ESSENTIAL ELEMENTS FOR CHOIR V BOOK ONE

een ial Musicianship

228268

P R E H E N S I V E C H O R A L M E T H O
"A CO M
beANCE3
VOICE © THEORY ° SIGHTREADING .«PERFO

BY
EMILY CROCKER
AND
JOHN LEAVITT

7a HALeLEONARD:®
 ESSENTIAL ELEMENTS FOR CHOIR - BOOK ONE

ESSENTIAL
MUSICIANSHIP
A COMPREHENSIVE CHORAL METHOD
VOICE © THEORY © SIGHT-READING ¢ PERFORMANCE

BY
EMILY CROCKER
AND
JOHN LEAVITT

Essential Musicianship Consultants and Authors of Essential Repertoire

Glenda Casey
Bobbie Douglass
Jan Juneau
Janice Killian
Michael O’Hern
Linda Rann
Brad White

To the Student
Welcome to Essential Musicianship! We are pleased that you have chosen to participate in
choral singing. With practice and dedication, you'll enjoy a lifetime of musical performance.
Best wishes for your musical success!

ISBN 978-0-7935-4329-8

’ HALeLEONARD®
am cCORPORATION
7777 W. BLUEMOUND RD. P.O.Box 13819 MILWAUKEE, WI 53213

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved
TABLE OF CONTENTS AND OVERVIEW OF THE PROGRAM

Halicere (Ula! elG nek. a eR eR ORE DO Me a A ee re

FE Frat cpg naa she us eoustedeees Si annndyent cayes + SAgee Dy he ono Gleanndee te MMGRRe + ih tay ee Sunekvaus + satceesdditys «(aes nn 1
Voicer Posture © Breath, © TOM t..i...c.cteectu. «0509s clanetiesaat~ senceestasvh seen te iitasdons¥»>soete mn 1
Theory: Rhythm ¢ Beat « Note values (quarter, half, whole)..................ssssssssesssorosesseeeeetiunensens 2
Sight-Reading: Rhythm drills (quarter, half, whole notes)...................ssesccccssssssreccceeeeessaeceesenns 4

EEQiiy. iss a is adhe seh «a aad se Pa da Ss Oger ois Sy Sede vs RRs ate <p Settee ap an Sa wey es ban erasers thcesh hulls» ae ase 5
Voice: Five basic vowels (ee, eh, al, Ol, 00).......cscccsccvesssocgvesccesecsocsvacconsvssecsosseceoes
«saan 5
Theory: Basic’notation (Staff, clefs,; note MaMes)...05..5..6..5188
ensekeogs ccdeed ccadelas..+00s0eg er 7
Sight-Reaaing: Pitemsarills 60.1255 cree casscceasarontsshohsroseaccesasesoss
beeedensndeseneeyeene cig ase eee 9

oe Peper mee ee Pe meeN Perea ohh Ue conde ne a Pet ese SU ere UME ARR RMR RNA Eth 10
Voice: Breath Support: (Giapiiragm) 2rnss.sc0-cosercccepeecastacacssesnsaScertesnasuee<yeucuenoeamalier
oteeae 10
Theory: Measure: ©:meter © Darlin@s ....it cis. tecc.esssescosesensennnerqseseesooessedssaneennesteen
atti 12
Sight-Reading: Rhythm practice © Pitch practice ...1................ceesesseccerereesseseeeoosnneseeaqee
taal 1S
Performance: Speech Chorus:
The Months of the Year .0 5 cicccts.ce:2c; seen tecdecsccacce-cao-dcecesevannsesnsseqacnsesss
ddlscs7a 15

BES eect ctens et eeheetu ae gas geeeie tan cette age ae Rete aeriar, caneS ct oct 7a hr 16
VOICE? REVIEW: £.4:.5..5.<scecenege cence sone coop nevceyesesas cate aeates aga (uecuaciecssssnscessecesesicnese vaste) se unicose teen 16
Theory; REVieW ih. csc.-039e5 vse. czeweceseen seca Sunes sa. See ae eet ciGi sa cnvisn'sso''genstanlsejaoopedtess ss 1s ann iy
Sight-Reading: Rhythm practice. © Pitch practice ....:..6...5..:4...0....0.000s0veonsndeees0vee2+0005s. 5 ee 18
Performance: Speech Chorus
Tongue TWISter .sicscc.725..Socscconanc teeta geet ete ss stares cana. 224 scones be heater ee eer Z1

BES \wiscasicsessncconcsea sasenuteesmoed' ode teens essa aeme teeta caent eee teeta eon saletGaduis yetrniso CRAVE en ee 22
Voice: Practice (posture, breath and Vowel Shape) ................c.sssccccesseseoveeeseroneeserseeoa
anmmmmm Ze
Theory: Pitch © Scale © Key Of C Major in. sccscce-..ceasdacoeissennsnsesesesesedenecsesseocacocessoenepasaece
iti 24
Sight-Reading; Pitch drills ¢ Combine rhythm and pitch .................--.cs-seceesseneseseoendereneanna 25
Performance: Short songs with text ¢ accompanied song
Proverbs (UNISON) 22. ccceshoc.sccaQeee ee meenmrameae teen tan cadecece oboe sas sndansscacesens quite a. toys teen 28
Follow Me. (unisOn):iis.scisccoves teem eettcnetetae act gman srs aociis ones dasc< uns seen uae ae dais er 29

BO as) i ses'ennseacings esdieonacetagidsecadeiene mamma tAMUOMEN CaNCL Ler CORAM Ines dacSstns aces esos 4.0 ee ate teres ee 31
Voice: Practice (posture, breath, and vowel Shape) ..........c.cccsccccccnssesccccnceedennscoceneunecreeeneemmmm 31
Mheary? Whole steps and: half stepases spice cise tancaguee <=>. snp'c.eeovees-nevaneo cadenen cere tect ener a3
Sight-Reading: Whole/half step drill and exercises..................srssceerscosscsvesconsessacsonsevensseueeea 34
Pertormance: Singing in parts .:.icdisc.<sscsseeceessnetedasuueiiaetnnc.vqcecaseoeoesdehanehoesane rsteree ean 36
QING ncn ess sess ve seces vadlaiicdaleils dBlabomeBemncteh nc dh dllsoad Satine MMMEMEREY cc <i o adiossober ocenlenewendar suyens aman 37
TOTAQEA ASS 05005. 20ccnsssochehiele bodes ea ttes Saeki Sete Meee RMU tec .4.000's 55 Scat ranean WA ccsetdens sem 38
NACE c++ e-sccecssiisnnnes anes seet ey caeneenbanee as tate Mteae tmed tera gseuetrsccesouriaaacree catacanen Green ase 39
TABLE OF CONTENTS AND OVERVIEW OF THE PROGRAM

Resi roy Nera as RINDI se sui cbadedeaihsssts TEDMTCISIA Mes IT aWuhT Sec seb Isl Lobtyhsdecedsdasssuodouatacbend odebaitbataleeedesian!
Voice: Practice (posture, breath, and VOWOSHA DG) vsndudacs ssc ayovsdescaannc tte tees esce Non «TN evided cvenes
RCO YAROVICW 2A. Mosecas diel ahenleedetose ACCP ATMO IID soso fed Sb tua tes devo’ see WP Nd NOTRE Ml el aca sind
SIGMA RACING PFAClICE(OItCIH AMA TYLA) esse. k eed eels a Fade TOE eM olla eaaliorcones
Pemonmance.a cappella SONGS (C MajOM).ccico.-ncoccccsacssoasadbebdnbancates SME TE MANTA Mes ve
DH ELGIEDIONCS AN GIUN A S235 edeasden vad sD endon tn edoed sree a Reavdes ban desasansdve das SMAMORN ON EM iehe SOOM cde cneese
MEMO BASS SUIG AEWA. ssessrsrvsonsarevreedsemrarocdecteasysveuilensnn oeCeeed deMane el Reo AUN issobened
PoE MOCaa MAINECheb ni s3 Sp Shade sssesdoressanneaessPrapsadeo wu sode sye080lapnets Sa sadeds de M RM EIGN i ddeces

ee ASF Inst ASSINSISOSI Si Sivb5 507d LEARNS aR eS eas gS ids Ade DVe Cahir Is Gabe naobnc Ua aeuLuela li Rensakogadeesderds Massed
Voice: Practice (posture, breath; vowels)"erarticulation sii.i shits. iss beh. ass EI cosses
MCORY<-StialDS ANcdinacs -* KEY rol. Gs INAjOlesaseasveedennercosnaanndeass Mei neo wdetdae: Lease eeLacboodnis
Sight-Reading=Pitchrarill © EXOKCISES scssx sea. Gea a Rh. OT ME sh
PElfOrimaliGe> aiCappelia SONOS iti 1535315s4i8ssecessensses 535dadac Metels ARON aN Seda ete Aad Nada dadefades
SERERDIG TACPLNVE nade rene doris ds oid vabbnawas Yas sedaedbaroansd cial sosebsarssdaccaeapae Pkeldios daca saded, PeMBWNUendicvscdeud
EROIL ASS eS WWHECKOG seers nescence te saat spd A saa satte pave saa tdondvecersensbiadenasceund
WVALXCC ASIN VVOUR SOMOS esas ssrssnaeesinwsadsavyhiy Wedd deuseeddedns eHAsTeUd chdge sia savedRvelosscevedinene silted daseves

