of Chorat Repertoire, Volume H: German Texts. Corvallis: Barthsongs, 2000. Jordan, James. Evoking Sound: Fundamentals of Choral Conducting and Rehearsing. Chicago: GIA Publications, Inc., 1996. Evoking Sound: The Chorat Conductor's Aural Tutor: Training the Ear to Diagnose Vocal Problenis. GIA Publications, Ine., 2006. Evoking Sound: The Choral Rehearsal: Volume It Inward Bound Philosophy and Score Preparation. GIA Publications, Ine, 2008, voking Sound: The Choral Rehearsal: Volume I Techniques and Procedures. Chicago: GIA Publications, Inc., 2007, . Evoking Sound: The Chorat Warm-Up. Chicago: GIA Publications, Inc.,2005, The Musician's Spirit, Chicago: GIA Publications, Inc. . The Musician's Soul. Chicago: GIA Publications, Inc, The Musician's Walk. Chicago: GIA Pablications, Inc.,2006, Lamb, Gordon H. Choral Techniques. 31d ed. Dubuque: W. C. Brown, 1988, Leck, Henry with Flosie Jordan, Creating Artistry Through Choral Excellence. Milwaukee: Hal Leonard, 2009, Kemp, Michael. The Choral Challenge: Practical Paths 10 Solving Problems. Chicago: GIA Publications, Inc., 2009, Kohut, Daniel L. and Joe W. Grant, Learning to Conduct and Rekearse. Englewood Cliffs: Prentice- Hall, 1990, Mann, Alfted, Bach and Handel: Choral Performace Practice, Chapel Hill: Hinshaw Music, Ine., 1992. Moses, Don V., Robert W. Denmaree Jr, and Allen F. Ohmes. Face to Face with an Orchestra, Princeton: Prestige Publications, Inc., 1987.Nash, than with Joshua Jacobson. Translations and Annotations of Choral Repertoire, Volume IV: Hebrew Texts. Corvallis: Earthsongs, 2009. Noble, Weston H. Creating the Special World. Ed. by Steven M. Demorest. Chicago: GIA Publications, 2005, Ostrander, Arthur B, and Dana Wilson. Contemporary Choral Arranging. Englewood Cliffs: Prentice- Hall, 1986, Page, Sue Fllen. Hearts and Hands and Voices. Tarzana, CA: H:T. Fitzsimons Co., 1995, Paine, Gordon. Translations and Annotations of Choral Repertoire, Volume III: French and Hatian Texts, Corvallis: Earthsongs, 2007, Robinson, Ray and Allen Winold, The Choral Experience. New York: Harper and Row, Publishers, 1976. Roe, Paul F. Choral Music Education. 2nd ed. Englewood Cliffs: Prentice-Hall, 1983. Rudolf, Max. The Grammar of Conducting. 3rd ed. New York: Schitmer Books, 1994. Shaw, Joseph M. The St. Olaf Choir: A Narrative, Northfield, MN: St, Olaf College, 1997, ‘Smith, Brenda and Robert Thayer Sataloff. Choral Pedagogy. San Diego: 2000. Singular Publishing Group, ‘Swan, Howard. Conscience of a Profession. Edited by Charles Fowlet. Chapel Hill: Hinshaw Music, Inc,, 1987, Telfer, Nancy. Suecessfil Sight-Singing: A Creative, Step by Step Approach. 2 vols. San Diego: Neil A Kjos Music Co., 1992-93. Webb, Guy B, Up Front! Becoming the Complete Choral Conductor, Boston: ECS Publishing, 1993. Yarington, John. Somebody's Gor My Robe. Nashville: Abingdon Press, 1997,“Why do I teach music? : “fot Because I expect you to major in riusic. cy : -fot because | expect you to play or sing all your life a ie So you can relax and have fun if : “S0 You will be human “80 You wilt recognize beauty. ~S0 you-will be closer to an Infinite. beyond this world *S0 you will have Sdrtiething to cling to 80 you will have more love, more compassion, More gentleness, more good... in short, more life, -Ol what value wilit.be-to meke a prospercus living unless you kriow iow to lve?" ‘Teech Me To Sing You cn love, me, bat E must ake me bar. Yeu conpronsteme, but mar secede ie ean tech me, but E must provide the wndersahg. You can cooch me, but must ithe gone. Yeicn fed ne, bt must wl the pate Yet con py me, Bar hast bear my sr a ‘ Fee the gift of love. is not @ food that-feedi me. + Hr the sunlght that nowishes what I must finlly harvest for 2 nyse, If you love me; don't Just sng neji sing, . ‘Teach me to sing. Fee when on olone, itis then that X will ned the melody. able - ‘ 2 eae ngh moet Sree ad With Ges ad ty : ‘humor of living, es as We pledge to read more and act on our bel “We pledge to enjoy chocolate aid nct feel guilty. "o ploge to sng with pcan fom esol, = “We pledge to take better care | creations! ©e.r4 : Weplpts nr soit a wpb ne dence ‘We pledge fo koep telling stories. * cae . esac vin eet ery or last Cts ay : sg venti pies for god ins perl ee 1p” Wa’pledge to see tie possibilities for good bad arétiness in other pec : oy Me bt ctor ent bd she me it iin oreo