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BCMC JOURNAL 2005
Do You Hear What I
Hear?
Reported by Richard
Suggs
Below
is an outline of the breakout session, "Do You Hear What
I Hear," which was led by Dr. Eric Nelson, Director of
Choral Studies at Emory University in Atlanta. He
teaches choral literature and graduate choral
conducting, directs the 170-voice University Chorus and
the 40-voice Concert Choir. He is also the director of
the Atlanta Sacred Chorale (www.atlantasacredchorale.org),
an auditioned professional choir, which was featured in
concert at our Monday evening session.
General comments and ideas:
--
vowels
--
listen for the big picture
--
continually remind the choir about your expectation
--
tell your choir ["remember, you signed up for this
duty"]
--
specific helps
A. Two
important observations
1. "Isn't that your job?" Rather than complaining
constantly, realize that it is your job to fix the
problems. FIX IT! [style, balance,
choral issues ...
2. "They don't know." The singers don't always
know what the intonation should be, what the color
should be; Show them and tell them. Once they know, they
can do it immediately.
B.
Three beliefs
1. About singing: Singing
is really easy. The choir doesn't think so. Children can
make a pitch. Singing choral music at a high level
is much more difficult. Convince them!
2. About choir members:
Choir members want the rehearsals and presentations to
be a success; they are not out to make it a failure.
They will make mistakes -- that is part of it ...
3. About choirs in
church: Choirs have an important role in the church. It
is profoundly important for humans to stand next to each
other and sing and create music together. Choir has a
very important place in the church. Even when they say
"what are we singing today?" they should know and
take ownership in it. Excellence is important! They
should be there doing their best at all times.
[remember: "You signed up for this duty!"]
C.
"Do You See What I See?" Simple things to do to improve
the choral sound.
1. Jaw - don't lead with the chin; keep level
2. Shoulders - relax
3. Mouth - don't contort
4. Seated posture - its also about attitude and
effort; insist on correct posture
5. Eyes - look up at times; watching is
important; explain to the singers why you want them to
look up -- they need to know; eyes are communicators of
what is in the heart - - you need to emote the
music.
D.
"Do You Hear What I Hear?" Help them! Sometimes
they do the wrong thing for the right reasons; tone has
a deep implication, matching character of emotion and
meaning it is a challenge.
1. Yelling means
you're angry. It is not so much the words, it is
how you say the words (CONNOTATION OF TONE (i.e.:
yelling "Hallelujah" instead of singing it.)).
2. The breathy tone (Dr. Nelson demonstrated proper
approach to correcting this and the following vocal
problems)
3. The swallowed tone
4.
The nasal tone
5. The mumbled tone
6.
The
wobble - they don't think the straight tone is not as
pretty; they over compensate; they shift registers too
early; you don't have to sing with vibrato to have a
good blend or to have a nice sound. Singing is only
sustained speech.
7. The machine gun (nanny goat)
8. The pressed larynx
9. The raised larynx
10. The well-intentioned, over-zealous leader
11. The star singer
12. The scooper
13. The spoken tone (most difficult of all)
The vowels are the unifying element.
E.
"Do You Know What I Know?" Don't assume that they know
what you know; tell them and fix things.
1. Phrasing and line: very important in that they
communicate the meaning of the text and infuse emotion
and beauty into the music.
2. Singing in tune: tell the choir why you picked what
you picked. Tell them in the choir rehearsal why you
make the decisions that you make.
3.
Marking the score: they need to know how to mark. Show
them! Teach as you lead. Use a marker board to write
examples and explain markings.
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