ER OM psstes Suited ss PeelI aoer os dea seus tases ctad eaa2Ne AT Aaced dhusévesdtes ai oors ied yssteddnccestrlblaisecl DWN dbacebed
wore. Practice (posture? breath, vowels, articulation)? 00.329: Gavia idee Aedes czens
Y@ORY “ACCICENLAlS: CANEY, SIGTIAUUIE i.ciseatiscettccousssbescecdsancctme
eterettottome ners te uieciet ceataoatistea oo.
BIT REACHING? PALCIPOPINS SE XOPCISES ea risttt silica aetiretetTISATIR Pee ths ea disriisaste retoessscesctee
Pemonnianee: d Cappella Canine tran. Meter etesteck: ScacsstrieccelncacarenestetocetenssdagsMtintece
tiostectset dseisowe
Fy UY SING CSP all, ANY COMMDINALON) iiieecs Hi ieaisiet Rirsccs nascciddoseesstPheossecssodeadatesscsessoaseas¥ig

sede SST Marte OTe re cere IAG Tardis asa snshicesohd Mrsewe Pann OU aSEIS in Urs oebaee bse Looted puesudaieees parsecoeeeds
WeerSoM EEPOOUIBICY NOGESS MIEN Coca ccancss lores scselnedntrsmanpnctadadassadis Nanasccostcscnsede aoencesineseenssvded
DCO yerCSUS ACIUIANLEI HAIES WIIOIE Jetec. siscsecavserkanss2 near seetuusAniab alent) attetaxendes bseecquers sedveseescogsabede
SARTRE HEAGIIIGE, FINy OLIN CHILES WILE COS(S ostsesusss. sh. tocbrevascetsastiv lina lussivsdvedossetiveveeedsovedansdecase¥eas
Performance: Speech chorus
Putlivae SOM (4-Palt ANY, COMDINAUON). cacdsnnccnsecacadessedenad-Gddans aigiaasousisceigss soecdsssts svesayadutcewes

LNT MAE evs er. be aatyr eas eaisciuevs Hi ivexssssacte) vl dvn bes asssrapscue tone ysiheuliPvencsdsludeswe¥shesinscabecssvesadacstevaies
WONG REVIEW carnce false oseugatesis sicutaeily<vsavdentadgyetsrsasacs ecseunrd edbedeusedeyd saldsdacteudisus vovovsevenssssneabangraceite
DOORY|WOUIOWS ater ca a aa5 ie ooh saci sestis izzsszessusnae estes tyelandaededcaciesveriecershosmtamatecacscseiep bersnggivessevegadedad
RELIVE REACHIIC) * EXEL GISES 5.201 5s08eccnhcurna dessa net tautsactas fag cites Lagocans dicds tasaaee tg ad <coeteanpesesoxessangeduede
Performance: accompanied song
SOUR ULLTTS 12) Sie aoe ltemera ennai nay Ber eende, Sle baci iv atucllel hypal al tvoh hmetny San Ra Dy Nee”Ar aEePE
 TABLE OF CONTENTS AND OVERVIEW OF THE PROGRAM

ny RESb fitpiac sh act scien bedttkipaclaes wane kagean int pana shai is buhieaNbd hod dUpr cee TAAWe ekeisso gh Tih laa as
VOICE! VOCAIIZATOM sicsiicsounsincassctanannnt senac)/Pbddsd ads HAV eave LOMMas ase deeat dle a JPIAANONT pyChevette ann
79
ra
THEOFV Melodie INterval sissisices< iene diacrercdinindensirdensunecensleosnanedsainvscticadsicndeiesss wulldaos Qh tian 81
Sight-Reading: Melodic interval practice (C major, G MajOP)...........ssccccscsessssnecseessseereneeeeseeens 82
Performance: a cappella songs
MSIE SING A OSA: veinscaiccts va) cdccnecidcesn dendeviedeituenedexeduindeddsichne'sinciveddt VihVORING GakGt Oc.ava 85
AMNON BOSS! SING FIOSAMIVAN siiscrcnusueavtiirasrdccenscaccesnaccasisaaasnccinathsssivinits degen cena teen 85
MI K@ di SIMO OSAMA cadetected decevidetacknndecniarar'eccneyesondudvedndnees oatifeaiaanaqucaias cciginienly vigaaa 86

ter caiecelptarckdadee da scutedarh dseinti ci cotig tec Circdese rs aveddee) ics uri bins cbuctuyi¥esda cunt caiveck locus weer at 87
Voice: Review of vowels ¢ Additional Vowel SOUNCS ...i..:..cscssiscccorsccscsovovascsnarnosileneceedoelaniiain 87
THEOL! Harmonic.lntenvals,..rccssssarencascuncacdncdessvovihalervehsstts\wiausc’s ishises dayton devives nnn 89
Sight-Reading: Practice with harmonic intervals......cssccccsssoressesersscccccrsssvevesvousseandsudee hina 90
Performance: accompanied song
Dancel (SA) TB OF SATB) iciitcsccasectcauiuiit thadccrcatdccseudcecdrdsnasaescedact
quctaqnnaves case OUURe)0: aia 92

BE VAN icuushiacti qaueeed evens sinehace aden: laualenkgnascctydacaquasanavuansdseiicsticctaauesbigaeeanoes

»@Ggthte detRigs<a 95
Volce: THe: Meuerar VOWEL (69: -)ecivesiprancncnreeeascenedveavatadeeeiiavescnseinavveaduvedcdvenuutiren
ated tim 95
TOGOrY: Thlads:®. Te. TOME: COG, cicrs cegunants druattcacuttas ceocceuuayax ea cecscdeind Ustunguyenesnecags cot 97
Sight-Reading;: Tonic: chord, Pract via. siaccassnvusas spevichinenss scdeunesgrdasvanacchareryerssenivacantss «on 99
Performance: a cappella songs
Treble: Spring Quiet ss sciciscsciisvcus reigns nadsanresvees ctcvsaligsaupenicet oyo0k Wiehe. ¢tesny hanes cet ian 101
TENOMBASSESONSION ARE Wecciun vecttennethrer omer relay cent ad cxsiea piu yg wee baba pics ityeats acetate 103
Mixed O:MuslenS weet MUSIC... iiicinssnieosssmtcs dabsuscataseoas taney uy cawnyys cdiuedadh dytinued salen 105

EE T'S acccccorecuedaeott scp antanaenramans clr/ es aaesStensieeee UMPC MERC LPR as eo tite sitvion'y GusUa tw Aka) Can eileas gL 6 Fah ee 107
Voices Review's, x saatnacsetuasncstnmenncaa ean tere aon One ciidiuntavtaaGalacstan janunihas (cntians cee e 107
Theory: Review ©: “PICKU/y MOtes srttccnsaurgsh catia loin ccescagaccesnaningtesap sagstdscrcnias stncece 108
Sight-Reading: Tonle CHOP DraCtlCe avcrsiccansptessecciecoutsnssescectasnencvansncraesigssstsaennsaccine nn 109
Performance: acCOmpPanled SONGS wavecgrenetitecesccrccves Vinunesseescaasanescysssessuncntenghaysnvet Ookenen 110
Treble: Kime Willleryicensscaverrecrcynanicutenitrn seenstacgcs ticesavsyokansceckoses ovannccedsarntensciutece een TTA
Tenor Bassi Kina WVIMaIT ccencermereesermtam ec etaaVanaget tatessassccucn etevuseceeveivastsneeun steers een 113
Mixed: HoOsaritial ss acccussvecnacaceen areetrerta rt siamnaness cocci cucs14239.45¢eigsusbanvengaxtaccanina ennek tenn 115

BET 6 cccevecacucccuddascensy aa aKihaenn ROEDER REO aRUETEITUEUTATinanpnencetasiacsna

Celessunsys4sncvereenets teeta nett aan 118
Moice: DIphthongs insscss cin guteabee mmm teaPRELOPeR IC eaaWaN ss es vyasecxasvuscch cocaine eRe Sc a er 118
Theory: Key of F major © DOtteciiait MOtes vciicscscsccctscccsassensnsscsnsssarvanseuaensstsnetens tcc 121
Sight-Reading: Chord drills ¢ Exercises in : and : vivant aves vayakensaganehsae 8) 0000 SSE AURA ae 122
EM TOFMANCE: a CADMElIA: SOMAS tesescscenvaervesnvvss cannes ovasisnviay vedsaanssocaeyayuerseenvanenein venseen 124
able: Love In Thye¥GUth cqesemeerires cesntancsccoaiasscwinnvesincs onyopystnad ensonctynen atseexettain acts Gu 125
Weror Bass: As The Holly Growe@tty Gre@e@n sssrisscerscarnvevevasesosrrensetrysneniensetraresssshah an 127
Semeee) THe Call ics usscuics cee eaiemeenmen ereats Gta ieahaaittasxais cannes cakh be tan cenanee fees cCcan ces rcs cee 129
¢ _ TABLE OF CONTENTS AND OVERVIEW OF THE PROGRAM

Wolcexanticulations( tang Miao) ier.

EL BU MOL BRA OO
PeoryEighth motes iandiwests:¢! Beat/division of, beatewwy. 19. Winns. Ae. OR CR...
PHOME-REAGinig FRY CA Cnills Fete. Rees ee er, Sen OS, les EN, 284
Performance: speech chorus
Heyabigdle Diddieli(2-Partvany,GOmpimallon) 228 tains sre ted eet tae crt agsats Saad tes bald ss

UO ROW LGW Uaetoe taser 52, PM IETS ALC EU at Are 2 a ee, We aaa uit tak.
DiGi eCaCinG: RnaCUCeNn tay, . Sse tas totee ARAN ee, Siar series eM dees die Sue ena ieee, Aer
Performance: a cappella songs
areblevletUs, Ghase Tne sSQuittel io dex enconate, mahi wreath saat dame omcargntoassbepel.®4:
Tenor Bassuibeave'bers|OWMMY gia ete eee ek vate a Sayers, Set ne Fees. Tosca ela codh
MIX SORELyiBOULED IIS. s3e eh cates er Ms ts le Rind neti ete sedeieeadah! s.r aa RAL R:

