Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Purpose Driven Choral Wam-ups

646 views

Published on

Prepare your choral voice through purpose-driven warm-ups. Presentation by Jo-Michael Scheibe, DMA, professor at USC Thornton School of Music.

Published in: Education
  • Be the first to comment

  • Be the first to like this

Purpose Driven Choral Wam-ups

  1. 1. The Purpose Driven Warm-Ups Common Mistakes We Make Jo-Michael Scheibe, DMA Professor and Chair Department of Choral and Sacred Music USC Thornton School of Music scheibe@thornton.usc.edu
  2. 2. The Purpose of Warm-ups o Routine vs. Imaginative o Mental set vs. here we go again o Time to bring focus vs. boredom
  3. 3. The Intent of Warm-Ups: Effective and Affective Types o More than one purpose to each warm-up o Must be a tie between the warm-up and the music making o Proactive learning- the “why” of the rehearsal o Set up expectations in the warm-ups o Use it to help put the pieces of the puzzle together o Remember, the voice is halfway between the head and the heart
  4. 4. PRO ARTE Posture Respiration Onset Articulation Resonance Technique Efficiency Based on the work of Don Brinegar
  5. 5. Physical (Relaxation) o Laughter o Body awareness o Posture - Alexander Technique o “I’ve got a nose like a ping-pong ball” William Tell Overture o Back rubs stretches o Ugandan handclaps o “Simon Says” - mirror images
  6. 6. Mental (Focus Activity) o 123456787654321 - take away numbers o Add gestures (claps, taps, snaps, stomps, whistles) o 1-121-12321-1234321 etc. - take away number o Dr. Seuss
  7. 7. Bob Chilcott Exercise
  8. 8. Breath Management 1. Seated hang over the chair (grab ankles and breathe) 2. Pushups against the wall 3. Sitting against the wall (breath) 4. Pencil in hand – [su] (5-4-3-2-1) 5. Circular hand movements while singing 6. Lip trills (br) 7. [v, θ, z] 8. Onset 9. Chest compression 10.Use [n, ŋ] rather than [m] if intonation or resonance is a problem
  9. 9. Breath Management (cont.) 11.[ni - nɛ - nɑ - nɔ - nu] or [vi - vɛ - vɑ - vɔ - vu] with hands 12.G (use K placement) 13.Shadow Vowels o Light becomes [lɑ:itə] o Sleep becomes [slipə]
  10. 10. Vocalization 1. Zing Zing Zah (frisbee and hand clap) 2. Descending first 3. Using no more than a fifth to begin- octave at most - high notes flip over from waist 4. Drop on top notes 5. High notes - tilt head back slightly 6. Hand in front of mouth to engage even breath flow 7. Finger at back of note for soprano high notes
  11. 11. Tuning 1. When Jesus Wept - Billings 2. Compose your own tuning exercises based on your literature 3. Hold chorale and then move 1/2 step in x # of beats (Shaw) 4. Use solfege 5. Avoid use of piano
  12. 12. Tuning (…con’t) 6. Tune according to the harmonic series a. Unisons and octaves b. Fifths c. Thirds d. Color notes (2nds, 7ths, 9ths)
  13. 13. Chilcott Tuning Example
  14. 14. Shaw Exercises
  15. 15. Shaw Exercises (cont.)
  16. 16. Shaw Exercises (cont.)
  17. 17. Final Thoughts o Use music from the rehearsal o Different learning styles o Voice and choral warm-ups difference o And remember, don’t make warm- ups boring and put your singers on autopilot

×