Conducting Reaction Paper

8/13/2019 Conducting Reaction Paper

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Jerome Van Lester S. Garcia

Conducting 3

Preparing for a Rehearsal

As we rehearse a new piece the conductor should study first the piece. Check the horizontal motion of

the music or the Harmonization of it. We should learn to check for high skips between notes that are we

think difficult to sing. We should check also the vertical motion of the piece. We should know what

voices can we paired of. Like bass and soprano, tenor and alto,. Good ensemble is dependent on good

synchronization of the parts. All pieces have difficult entrances, we should learn how can we come up

with it. It says that the conductor can clarify such places by calling attention to the sounding of the same

pitch of a beat or two before another voice. When long phrases must be sustained, we suggest

staggered breathing in which the singers do not breathe simultaneously, but each catches quick breath

when he/she needs it and back to music. It suggested that its better to breath after a stong beat rather

than before it because it is less noticeable. They can also breathe after a slur . The final consonants,

Many English words end in a final consonant and must be articulated cleanly and together with the

singers. Final S sounds cause much trouble. The clean articulation of the consonant make the speech

understandable.

Rehearsal Techniques

The Success of the choral concert is determined in the rehearsal room.

In choosing what to perform, there should be a variety of songs and in each songs the choir must be

educated of how it wil be performed. For us conductor, we should know the troublesome spots in the

score and how we handle them. Never to attempt to learn the music concurrently with your singers.

There are three basic ways or procedures for achieving your objective:

1.Verbally2.By demonstrating(singing to illustrate tone quality, pronounciation, enunciation, phrasing)

3.By using some psychological device or motivation such as Let the tone float.

For me, I used all of this because not all of my member understand what the other demonstration want

to say.

Some directors, in their eagerness to facilitate the choirs learning attempt to sing along with them

assisting various parts wherever necessary. This seldom help much, You cannot blend with the choir, it is

helpful however, when you are singing you are unable to hear the choir adequately and to indentify

specific tonal and rhythmic difficulties.

Assigning voice parts

Range and color are the principal factors that determine assignments, the quality of the voice probably

being more important than the ability to sing certain high or low pitches. Choir members must realize

that the needs of the ensemble and the development of its artistry take precedence over the personal

desires and ambition of the singers who comprise it.


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If you conduct an auditioned choir, take plent of time at each interview. It is easier to refuse a singer

admission than to discharge one later. Be sure you also observe and make note of each singers walk,

stance, attitude, speech and appearance. These factors will also affect your choir.

SOPRANO

Listen for a clear sound and the ability sound and the ability to control the amount of vibrato and to

sing softly in the upper register. The range of a soprano is from D1 to Bb2. Beware of a dark, heavy tone,

even if the range is there; a constant, wide vibrato; throat singers.

ALTO

Listen for a warmer, richer sound than that of the soprano. Altos should be able to articulate rapidly and

to sing loudly, in tune, in the lower register. The range of a alto is from small G to E2.

TENOR

Listen for a clear sound with a pleasant vibrato. Seek those with the ability to control dynamic level at

any pitch.

BASS

This is a rapidly disappearing and endangered species! Listen for ability to sing pitches below G. Range is

from great D to small Bb.

Sections

Dissimilar voices fight. Rate of vibrato and the median dynamic level of production can affect the

unification.

This work requires time, of course, but better results will thereby by obtained than by arranging people

by height, putting the insecure singers in the back, stationing the best-looking singers in front of the

conductor. Our aim here is to produce a section sound, completely unified in every way, with neither

weak spots nor strong protrusions.

Pitch

A choir must be able to reproduce with correct intonation.Until this step is accomplished, no choral

excellence can take place.

Contrasts:Choral and Instrumental

In dynamics, the dynamics of the song is set by the emotion of the words. But in the instrumental the

dynamics is set to be the emotion of the piece.

Lacking of skilled Readers

The conductor must teach the singers the notes: fine choral ensemble cannot take place until all

members of the choir can deliver the notes with assurance. The ability to sing in tune is contigent upon

the capacity to listen perceptively, to hear inwardly. As the basis of all instruction is in music is ear

training, the choir must be taught to hear and to discriminate.


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Reading Music

It would indeed be difficult to maintain for long the interest of any group of singers without turning to

authentic music literature. Through this study, the ensemble develops as a musical organization. IF the

choir as a whole, cannot read, it is the duty of the conductor to teach the singers enough about the

intricacies of music notation to enable them, with the assistance of a piano or organ to bring the printed

page into sound.

The following three items may serve as a starting point for teaching your choir to read:

1. The choir must learn the meaning of the various tempo, dynamic, and expressive indications.2. Reading music in a choral ensemble is much more a question of when to sing rather than what

pitch is to be sounded.

3. Consecutive pitches should be recognized as either remaining the same, moving up or movingdown;as moving either by step or by skip, and if by skip, the ear training exercises in singing in

thirds, fifths and octave wi be invaluable as singers learn to recognize in print the sounds they

have previously learned by ear.

Developing Good Intonation

During the initial period of securing the pitches of a composition, care should be taken that the

intonation is clean. A choir with poor intonation will have a tone that is dull and lifeless.

There are many reasons why a choir loses the correct intonation. Some of them are as follows:

1. Bad vocal production2. Insecurity in the size of the intervals to be sung3. Tempo too fast or too slow4. Dynamics too loud or too soft5. Wrong concept of the vowel to be sung6. Incompable voices singing together7. Fuzziness in the bass section8. A lack of phrase sense9. Inattention to downward moving passages10. Inattention to repeated notes11. Inability of the choir members to hear each other12.Disinterest and/or boredom13.Failure to listen and sing inwardly in the imagination14.Within a major key, singing flat mi and la15.

Failure to attain clean leaps of fourth anf fifths

16.Wrong key for a particular acoustical situation17. Inattention to accidentals18.Psychological and physiological factors that are beyond anyones control.

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Conducting Reaction Paper