Ree e 7 AEUICULATIONINSIONIG ila state oe het. iaace tt eid cevaceetoce eerste ahcetecccsetetustccscadeteticent
Mreory. Meter ** Downbeat) SECOMOAlY STRESS 0). Ticrsat.cocecse oct emtoo sascasnchaencsatcndd
ences’ steevened sopedes
BIGIAC REA PraciGe Within ChlalGING MMCUCIS tas ceceteleccccctecsecccseesaceceseeecnncetsoesecsnesctonsesuings
Performance: a cappella song
Allele COA VB OnSA DB )steascttrascstes comer cs corte eee bes teeta ee ee eaeednec ee MPH r eh. PARE cccne

yee 2 OlMDI OLCUSIVGIRC VOW is cscs acne ee sca als Seg ca oles Galea due wan sa tynasann Gusts ted
NKSLSA SeLA RYOYRS OTST hYGiS NERY (51.1) laa mmm eh 8 AE 6 eta oa NOOO UR al RN RINT MOE
Performance: accompanied songs ote
Re Ole FOrSOMeMeSOlNChee titi tree tre tees cs ceeetet tre cence meee eer ee aa ee ees te Mer eceteonsens
ICSTREST LSSp LLQROMinCU Been etl ders eR tr patra emo yea RCH et Sarat Pe EB we PEE
DOS RALSATe | i iia sei in re Bepatie salle NED FOR 2 OS Re ne BB

: SY6S) AS EDRsnyse og Ie SIRO OREN RENO ERPS ORR ih Ot eee Cee ea BR OEREN ee
Pa emma User mn Ent Ree weston ctansea deer evan Me eee een rene MeSCRUNT Coca cst ecatteoventscees sme ntougeas
SCTE Drill
Pitch TNIS Sear ete men NARMS SPEER, Ce eR ae ee eto Ne Aires este eitecsvoctrecesesocssccervososenes
48 QXUL A]AALS BVANUA(YE,Ca a Arment ory Reni sece8 ca anol bade 6 eh re ta et i elie,
 TO THE TEACHER

ESSENTIAL MUSICIANSHIP — BOOK ONE and the subsequent Volumes 2 and 3 are designed to
provide a basis for developing comprehensive musicianship within the choral rehearsal
through a sequenced study of voice, music theory, and the practical application of both in
music reading skills.
For students to gain the most from this course of study, plan 10-15 minutes of daily study,
including practice/review and introducing new material.

Features of the Program

e The sequence is pedagogically sound and practical. The necessary elements for good choral
singing are systematically presented.
e The terminology is accurate and literal.
e Vocal pedagogy and music theory are presented in a format that is ideal for introducing
important musical concepts within the choral rehearsal.

e The method is designed to help students become independent thinkers and to constantly
apply their learning to an ever-widening set of musical experiences.
e It provides a ready-made resource of choral concepts and repertoire presented in a practical
sequence that is ideal for both beginning and experienced teachers.
e It is designed to be successful within a variety of choral organizations: treble, tenor-bass,
mixed.
e The concepts presented are structured so as to allow students to discover their individual
potential. The material is score-oriented, i.e., the students are led to discover the meaning
of music both through experiencing it and interpreting it through the medium of the
printed page. This process of converting “symbol to sound” and “sound to symbol” is at the
heart of becoming a musically literate individual.

Combining ESSENTIAL MUSICIANSHIP with ESSENTIAL REPERTOIRE

This book may be presented in conjunction with any of the four levels of ESSENTIAL
REPERTOIRE, twelve volumes of high quality, time-tested choral literature for mixed, treble and
tenor bass choirs.
For each choral selection in ESSENTIAL REPERTOIRE, the authors have provided complete lesson
plans including:
e Objectives
¢ Historical/stylistic guidelines and cultural context
e Choral techniques (warm-ups, exercises, drills)
e Rehearsal and performance tips
e Assessment techniques and enrichment ideas

Together with ESSENTIAL MUSICIANSHIP, these books provide a complete curriculum for the
choral experience.

vi
4 HOW TO USE THIS BOOK

Book 1 is organized into twenty segments (chapters), each including material for developing
skills in voice, theory, sight-reading, and performance.

The material in each segment has been systematically developed to integrate all the skills of a
choral musician. How long to remain within a single segment will depend on a variety of
circumstances, including the age and experience level of the students and how often the
group meets.

Allow approximately 15 minutes of a 1-hour rehearsal to be devoted to the

“voice/theory/sight-reading” portions of this material. This need not be approached as a
block section of the rehearsal, but can be integrated throughout the lesson in shorter sessions
to heighten students’ interest.

Each day’s material should be balanced between review/practice and presenting new material.
Before proceeding to the next chapter, evaluate the students’ comprehension and mastery of
the material.

Voice
Each segment provides material to help a young singer learn and apply the techniques of
good singing, and particularly emphasizes the importance of:
¢ Good posture
¢ Expanded rib cage breathing, breath support, learning to sustain a phrase
¢ Tone production, choral blend, vertical vowel formation, diphthongs, word stress
e Diction, articulation of consonants

Theor
Each seuniént presents music theory concepts in a clear and concise manner. Appropriate
drill is included and “check your knowledge” questions are presented in each chapter for a
quick evaluation of knowledge-based material. Specific concepts are highlighted at the top of
each page and in the table of contents/sequence overview on p. ii.

Sight-Reading
The sight-reading drills and exercises are designed to allow the students to practice the
concepts presented in the theory section of the chapter. Keep in mind that as the students
practice particular drills they are internalizing that aural skill and synthesizing it with other
musical concepts they have experienced.

The sight-reading drills include:

¢ Basic familiarity with musical terms and symbols
¢ Note identification
¢ Drills for echo-singing and group practice
¢ Combinable exercises that provide practice in unison sight-reading and part-singing

vii
ZJ HOW TO USE THIS BOOK
bay (continued)

When working on the sight-reading material, always be musical when demonstrating and
performing a particular phrase or pattern. Apply sight-reading skills in every area of music-
making.

Performance
Each chapter includes repertoire that applies and reinforces the concepts presented in each
chapter. These songs, written for treble, tenor-bass, and mixed ensembles provide:
¢ Resources for developing reading skills, and the application of musical concepts
¢ Resources for developing musicianship and expressive singing
¢ Concert level repertoire that includes quality texts, a balance of styles, harmonic,
melodic and rhythmic aspects of music-making (canons, counterpoint, expressive and
satisfying melodies, speech choruses), and interesting musical forms
¢ A balance of repetition/patterning and experience with more challenging material

Music History
Throughout the text, short informational sections are included to help put the material
presented into a historical context. This supplementary material helps students to see their
own role as choral musicians now and as a part of a rich and rewarding tradition.

Methods of Sight-Reading
There are many good methods to use in developing sight-reading skills. They all have
advantages and drawbacks. In selecting a method to follow, consider the following:
e Age and experience of the singers
¢ Methods used by other musical organizations in your school or district
¢ Methods familiar to your students
e Your own background and training

Remember, it is not which method you choose, but rather that it is employed consistently
and daily. An overview of several common sight-reading methods for both pitch and rhythm
are described in the appendix, beginning on page 167.

A teacher's edition is available for each of the three volumes of ESSENTIAL MUSICIANSHIP. It
includes a more complete overview of the course, and detailed lesson plans for presenting the
material. See page 178 for a full series listing.

viii
 Practice voice-builders everyday

POSTURE /BREATH/TONE

Posture: A good singing posture helps produce good breathing for singing. An effective
singing posture includes the following:

Stand with feet apart

Knees unlocked
Back straight
Head erect
Rib cage lifted
Shoulders relaxed
Hands at your side

Standing posture Raising the rib cage

1. To help develop good posture for singing, practice this exercise: Place your fingertips on
the crown of your head (elbows out). Notice how your rib cage is raised. Slowly open
your arms and continue in a downward arc until they rest at your sides. Try to maintain
the raised rib cage as you lower your arms.

Breath: An expanded rib cage increases breath capacity and provides the basis for a free,
relaxed and pleasing vocal tone. The following exercise will help you expand the rib cage and
take a full breath for singing.

2. Raise your arms overhead slowly while inhaling, then exhale your air on a “ss” while slowly
lowering your arms to their original position. Try to maintain the raised rib cage while
lowering your arms.

Tone: While you use your voice everyday for communication, singing requires a different way
of producing a sound. A “yawn-sigh” is a very useful exercise that helps prepare the voice
to produce a full, relaxed, free and pleasing tone.

3. Yawn-sigh — Yawn, then starting on a high pitch, produce a relaxed descending vocal sigh
on an “ah” vowel, somewhat like a siren.
 THEORY

RHYTHM

Rhythm is the organization of sound length (duration).

Beat is a steadily recurring pulse.

Rhythm Practice:
Practice keeping a steady beat as a group. Clap, tap, or chant with a clock or metronome.

Note values: Three common note values are the quarter note, the half note, and the whole
note.

J J F
Quarter note Half note Whole note

In most of the music that we'll begin with, the quarter note will be assigned the beat.

You'll notice from the chart below that two quarter notes have the same duration as one half
note, and that two half notes (or four quarters) have the same duration as one whole note.

J retina) Ae
Gite aun Py)
d d
ea
Check Your Knowledge!
1. What is rhythm?

2. What is a beat?

3. Identify the following notes: J J °

4. How many quarter notes equal the same duration as a half note?

5. How many half notes equal the same duration as a whole note?

6. How many quarter notes equal the same duration as a whole note?
 THEORY @

Identify these note values. Practice aloud by echoing your teacher.

RHYTHM PRACTICE

Read each line (clap, tap, or chant). Concentrate on keeping a steady beat. Repeat as
necessary until you’ve mastered the exercise.
 Practice voice-builders everyday

POSTURE /BREATH/TONE

SSN Posture:
De
Review the steps for a good
produce good breathing for singing.
singing posture. Remember that a good posture helps

Stand with feet apart

Knees unlocked
Back straight
Head erect
Rib cage lifted
Shoulders relaxed
Hands at your side

Breath: Remember that an expanded rib cage helps develop expanded breath capacity.
Practice the following exercises:

i. Raise your arms overhead slowly while inhaling, then exhale your air on a “ss” while slowly
lowering your arms to their original position. Try to maintain the raised rib cage while
lowering your arms.

Repeat Exercises #1, but exhale with 4 short “ss” sounds followed by a longer “ss” sound:

Sha6S5- 95 —-55.--55 (repeat once or twice in one breath)

Imagine there is a milkshake as large as the room. Hold your arms out from your body as
if you were holding the giant milkshake and “drink” the air through a giant straw. Exhale
on a yawn-sigh.

