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music choral conducting regarding how to conduct it.pptx
- 2. Kye Kye Kule Kyekye Kule Kye kye Kofinsa Kofi salanga Ke Te Kyi langa Kum AdenN de Kum Aden Nde Hey Hands on your head Hands on your shoulder Hands on your waist Hands on your knees Hands on your ankle Hands on your ankle Hey
- 3. Choral Works and Conducting Speaker: ALEXH. MAQUIÑANA Teacher I Legazpi City Science High School
- 4. How I starteda choir group? 1.Define your vision. 2.Recruitment and Auditions 3.Voice range assessment 4.Balance and blend 5.Rehearsal space and schedule 6.Repertoire selection 7.Leadership team 8.Communication and evaluation
- 5. How are singersclassified? 1.Recruitment and Auditions 2.Voice range assessment 3.Balance and blend 4.Sight-reading ability 5.Flexibility 6.Consider vocal timbre
- 6. Let’s Learn aboutBasic Conducting Methods
- 7. CONDUCTING Conducting is theart of directing a musical performance, such as a concert, by way of visible gestures with the hands, arms, face and head. The primary duties of the conductor are to unify performers, set the tempo, execute clear preparations and beats (meter), and to listen critically and shape the sound of the ensemble. Communication is non-verbal during a performance, however in rehearsal frequent interruptions allow the conductor to give verbal directions as to how the music should be played or sung.
- 8. How to conductbasic beat patterns? Conducting beat patterns are the method of establishing the tempo or beat structure of the music. The beat pattern is just the basic way the conductor uses to convey how the notes of the musical piece are structured. The beat pattern used in conducting pattern varies in relation to the time signature of the piece. However, the 2 beats, 3 beats, and 4 beats per measure are very common measures and they are the pattern used mostly.
- 9. What are BEATpatterns? • Familiarize yourself with basic conducting patterns for different time signatures. • Duple – having two beats in a measure. • Triple – three beats in a measure. • Quadruple – four beats in a measure. 2 or 2 3 4 6 4 2 4 4 8
- 11. Examples of duplemeter are 2 4, 2 2, or fast 6 8 time. A conductor would sweep out a J-shaped arc to conduct duple meter.
- 12. Examples of triplemeter are 3 4 or 3 2. A conductor would sweep out a triangular arc to conduct triple meters.
- 13. Example of quadruplemeter are 4 4, 4 2, or 4 8. A conductor would sweep out an upside-down T shape to conduct quadruple meter.
- 14. When conducting 68 time, the conductor will sweep out an upside-down T , bouncing along the bottom to each beat.
- 16. Apply and simplify. Listenand observe the beat/time signatures of the given songs and conduct. 1. Pilipinas Kong Mahal 2. My Chinita Girl 3. Rosas Pandan 4. A Million Dreams 5. Mabagal 6. Honey honey – mama mia
- 18. Clef sign –G Clef Musical Staff Time Signature Notes: Eight , Quarter, Half, Dotted Quarter Chords Bar lines Double bar lines Name the different musical elements in the music piece entitled, “I’m A Little Teapot”.
- 19. Dynamics Dynamics are therange of volume that music notes can be sung or played.
- 20. Tempo Tempo can bedefined as the pace or speed at which a section of music is played. Tempos, or tempi, help the composer to convey a feeling of either intensity or relaxation. We can think of the tempo as the speedometer of the music. Typically, the speed of the music is measured in beats per minute, or BPM.
- 21.
- 22. Tempo Markings withinthe piece.
- 23. Let’s get started. •Look for the different musical symbols used in this musical score. • What are the terms, meanings, and uses of these music symbols.
- 29. Break out Sessions(small group) • Each group will be given different songs to perform. • Identify the tempo, dynamic marks, and other symbols. • Interpret the song. • Perform with a conductor. • Assessment and Evaluation.
- 30. Thank you andhave a happy day working with the recital tasks.
Editor's Notes
- #3 Sing and observe the music/song and try to differentiate beat from rhythm. This is an example of “call and response” type of song.
- #8 Conductors act as guides to the orchestras and/or choirs they conduct. They choose the works to be performed and study their scores to which they may make certain adjustments, work out their interpretation, and relay their vision to the performers.
- #9 Beat is the regular pulse of music where we may count by two’s, three’s, four’s and so on. Rhythm, on the other hand, is the pattern made by combining different durations of sound and silence in music.
- #10 Basically, the beat in music is the unit of time and the number of beats in a measure is represented by the time signature. The time signature is the symbol in musical notation that will always tell you about the number of beats in a measure. You will always see the time signature at the beginning of the musical piece after the cleft symbol and immediately after the key signature.
- #11 The downbeat is the first beat at the beginning of the bar and after the bar line in a measure. This beat is always the strongest beat in a measure. The downbeat is the most stressed beat, but we don’t need to over-emphasize it for music not to get clumpy. Upbeat is the opposite of the downbeat. It is the last beat that ends the bar and is always before the bar line in a measure. This term also has a relationship with the conductor’s hand movement. For every upbeat, the conductor’s hand is always in the upward direction. Upbeat is best identified when you are clapping to count beat for music. At the time you put off your hand for the clap, you are on the upbeat.
- #12 The 2 beat pattern in conducting is generally used for a measure defined with a time signature of 24 or 22 times. The 24 denotes two beats of a quarter note per measure. And 22 indicates that we have two half beats in a bar or per measure. Basically, for 2 beats in a measure or duple meter, the conductor uses just a down and upbeat that resulted in two strokes.
- #13 To conduct with the beat pattern, move your hand downward for the downbeat or the first beat. Then, move it to the right side to signify the second beat. Finally, move it back up to the starting point for the third beat which is upbeat. Observe not too much bounce on the downbeat and dip on the second beat as well as the third beat. Note the point of bounce and dip in the diagram were indicated with a small circle in the diagram above.
- #14 As you are moving your arm around for the beat, keep it in mind to observe the bounce on the downbeat. In addition, don’t forget to pinpoint the dip on the second, third, and fourth beat.
- #16 In conducting these beat patterns, try to keep your wrist and shoulder steady while you bend your wrist a little to point out the beat. Also, ensure all the arm movements are even, smooth, and from your forearm and the elbow. Moreover, the conducting movement must have some kind of bounce and dip to make every movement stand out. These bounces and dips are necessary for the clarity of the beat pattern that makes it uncomplicated to follow.
- #20 In music, the speed we are referring to is properly called tempo; while loudness and softness is referred to as dynamics.
- #24 The speaker will discuss the different marks in this song.