Tone: Vowels are the basis for a good choral tone, so make sure that you sing all vowels with
a relaxed jaw, a vertical mouth shape, and with space inside your mouth. This helps each singer
to produce a full and free vocal tone quality that blends well with other voices to create a
pleasing choral sound.

The five basic vowels include:

oh oo

Notice that each vowel sound is produced with a relaxed and vertical dropped jaw.
POSTURE /BREATH /TONE

At this time, we'll focus on the “ah” vowel. Here are several exercises to apply the principle of
the relaxed jaw and vertical mouth shape:

4. Sing the following exercise with a relaxed jaw. Hold the last note and listen to see that you
are producing a full, blended choral sound that is in tune with the voices around you.
Repeat at different pitch levels both higher and lower, and use the different text syllables as
indicated.

5. Sing the following exercise first with 1 text syllable for each separate note and then 1 text
syllable for two notes slurred (connected) together. Repeat at different pitch levels both
higher and lower.

6. Sing “America.” Notice how many “ah” vowels appear in the text. NOTE: Some of these
vowels are part of a vowel blend (also called a diphthong). For example, “my” is really two
vowel sounds: ah + ee. Concentrate primarily on the “ah” of this diphthong.
e Maintain a dropped jaw for all vowels and especially the “ah.”
e Take a full expanded rib cage breath. Can you sing a whole phrase in one breath?

(ah)(ah) (ah) (ah) (ah) (ah)

(breathe) My country ‘tis of thee, sweet land of liberty, of thee | sing.

(ah)(ah) (ah) (ah) (ah)

(breathe) Land where my fathers died, Land of the pilgrims’ pride,

(ah) (ah) (ah) (ah)

(breathe) From ev’ry mountainside, let freedom ring.
BASIC NOTATION

A staffis a graph of 5 lines and 4 spaces on which music is written. The staff shown below is a
grand staff. A grand staff is a grouping of two staves.

lower <— ps cla higher

WU
Notice the two symbols at the beginning of the staves on the left hand side. These are called
clefs. A clefis a symbol that identifies a set of pitches. The Treble Clef generally refers to
pitches higher than middle C. The Bass Clef generally refers to pitches lower than middle C.
Notice that middle C has its own little line and may be written in either clef — either at the
bottom of the treble clef or the top of the bass clef.

a —
Treble Clef (G Clef) Bass Clef (F Clef)
Second line is G Fourth line is F
(The curve of the Clef (The dots of the clef surround
loops around the G line.) the F line.)

An easy way to learn the notes on the treble clef staff is to remember that the spaces spell the
word FACE from the bottom up. An easy way to learn the notes on the bass clef staff is to
remember that the spaces spell ACEG or All Cows Eat Grass. Make up your own phrase for the
acronym GBDFA (for the bass clef lines) and EGBDF (for the treble clef lines).
 THEORY

Check your knowledge!

1. What is the name of the graph of lines and spaces on which music is written?

2. How many lines and spaces does this graph have?

3. What is the name of the symbol used to describe a set of pitches? Name two types of
these symbols.

4. Give another name for G Clef. Give another name for F Clef.

5. Name the pitch which may be written on its own little line in either clef.

Practice
Name the notes in the following examples.
Vfl PRACTICE—NOTE IDENTIFICATION
Practice echo-singing these notes by letter name.

® @ @ (@) G) ©
= SS] GS) Fee] Foe wal
® @) a) @2
3) 6 ss] Se SS
@ © ©
$s] Gest Ge] et] Ft | Forte ay
@ @ @
$l Go Fa] Soon] Promo
@ @
Ss] | eee) SS SS
@ @ @ @
i] | ee] SS SSS ES
 Practice voice-builders everyday

POSTURE/BREATH

Posture: Review the steps to a good singing posture.

Stand with feet apart

Knees unlocked
Back straight
Head erect
Rib cage lifted
Shoulders relaxed
Hands at your side

Breath: Remember that a lifted and expanded rib cage helps to develop expanded breath
capacity. When you sing a musical phrase supported by a good singing breath, you are
demonstrating good breath support.

1. Bend at the waist and pick an imaginary flower. Inhale the “fragrance” while slowly
standing up. Exhale on a yawn-sigh.

Diaphragmatic Breathing: One aspect of breath support is the lifted and expanded rib cage.
Another aspect of breath support is the process of activating the diaphragm. The diaphragm
is a muscle just below the lungs that moves downward during inhalation as the rib cage
expands and air fills the lungs. Exercises which help you become aware of this action of the
diaphragm can help you learn to energize and enrich the vocal sound you are producing.

2. When people are surprised or frightened, they usually take in a rapid breath with a
noticeable movement of the diaphragm. Place your hand just below your rib cage and
above your waist and then take a “surprised breath.”
e Do you feel the movement?
¢ Did your hand move as a result of the surprised breath?

3. See if you can produce the same movement of the diaphragm as in #2 in the following
exercise. Use short whispered sounds, no voice.

Ae? a i> ie are

t t t t k k k k
BREATH /TONE

4. Practice the following exercise, keeping the sounds short and detached. Use the
diaphragm as in #3 to support and energize the tone. Repeat at different pitch levels,
both higher and lower:

5. Do the exercise above, but this time use an “oo” vowel. Remember to keep a relaxed jaw,
vertical mouth position, and space inside the mouth.
e Keep the sounds short and detached.
e Support the tone by activating the diaphragm.

6. In the following exercise, sing the musical pitches so they are smooth and connected.
e Take a full expanded rib cage breath supported by the action of the diaphragm (even
though in this exercise the notes are connected and not short).
e Sing the “oo” vowel with rounded lips, a relaxed jaw, and vertical space inside the
mouth.
e Repeat at different pitch levels, both higher and lower.
 THEORY 2

MEASURES ¢ METERS - BARLINES

NY Barlines are vertical lines that divide the staff into smaller sections called measures.
barline indicates the end of a section or piece of music.
A double

barline barline
: | |

a we
OSEOO KO
measure measure measure
Meter is a form of rhythmic organization. For example:

4 = Four beats per measure ( i J J J )

4 = The quarter note ( J ) receives the beat.

3 = Three beats per measure ( J J Al)

4 =The quarter note( J ) receives the beat.

2 = Two beats per measure ( i ; )

4 = The quarter note ( J ) receives the beat.

The numbers that identify the meter are called the time signature. The time signature Is
placed after the clef at the beginning of a song or section of a song.

time signature

Check your knowledge!

1. What are the vertical lines that divide a staff into smaller sections called?

2. Name the smaller divided sections of a staff.

3. What is a double barline?

4. Describe meter.

5. What are the numbers that identify the meter called?

6. Describe the following meters: i 4 Z

 RHYTHM PRACTICE

fa
Clap, tap, or chant.

Cy) pias ES eS ene ee a ee eek ee

iy Tl am mm ls a lc. “a Er |

ee
eepeseeetlalyayitet
seat yc onda | LN a

pees | he Nianthe OW Pub Vee Jo

 a re = a > :
Echo sing or sing as a group.

14
MUSICAL TERMS

History: The piano, a stringed instrument whose strings are struck by hammers activated by
keys, was developed in the 18th century and originally called the pianoforte, an Italian term
meaning “soft-loud.” It was called this because unlike an earlier keyboard instrument called
the harpsichord, the loudness of the piano’s sound could be varied by the touch of the fingers.

Musical Terms
p - piano; soft

J - forte; loud

Apply what you’ve learned about music reading to this short speech chorus.
e After you sight-read the rhythm, repeat with the printed text.
e Repeat as necessary for accuracy.

The Months Of The Year

S

Thir - ty days hath Sep - tem - ber A - pril, June and No - vem - ber,

ee a a
P

all the rest have thir - ty - one ex - cept for Feb - ru - ar - y, Feb - ru -

it P

ar - y, it has twen - ty - eight, yes, twen - ty - eight,

pejeono,ovis wpaof eagle ewfsb to2eoapJo Ylsragte

but in leap year there’s twen - ty - nine, twen - ty - nine.

Thir - ty days hath Sep - tem - ber, that’s the year!

 Practice voice-builders everyday

REVIEW /PRACTICE

In group discussion, answer the following questions, giving examples or illustrating where
possible. Refer to VOICE-BUILDERS in Chapters 1-3 as needed.

Is Describe the steps to a good singing posture.

2; How does good posture affect singing?

How does an expanded rib cage affect breathing?

What is a yawn-sigh?

List the five basic vowels.

Describe three things you should do to produce the basic mouth position in singing the
five basic vowels.

What is the basic vowel sound in the word “from.” Describe or illustrate the basic mouth
position for singing this vowel.

Describe two aspects of breath support.

What is the muscle called that is below the lungs and that moves downward during
inhalation?

10. What is the basic vowel sound in the word “who.” Describe or illustrate the basic mouth
position for singing this vowel.

History: The development of a simple and melodious vocal style of singing during the 17th
century was called bel canto, from the Italian meaning “beautiful singing.” Later, bel canto
became associated not only with beauty of sound, but also with brilliant performance,
especially in the operas of Mozart and Italian composers of the 18th century. One famous
Mozart opera is The Magic Flute.
REVIEW /PRACTICE

In group discussion, answer the following questions, giving examples or illustrating where
possible. Refer to THEORY-BUILDERS in Chapters 1-3 as needed.

Lis What is rhythm?

2. What is a steadily recurring pulse called?

Identify the following notes. | ™

How many quarter notes equal a whole note? How many half notes equal a whole note?

How many lines are in a staff? How many spaces are in a staff?

What is a clef? Name two types of clefs.

Which clef is middle C written in?

8. What are barlines? What is a double barline?

9. Name a form of rhythmic organization.

10. What is a time signature? Name and describe three time signatures.

Matching

@ S): a) quarter notes

@ é b) middle C

Spool c) ass cle

ns d) treble clef
@

i J e) half notes
©
©) yf f) time signature

@ f g) whole note
Vfl RHYTHM PRACTICE
Clap, tap, or chant.

Opiel Jojo | | |) ae

OF

@® 44+—_1+__+_1_+_+ 1_+__.—___}

Oe ee

© 42min testa eae re

@y+—__+_,1_1_;_._1_+1.+___4

@gl_t_tt_l___4—_1_-_+_

@ gi__l__/___1__,+_____4-____4
a= S : G u

Speak the following pitches , echo sing or sing as a group.

ie
 = fe) es i a. =i]= i]as G. = =1°]ie)

Name the following pitches, echo sing or sing as a group.

Name these pitches as above. Notice the more extreme range.

20
MUSICAL TERMS

Musical terms
cresc. — crescendo; an Italian word which means gradually louder.

Apply what you’ve learned about music reading to this short speech chorus.
e Sight-read the rhythm, and repeat as needed to become accurate.
e Repeat with the printed text.

Tongue Twister
ite i aM MR Aa Me ala ad ntl acne Ai |
Three grey geese in a green field graz = ing,

Sa a aie as Oa cae ee er am
grey were the geese and green was the graz - ing.

1S aki a oe De as a
p cresc.

Grey geese, green field, graz - ing, gyraz - ing, grey geese, green field, graz - ing, graz - ing.

if

Three __ geese, three grey geese were graz - ing there!

21
 Practice voice-builders everyday

_ POSTURE /BREATH/TONE

Posture: Review the steps to a good singing posture.

Stand with feet apart
Knees unlocked
Back straight
Head erect
Rib cage lifted
Shoulders relaxed
Hands at your side

Breath: Put your hands on the sides of your rib cage and inhale. Notice the movement of the
rib cage. Breathe out on a whispered “ah.”

Tone: The following exercises focus on the “oh” vowel. Notice in the illustration that the lips
are more rounded than the “ah” vowel, but more open than the “oo” vowel. Remember to
keep vertical space inside your mouth as you sing all these vowels:

1. As you sing this exercise remember to:

e Keep the sounds short and detached.
e Support the tone by activating the diaphragm.
e Repeat at different pitch levels, both higher and lower.

hah hah
hoo hoo hoo
hoh hoh

22
TONE

2. In the following exercise, sing the musical pitches so they are smooth and connected.
¢ Take a full supported rib cage breath.
e Sing the “oh” vowel with rounded lips and vertical space inside the mouth.
¢ Sing the pitches so they are smooth and connected.

3. In the following exercise, connect two notes together on the syllable “moh.” Be sure that
your mouth doesn’t change shape to an “oo” as you prepare to sing the consonant “m.”

4. In the following exercise, each word uses an “oh” vowel.

25
 PITCH « SCALE ¢ KEY OF C

Pitch — the highness or lowness of musical sound.

Scale— an inventory or collection of pitches. The word “scale” (from the Italian scala) means
ladder. Thus, many musical scales are a succession of pitches higher and lower.

Key— The importance of one pitch over the others in a scale. Frequently, the key note or
tone might be described as the home tone. In the Key of C, C is the home tone or keynote.

Key of C Scale

Check your knowledge!

1. What is pitch?

2. Define scale. Define scala.

3. Describe key. Describe keynote.

24
4 ia— ce] bbe .°] @s 4 —4 w

Identify the following pitches in the key of C. Echo-sing these drills with your teacher.

25
 _ RHYTHM AND PITCH

History: Human voices are generally divided into four basic ranges:
soprano — the highest treble voice, usually written in treble clef
alto — a treble voice that is lower than the soprano, usually written in treble clef
tenor — a male voice written in bass clef or treble clef, that is higher than a bass voice
bass — a male voice written in bass clef that is lower than a tenor voice

The following exercises combine pitch and rhythm. Chant the rhythm first, then add the
pitches. Repeat as necessary to master each drill.

26
= welaffe] a Se ae e : ie a

The following exercises combine pitch and rhythm. Chant the rhythm first then add pitch.
7

Repeat as necessary. When you’ve mastered all the exercises, you may sing the lines in any
combination. For example, divide into two groups with one group singing #1 and the other
group singing #2.

Each line sung by itself produces melody (a succession of musical tones). When two or more
melodies are combined, the result is harmony (musical tones sounded simultaneously).

27
AN Apply what you've learned about music reading to these short songs.
e¢ Chant the rhythm.
e Add pitch. Repeat as necessary for accuracy.
¢ Sing with text and expression.

Proverbs
For Unison voices a cappella

=
pril n So 5 ' o beNn bring forth

28
_ UNISON VOICES

For extra challenge, here is a short song with piano accompaniment.

e Notice the piano part. The piece begins with 4 measures of piano accompaniment.
e Identify the vocal lines. In this piece, the vocal lines are indicated by arrows: —>
e Sight-read the rhythm, then speak the pitch names.
e Sing the pitches and repeat as needed to become accurate.
e Add the printed text, then add the piano accompaniment. The voices enter on a C.
Practice until you can enter on the correct note.
e Take full expanded rib cage breaths. Sing with expression!

Follow Me
For Unison voices and Piano

Words and Music by

EMILY CROCKER
Gently ( = ca. 96)

Piano RH

Piano LH

From a dis-tant val - ley, voic - es are call - ing me, ech - o - ing

°°? lS eee ee) Zz Ds Wea SS pf} = 5 SS Se AS

Me _S Ba eee Sa eed eee" ee ee ss A A, me ee ee ee
i 62 a SS © a ee i a Ge | | Be he ee SS ES I Sey 2 Se ee eee eee (eT ee
A en See Be () SS |Saee Dee) eS Se ee Ee ee ee eee a es ee ee ee

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

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 rs everyday

_ POSTURE/BREATH/TONE

Posture: Check your posture and ask yourself these questions.

Stand with feet apart (Is your weight balanced?)
Knees unlocked (Can you bend them easily?)
Back straight (Are you standing erect comfortably and not stiff?)
Head erect (Is your chin level, and not too far up or down?)
Rib cage lifted (Is your chest high and able to expand?)
Shoulders relaxed (Are they comfortably down, not too far forward or back?)
Hands at your side (Relaxed and free of tension)

Just like athletes, singers need to prepare themselves for the physical process of singing.
Performance, whether on the playing field or in a concert, will suffer if the body is not
sufficiently prepared or involved.

Practice good posture, good breathing, and good vocal habits every day in rehearsal, and
these good habits will be there to help you succeed in performance.

1. Lift the left shoulder high and then let it fall. Repeat with the right shoulder and then both
shoulders. Drop the head gently to the chest, and then let it roll to the right and then the
left. Stretch overhead, then fall forward like a rag doll and then gradually stand up to a
good singing posture.

Breath: Practice breathing exercises every day. Apply this practice to all your music making,
sight-reading music, rehearsing music, performing music.

2. When people are suddenly startled, they usually take a deep natural breath very quickly.
Take a “surprised” breath. Notice the action of the diaphragm.

3. Imagine that there is an elevator platform at the bottom of your lungs. Drop the platform
toward the floor as you inhale. Inhale 4 counts, exhale 4 counts. Repeat with 5, then 6
counts.

Tone: Review the 5 basic vowels used in choral singing: ee, eh, ah, oh, 00. Most other vowel
sounds are modifications or blends of these five sounds.

31
 TONE

4. Practice the following exercise and notice the difference between the vowels. With all the
vowels remember to keep a relaxed jaw and vertical space inside the mouth.

Especially on the “ee” and “eh” vowels, it is important to keep the corners of the mouth
from spreading outward. If you sing the “ee” and “eh” vowel with a horizontal rather
than a vertical mouth shape, it may sound flat and disrupt the tone quality you are trying
to achieve.
e For the “ee” vowel, keep the corners of your mouth tucked in.
e For the “eh” vowel, the mouth is opened slightly more than the “ee”.
e For both, use space inside the mouth.
e Repeat the exercise at different pitch levels, both higher and lower.

Lightly and quickly

5. Practice the following descending scale.

e Take an expanded rib cage breath and try to sing the entire pattern on one breath.
¢ Keep a relaxed jaw and vertical space inside your mouth. Keep the corners of your
mouth from spreading outward.
e Change smoothly from one vowel to the next. Blend your voice with those around you.
e Repeat at different pitch levels, both higher and lower.

(ah) (ah)
al

32
 THEORY’!

WHOLE STEPS ¢ HALF STEPS

Remember that key is the importance of one pitch over the others in a scale. The keynote is
described as the home tone. So far, we've learned the key of C, which if played on the piano
would begin on C and progress stepwise using only the white keys of the piano.

4 = whole step
\ = half step

ee Ne ee ee

These steps on the piano for the key of C are an arrangement of whole steps and half steps.

A half step is the smallest distance (or interval) between two notes on a keyboard.

A whole step is the combination of two half steps side by side.

A major scale is a specific arrangement of whole steps and half steps in the following order:

C Major Scale

Check your knowledge!

1. What is a half step? What is a whole step?

2. What is a major scale?

3. What is the order of whole/half steps in a major scale?

33
 s Ps fe] RapzSSE3 < endlBa, A = LE)@. B, 4 =2 a

D E whole step, C D EE OD whole step whole step whole.

half step, F E_ half step half.

- Saaee

F G whole step, G A whole step, F G A G _ whole step whole step whole.

whole step, A B whole step, G A _B A _ whole step whole step whole.

half step C B_ half step _ half.

34
= ° gs er) ce) allByosas 4 adie ] tSoA& a 3 =4 a4

When the tenor part is written in treble clef / there is sometimes a small “8” attached to the
clef sign (see #4 and #5 below). This means that the notes are to be sung 1 octave (8 scale
tones) lower. Even when the “8” is missing from the clef sign , tenors sing an octave lower. For
example:

—— sounds
==
Sing each line separately and in any combination.

35
 TREBLE « TENOR BASS - MIXED

The choral pieces on pages 37-40 were written for three different types of choral ensembles.
An ensemble is a French term, and refers to a group of musicians performing together.
¢ Treble Chorus (soprano and alto)
e Tenor Bass Chorus (tenor and bass)
e¢ Mixed Chorus (soprano, alto, tenor, bass)

Musical Terms:

slur - a curved line placed above or below a group of notes to indicate that they are to be
sung on the same text syllable. Slurs are also used in instrumental music to indicate that
the group of notes should be performed /egato (or smooth and connected) or in the case
of stringed instruments, with one stroke of the bow.

History: Plainsong or Chant was a style of singing which developed during the period of
music history known as the Medieval era. A characteristic of Chant is the use of long groups of
notes called melismas which were sung on one syllable, and often on the word “alleluia.”
These free-flowing melodies performed by solo voice (the cantor) and by the choir (the schola)
were highly organized and structured, and important to the development of Western music.
Chant continues to be a compositional device used by composers.

Chant exists in many non-Western cultures as well.

Ni.bis

V a
fe eeErbum ca- ro
al
factum est, * Alle- 1d- ia, a

he a
ee ee a Ee
—eEE 4 -_—- es

le- la- ia. Verbumca-ro factum est, * Alle- 1a- ia,

al-le- la- ia. W.Et ha-bi-ta-vit in no- bis.

36
f=ea al& wallVe ]1°= 2) & = 2]

First, sight-read the individual lines or melodies. Chant the rhythm first, then add pitch.
Repeat as necessary. After you can sing each line separately, combine the lines. When two or
more melodies are sung togethe r, the result is harmony.

In the music belo w, lines #1 and #2 that you have just sung, are combined. Notice how the
parts are bracketed together. Lines that are bracketed together are to be sung at the same
time.

Now lines #1 and #2 are given text.

—
Sing_ al-le - lu - ia, al -le-lu, 8 —vo '
S
a sing_ al-le - lu - ia, al -le-lu ia!

Sing al-le - lu - ia, sing, sing, sing al-le - lu - ia, al le-lu - ia!

37
 :
First, sight-read the individual lines or melodies. Chant the rhythm first, then add pitch.
Repeat as necessary. After you can sing each line separately, combine the lines. When two or
more melodies are sung together, the result is harmony.

In the music below, lines #1 and #2 that you have just sung, are combined. Notice how the
parts are bracketed together. Lines that are bracketed together are to be sung at the same
time.

Now lines #1 and #2 are given text.

3S

Sing al-le - lus- ia; sing al-le - lu - ia, al-le-lu, al -le

- lu = 8;
me
=)=
t

Sing al-le - lu =" la; sing al - le-lu - ia, sing al-le-lu, al - le - lu - ia.

38
Y
.
fle MIXED CHORUS
Yay ee

First, sight-read the individual lines or melodies. Chant the rhythm first, then add pitch.
Repeat as necessary. After you can sing each line separately, combine the lines. When two or
more melodies are sung together, the result is harmony.

0 = SS

Ob 4BES SStS Ss SS SSS

0 SESS ee eS oe eS
= ee

In the music below, lines #1 through #4 that you have just sung, are combined, Notice how
the parts are bracketed together. Lines that are bracketed together are to be sung al the same
time.

NOTE: You may sing either SAT or SAB, if you lack sufficient voices for 4-part music,

2?
i

Tenor 3 ete Fee

ae ee

bas |a a
 = a Bare Gux @ i 3 2]
Now lines #1 through #4 are given text.

om

N =| iT) al-le - lu - ia, sing al-le - lu. Al-le-lu, al - le-lu, al - le - lu.

Sing al-le - lu - ia, sing_ al-le - lu. Al-le-lu, _ al-le-lu, al

- le - lu.

Al-le-lu, al - le-lu, sing_ al-le - lu. __ Sing al-le - lu - ia, al

= le ove:

al - le-lu, sing al-le - lu. Al le lu ia, al

- le - lu.

NOTE: Throughout this text, for extra practice in sight-reading, treble choruses can sing the
SA and Tenor Bass Choruses can sing the TB of the Mixed Chorus songs. Sopranos and Altos
in Mixed Choirs can sight-read Treble Chorus songs, and Tenors and Basses can sight-read the
TB material.

40
 7
Practice voice-builders everyday

_ POSTURE/BREATH/TONE

Posture/ Breath:
1. Stretch overhead, side to side, up and down, then shake to relax any tight muscles.

2. Raise your arms overhead, stretching the fingers out in all directions. Bring the arms back
to the side, relaxed and free of tension.

3. Exhale all your air. Wait for a moment until your body lets you know it needs air. Allow
the air to flow in without effort. Repeat.

4. Imagine you have a milkshake as large as the room. Hold your arms in front of you around
this giant “milkshake” and drink in the air through a giant “straw.”

5. Place your fingertips just below your rib cage and take a “surprised” breath. Notice the
movement of the diaphragm.

6. Inhale while raising your arms overhead (notice the expanded rib cage). Exhale on a hiss
in this pattern, while slowly lowering your arms:

SS SS. SS “SS SS (repeat 1 or 2 times on each breath)

Tone: As you practice the following exercises, remember

e Keep a relaxed jaw and vertical space inside the mouth.
Don’t let the corners of the mouth spread outward.
Listen, tune and blend your voice with other voices around you.
Take a full, expanded rib cage breath before each repetition.
Repeat at different pitch levels, both higher and lower.

7. Inhale while raising arms overhead and sing on “hoo” as you lower your arms. Sing short,
detached sounds.

Lightly and detached

41
 = 3 z pay

Lightly and quickly

=_8 = ws =S = ws =mS = ° =° rs° oe_@ = ® =3 a rs |Jee

°
hoo hoo hoo hoo hee hee hee hee hoo hoo hoo hoo hee

Smooth and connected

Smooth and connected

Smooth and connected

42
Check your knowledge!
What is rhythm?

Define beat.

How many half notes equal the same duration as a whole note?

How many quarter notes equal the same duration as a half note?

How many quarter notes equal the same duration as a whole note?

How many lines and spaces does a staff have?

Give another name for G clef. Give another name for F clef. Define both clefs.

Name the pitch which may be written on its own little line in either clef.

What are the vertical lines that divide a staff into smaller sections?

10. Name the smaller divided sections of a staff.

‘ele How can you tell the end of a section of a piece of music?

12. Describe meter. What are the numbers that identify the meter?

Ts: Describe the following meters: i : Z

14. What is pitch?

ho: Define scale. What is the Italian word for scale and its definition?

16. Describe key. Describe keynote.

ig What is half step? What is a whole step?

1.8: What is a major scale?

19. What is the order of whole/half steps in a major scale?

20. What is a slur?

21. What is an octave?

22, Define soprano, alto, tenor, bass.

43
 F
& i]Fa ~ el 2 = -¥ ‘ f== iad

Practice naming these notes.

Echo sing these pitches or sing as a group.

44
& pas= == <2a eB 3 = = i)

Clap, tap, or chant (Can you describe these time signatures?)

Whole/half step drill

Whole step whole step half o i=%

n_ x S —_ half step whole step whole step half.

Whole step whole step half step half, half step whole step whole step whole.

45
 &S eela ~ = & 2 a a. 3 pes4 we

each line separately and in any combination.

46
_ MUSICAL TERMS

Musical Terms:
monophony— Music which consists of a single melody. From the Greek words meaning “one
sound,” chant or plainsong is monophony.

polyphony— Music that combines two or more simultaneous voice parts usually with different
rhythms. From the Greek words meaning “many sounds,” polyphony is sometimes called
counterpoint.

homophony— Music which consists of two or more voice parts with similar or identical
rhythms. From the Greek words meaning “same sounds,” homophony could be described as
being in “hymn-style.”

Music History
Prior to 800 A.D. music was monophonic. The early stages of polyphony began in 800 A.D.
and developed over the next several centuries. In the 18th century polyphony reached a high
level of sophistication in the works of Johann Sebastian Bach.

Much music in the 19th Century (sometimes called the Romantic Period) was homophonic.
Examples of homophonic music may be found in some of the piano works, songs, and choral
works of Frederick Chopin, Franz Schubert, and Johannes Brahms.

TREBLE ¢ TENOR BASS ¢- MIXED

In the following short choral pieces for Treble and Tenor Bass Chorus, both entitled “Sing
Alleluia,” the style of the music is polyphonic; that is, the melodies of each part have different
rhythms. In fact, the melodies even “cross” with the soprano going below the alto, and the
tenor briefly going below the bass.

The piece for Mixed Chorus “Winter,” is written in homophonic style; that is, the four parts
have basically the same rhythm.

The author of the text of “Winter” is Alfred, Lord Tennyson (1850-1892), an English poet of
the Romantic Period who often wrote on topics relating to nature.

As you sight-read these pieces, remember to:

¢ Chant the rhythm of each part. Repeat as needed to become accurate.
Add the pitch. Repeat as needed.
* Combine the parts. Repeat as needed until secure.
¢ Add the printed text. Sing the dynamics and other musical style markings.
¢ Apply your knowledge of voice and use good breath support and tone quality. Listen for
good intonation and blend.

47
 = 4 wir) | EM YO Eosfe] ie =) A

Remember to sing dynamics in your performance:

f - forte; loud

p — piano; soft

Sing Alleluia
For SA a cappella
Words and Music by
JOHN LEAVITT
Cheerfully
F (loud) P
(soft)

Sing Al-le - lu - ia, sing _ Al - le - lu! Sing Al - le - lu - ia, sing

_ Al - le -

SF (loud)

ee |
Sing
_ Al - le - lu - ia, sing Al - le - lu!

joy - ful = o Ss te—2) so raise __ our grate-ful hymn in

Al - le - lu - ia. With joy - ful hearts we raise our hymn in praise._

ee
#
=

Sing
_ Al -le - lu - ia, sing Al - le - lu. sing Al -le - lu.
<—

a
N

—
oD

v
'

‘
1
|

Sing Al-le - lu - ia, sing — Al - le - lu. Sing Al-le - lu - ia, sing— Al - le - lu.

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

48
 TENOR BASS CHORUS

Remember to sing dynamics in your performance:

f — forte; loud

p — piano; soft

Sing Alleluia
For TB a cappella
Words and Music by
JOHN LEAVITT
Cheerfully

Tenor

Bass

Sing _ Al -le - lu - ia, sing Al - le - lu! Sing _ Al-le - lu - ia,

grate - ful hymn in praise. _

Al - le - lu - ia. With joy - ful hearts we raise our hymn in praise. _

Sing_ Al -le - lu - ia, sing Al - le - lu. Sing _ Al-le - lu - ia, sing Al -le - lu.

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

49
 cs
tal

“
=

° =

a
4
eh
oats
Winter
see

For SATB a cappella

35
z
=

<
=

Music by
EMILY CROCKER
wages
fava

HP
I) cS

uy = lh aoa!
3

ae ae Eeeee Eee
&
g
=

Gee See ee ee »
SS
"

33
ess ne SE 0 ~ Ee ~ (Se
=

i i
win : ter snow,
mugs

knee ___ lies the

isa
=|

Urs
==

:g
j

ee ae
ae
eS
ae
=
as ee
»
| se

%
knee ___ the win - tee aan
Ue
isa

P
IA
2

2 SEE
ES ee
Ni]
5 S

eae)a waz
|
SSS SS C2

=
3
=

knee lies the win - ter snow,

aN

UA}
can
eal
SSTwm

Ny; el
m CS

ETE
H
.

of}
EES EECa |
Dr
eae
3s 3 Te|S
3_

knee lies the win . ter snow,

cal
hea
i) cS

LU0]
nyhs

ii :

Cx
ahh &
= ped

2 5

P (For rehearsal only)

lhsmaman an
ah
P

rHA/
N|

C2
rt

ae
aaa
7 ES
2A | Se
ESE ee
SRT
SE
ime
Sees Ro ee)
|BSaaee ee
Sp baz
mae
same | Sass tea(ie esis!
MORI TTS
Oa)

Ti ’
Baad

lh

(SPREE
ESS =

eye
SSS Se EET ES!
:

J See aS Ly ES

2
ie

=
isd

win - ter i sigh - ing. ’

w

(y= ESSE
(RES BEAT
SRS STE
BIASES REISS)
a
A
ea
SSS
aes
aes J fe
BRS
eo
(FESS Loy
ES
e

Wu
3
2

win - ter sigh - ing.

a

’
asz

ike
cS

e
=e OP
eyae J Pa. Se SS SS
2221S
ee Be a) Se ae DEES
SE Fea 2b
Se
SS ea ne
eee a
ed a

==
Mill
z
we

win - ter sigh - ing.

ing
o

’
nl

wine
ch
A

LEP LEA BE 0 (SSeS (8

g
ED ORE TEIN
ae PS) PRES SS Ss EES
eaeaS eS RS a cssnemsencnneesn
esa aca
| RE Ee ee EST (ES
aa
2
iF
ws

win - ter sigh - ing

i y

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

50
s a 1°] r)
zl
= z
=
A

ball
ha =a
ae iS
eae I) IRE
SESS SS

Mls

|
3 eee SCR Seer ek ee (Se
ieee Eee er

nie

i cat
{=
ee
EIT ———- ee
etn

» 2
a}
a
the low,

>
ye

hea
hz eo
=

34%

I?
7 Sc)Sesas oe ana] Ore eras Peace Pf

&a

62
the

a=)
z
2

3
ye
(>)

hem
=|

&

ww
lh
iz 4.
eae
a oe

|
se

IS
P|

Bil
i)

%|
aS
= m the

+
2
a

Z
fe

vo

=
>)

=
=z
el) I

|
S| &

|
a

|
|
y|

N|
OSD RS SSS IE Del ce ae Ie

eo=
ye the
3
=
2

s
(>)

he

—
z
aS
a
aS

A I
1

e
|
rH

sy3x&Syi
AY

&,
hz lhLe

=
oe
el
7 Ree NE SEAS 3
|

i
ces)
Ss
ae |
@& Li.
ae Ct 2

Eaa c=ve z
ys

—]
year lies ing.
=

:
1!

TS
I ADS
RS el |
ant = AERP
|

= Re EE

& be =|eo = ree

b=

i)
year lies ing.
°

>
!

t
p—------ J Sig SEE ES GG
(heres

ly . |®

aa G32
Tee Ieee?
\

See A
ee
ih) oS RSS}

& bat c=oe

old year lies ing.
a

alll
!

ah ae aaa
ees

po
|

SAA je]
||
| s

Deon B= il
|

& he c= 7)
old =—iyear ing
=
&

1
 jj WY yyy yyy, sy :

Practice voice-builders everyday |

4

POSTURE /BREATH

1. Stretch your arms overhead, then bend at the waist and stretch toward the floor.
Slowly rise up, one vertebra at a time until you are in a standing posture.

2. Rotate your shoulders, first your left, then your right, then both shoulders. Raise |
your head so that it is in line with the spinal column, and not tilted up or down.
Remember to stand in a good singing posture:
e Stand with feet apart (Is your weight balanced?)
Knees unlocked (Can you bend them easily?)
Back straight (Are you standing erect comfortably and not stiff?)
Head erect (Is your chin level, and not too far up or down?)
Rib cage lifted (Is your chest high and able to expand?)
Shoulders relaxed (Are they comfortably down, not too far forward or back?)
Hands at your side (Are they relaxed and free of tension?)

Holding Music: When you are singing your warm-up or performing a piece by memory, |
your hands should be at your sides. This position allows you to practice full, deep
breathing without restriction.
When you are holding a folder or music in your hands, hold the music up, so that your
head is erect and lined with the spine. This also allows you to watch the conductor. By
keeping your elbows up and your arms away from your body, you allow your rib cage to be
expanded, and full deep breathing to occur.
It’s always best for each singer to have his/her own copy of music. Sometimes, however,
this is not possible, and two or more singers have to share music. When this is the case, try
to maintain a good singing posture. Hold the music up and out from the body, and if
necessary turn slightly so that you are both facing the direction of the conductor.

ARTICULATION :
We have concentrated on vowel sound so far (ee, eh, ah, oh, 00). The sung word in music
requires articulation to produce the consonants. The articulators that we use in vocal music
are the teeth, the lips and the tongue.

3. For practice, repeat this short phrase quickly and precisely, concentrating on clean
and clear articulation:

The lips, the teeth, the tip of the tongue...the lips, the teeth, the tip of the tongue... (etc.)

52
_ ARTICULATION

For each of the following exercises remember to:

e Take a full, expanded rib cage breath before each repetition.
e Sing pure vowels with a relaxed jaw and vertical space inside your mouth.
Articulate all the consonants so they are clear and precise.
Sing both consonants and vowels with the same breath support. .
Repeat at different pitch levels, both higher and lower.
A fermata ( ~ ) over a note means to hold the note longer than its normal value.

Smooth and connected Lightly and quickly

33
 SHARPS & FLATS « REVIEW OF C MAJOR

You'll recall the order of whole/half steps for the C major scale:

4 = whole step
\v = half step

A | a fy Ye

Music may be written with any note being the keynote. Because the order of whole/half steps
must always be followed regardless of the keynote, the need arises for sharps (#) and flats (+ ).

A pene re the pitch one half step. This note, F# (F sharp), would be written
with the sharp sign to the left of the notehead.

A flat —— lowers the pitch one half step. This note B} (B flat), would be written with
the flat sign to the left of the notehead.

Practice
Name the following pitches:

54
 THEORY

SHARPS & FLATS ¢ KEY OF G MAJOR

To build a major scale starting on G, using the same arrangement of whole steps and half
steps as in the key of C major, you'll notice the need for an Ff.

_4 = whole step
& v= half step

If we had written F - G, the interval (distance) between these two pitches would have been a
whole step rather than the required half step.

Check your knowledge!

1. What is the order of whole/half steps for any major scale?
2. Does a sharp raise or lower a pitch? By how much?
3. Does a flat raise or lower a pitch? By how much?

Key of G Practice
Practice singing the key of G scale. Three octaves of the G scale are written below. Because of
the wider range, you'll only be able to sing a portion of the three octaves, but take note of
your own vocal range. What is your lowest note? Your highest note?

Remember that middle C can be written on its own little line in either clef. Other pitches may
be written that way also. These little lines are called ledger lines. Ledger lines may be used to
represent notes either above or below the staff.

35
 4
4 al2s ce] ls © Bs, = = m7)

Identify the following pitches in the key of G. Echo sing or sing as a group.

56
% iu- 0 le ts) a. : = bu
Sing each line separately and in any combination.

57
 MUSICAL TERMS

mf’ - mezzo forte, medium loud

mp - mezzo piano, medium soft

legato - smooth and connected. Sometimes indicated by placing the word legato above the
staff or at the beginning of the song or section of a song. Also indicated by a s/ur above the
notes to be performed legato.

From “Erin” for Treble Chorus on p. 59.

Sing, sing your songs of sweet re - pose.

staccato - notes are to be performed short and detached. Usually written by placing a dot
above or below the notehead: J f ,

From “Shipwrecked” for Tenor Bass Chorus on p. 60.

Good friends and all on you I call.

style marking - a word or phrase placed at the beginning of a song or section of a song
to indicate in general, the way the piece should be performed. Sometimes style markings
also include a metronome marking (J = 108) to indicate the tempo. This means 108
metronome beats per minute.

Identify the style markings for “Erin,” “Sing Your Songs,” and “Shipwrecked.”

58
= Gé Ww-*)call| ap= ce) -4 = A

Erin
For SA a cappella

Traditional Irish (adapted) Music by

Legato (¢ = 120) EMILY CROCKER

coun - try - side.

Alto

= S ~ eon as blue as sap - phires are E rin’s spe - cial pride.

or

Riv - ers. shine like sil - ver and make E rin look fresh and

the friend - ly peo - ple are the rich - est trea - sure there.

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

ye
 Sh ipwrecked!
Traditional (adapted) Music by
Boldly (¢ = 138) EMILY CROCKER

Tenor

Good friends and all lis - ten un - to

Bass

Good friends and all on you I call, lis - ten un - to

ships and dan - gers of the

me. re - late my

5 Sony© 3)a o a=] ® =| a=) lost

in the was cast on

eled to Oo SS =| \ Ss da,

shore, took a trip to Can - a - da that coun - try to ex - plore.

Copyright © 1995 by HAL LEONARD CORPORATION

international Copyright Secured All Rights Reserved

60
 = 6 i Ps Uu= ie]ce 3 +2]
Sing Your Songs
For SATB a cappella
‘ee legato (d = 112) Words and Music by
JOHN LEAVITT
“<

Soprano |

“oe sing your songs is

Alto
eS ey

is

et

Sing, sing your songs _ of sweet re pose. ___ Sweet is the muse that _

Sing, sing your songs — of sweet re - pose. ___ Sweet is the muse that_
apps
hi

2
&

OQ.
pa
hh
USK
Lh STL
HIT

4
eee LPOG
| 2 ee
¢#—— ee
.
oe
ee |
<== (eae
eee eae
(ee are 2 - Se
peer.
ee

(Sh CRs eee TSE Sa (Ree)

Se
aeons
C/

calms all soft - ly mu -_ sic play :

P
weet et [ee
as oN Od Er ae ee
—
., el
eo
ete
2S
}----
es
eee
ee
are!
Sere
leer
sewen — ae ——— 2S De
etl” Dane ies Rare En sep;
Ls RS ee
|_
(iene,
es
RD nT
[ie ee
eee
Nee

calms all woe, soft = ly the mu -_ sic play - ing.

calms _— all == woe, soft ly the sic play ing.

calms _ all woe, soft ly the mu - sic play ing.

Copyright © 1995 by HAL LEONARD CORPORATION

Intenational Copyright Secured All Rights Reserved
61
 Practice voice-builders everyday

POSTURE /BREATH /TONE

1; Lift the left shoulder high and then let it fall. Repeat with the right shoulder and then both
shoulders. Drop the head to the chest gently and then let it roll to the right and then the
left. Stretch overhead, fall forward like a rag doll and then gradually stand up to a good
singing posture.

Imagine a balloon is attached to the top of your head. Allow it to lift your head until it is
in alignment with your spine and your rib cage is lifted.

Sniff in air 2 times quickly, then puff out 2 times quickly.

Sniff 3, puff 3
Sniff 4, puff 4
Sniff 4, puff 2
Sniff 2, puff 4

Notice how the air in your lungs feels buoyant. Try to maintain this buoyant feeling of
breath support as you sing the following vocalises.

Tone/Articulation: |n each of the following exercises remember to:

Maintain a good singing posture.
Take a full expanded rib cage breath before each repetition.
Activate the articulators (lips, teeth, tongue).
Produce good tone by concentrating on vowel formation and vertical space inside the mouth.
Repeat at different pitch levels, both higher and lower.

Quickly

(oh) (ah) (ee)

more

62
ARTICULATION

This exercise concentrates on “tip-of-the-tongue” consonants. Sing it quickly, lightly, and

without a lot of jaw movement.

Lightly and quickly

In the following exercise the “st” sounds of “first” and “star” should merge together to
maintain a smooth legato phrase.

(ah) (ah) (ah) (ah) (00) (ah)

Star light, star bright, first

Never prolong the “s” into a hiss. Move quickly on to the next vowel or consonant.

the night.

63
 THEORY

ACCIDENTALS « KEY SIGNATURE

Let’s review sharps and flats.

A sharp raises the pitch one half step. This note, F# (F sharp), would be written
with the sharp sign to the left of the notehead.

A flat | lowers the pitch one half step. This note Bb (B flat), would be written
with the flat sign to the left of the notehead.

There are two ways to write sharps and flats in music. One way is to write the sharp or flat to
the left of the notehead as shown above. These are called accidentals because they are not
normally found in the key in which you are performing.

The other way is to write a key signature. Since we know that the key of G will always use an
F#, rather than write the sharp sign on every F in the song, we simply write a sharp on F’s line
at the beginning of the song right after the clef sign(s) and before the time signature. (Note:
The key signature is used with every clef sign in the song as a reminder.)

key S time signature

signature
g wa,

Placing an F# in the key signature indicates that the music is in the key of G major which
always uses an F#. Remember that the key of C major has no sharps or flats. Thus, the
absence of sharps or flats in the key signature indicates that the music is in the key of C major.

Check your knowledge!

1. What is an accidental?

2. Where is a sharp or flat sign placed for a single note?

3. Where is a key signature placed?

4. What is the key signature for C major? For G major?

64
P4 ates ce] Ms © a 4 = 4 ia

Sing notes and steps as indicated.

G A whole step, A B S a=iS)aa n -eo = G A _B A _ whole step whole step whole.

half step, C B_ half step half.

2 Sa
77) 47

: ee

C D whole step, D E whole step, C D E OD whole step whole step whole.

FH
D=

half step, E G Ft E F¢# half step whole step half.

=|

-—
s

ov

Dn
=
S

G Ff half step F# E whole step E D whole step whole step whole step half.

m
i
a eee
eee ee 2 ey ~ el OY ~ EE)
77 eer Eee | es Ee (2 eee eee i See
| == Ene 0 eee ee 2 ee Ee | ss ‘———e

65
 z ‘2 ee | 4 I Be 30 Be tL) & 4 j=4 or]

Sing each line separately and in any combination. Notice that not every melody starts on the
keynote G. Identify the starting pitch of each melody and sing up or down the scale to locate
the starting pitch.

66
TREBLE « TENOR BASS « MIXED

Musical Terms
tempo - speed of the beat

rit. - from the Italian ritardando, meaning gradually slower. When you see this term in music
the tempo or speed of the beat gradually slows.

a tempo - from the Italian “to the time” meaning to return to the original tempo; often used
after a ritardando.

$$ - a symbol meaning crescendo, or gradually louder.

__——-_- the reverse of the above, decrescendo, or diminuendo, meaning

gradually softer.

|: ll repeat sign; repeat the section. If the first repeat sign is omitted, go back to the
very beginning.

Music History
A canon is a musical form in which a melody in one part is followed a short time later by other
parts performing the same melody. Sometimes the difference in time is as short as 1 beat,
other times it may be several measures. Canons are sometimes called rounds, and you may
know several already: “Row, Row, Row Your Boat,” “Are You Sleeping,” etc.

Canons are interesting musical forms because the melody, entering at staggered intervals
produces harmony, when several voices are combined. This combination of voices in music is
sometimes called texture. The earliest known canon dates to the 13th century and is called
Sumer is icumen in (“Summer is a-coming in”)

In the Middle Ages, a small place of worship was called a cappella, meaning “chapel”. Later,
the musicians (originally called the schola) who sang in these chapels became known as the
cappella. After 1600 a cappella took on its present meaning, which is to sing unaccompanied
by instruments.

JOYFULLY SING
Joyfully Sing, on p. 68 is acanon. As you learn this canon follow this procedure:
e Chant the rhythm of the unison melody, then add pitch. Repeat as needed to become
secure. Add the text.
¢ Combine the three parts as a canon. After all three parts have sung the complete canon
melody sing the ending.
¢ Sing musically with dynamics, good tone quality, and expression.

67
 Joyfully Sing
For 3-Part a cappella
Words and Music by
EMILY CROCKER
Joyfully

geth - er, joy - ful - ly, joy - ful - ly, sing _ to

joy - ful - ly sing. Our hearts and __—ivoic

an thems to sing. With one ac - cord

voic es ring a song of joy, now let us sing.

Sing as a 3-Part Canon

Sing _ to geth - er, joy

-ful - ly, joy-ful - ly,

wey [ees =| Bee

a) == PSSST
c= mae aa jar
al
=_

Our hearts and voic - es an - thems to

With one ac - cord our voic es ring a song Of joy,_ now

(to I) nM.
|
| ‘
|

joy ful y sing. Let our voic es ring!

heav ens sing. Let our voic = es ring!

let us sing. Let our voic es ring!

Copyright © 1995 by HAL LEONARD CORPORATION
International Copyright Secured All Rights Reserved

68
 Practice voice-builders everyday

_ POSTURE/BREATH

eaePosture: Check your posture and ask yourself these questions.

Stand with feet apart (Is your weight balanced?)
Knees unlocked (Can you bend them easily?)
Back straight (Are you standing erect comfortably and not stiff?)
Head erect (Is your chin level, and not too far up or down?)
Rib cage lifted (Is your chest high and able to expand?)
Shoulders relaxed (Are they comfortably down, not too far forward or back?)
Hands at your side (Are they relaxed and free of tension?)

Coordinated Breathing
When you swing a bat or throw a ball, you use preparation, attack, and follow-through. It’s
the same with singing:

Inhalation - is your preparation. Just like the backswing of the racket, you must judge the
distance, length and the loudness of the phrase you will sing.

Exhalation - Just like throwing a ball (attack), this is the part of breathing that requires the
most coordination. When you throw a ball, your strength, knowledge, technical precision and
discipline affect your accuracy. It’s the same in breathing. The more you know, the more
you've practiced, and the amount of effort you apply all combine to help you sing with a fully
supported tone.

Release - As you end a musical phrase, follow-through with the breath for a pleasing and
accurate release. Just as you wouldn’t choke your baseball swing, don’t choke off the breath
at the end of a phrase. When you release a phrase well, you also prepare for the next breath.

1. Breathe through an imaginary straw. Feel the expansion in your rib cage as your lungs fill
with air. Sing the following pattern, and as you release the tone, also exhale the rest of
your air. Repeat at different pitch levels.

69
 The Breathing Process
The physical aspect of breathing involves several different parts of the body.

During inhalation, the diaphragm muscle contracts, flattens and moves downward toward the
feet. This motion pushes against the abdomen, pushing it outward. At the same time, the
intercostal muscles (rib muscles) also contract, moving the ribs outward, expanding the rib
cage. Since the lungs are attached to the diaphragm and the ribs, the lungs expand, and air
rushes in.

When you sing, your exhalation is controlled, the abdominal muscles contract and the ribs
stay expanded to provide resistance and control to the exhalation.

Intercostal
Muscles

Intercostal
Muscles

Diaphragm

2. As you sing the following exercise, remember to:

e Take a full expanded rib cage breath, remembering “prepare, attack, and follow-
through” as you inhale, exhale on a tone, and release.
¢ Breathe “on the vowel,” i.e., if you are to sing an “ah,” take your breath in an “ah”
shape. This helps prepare you to sing with a relaxed jaw and vertical mouth space.

ah -
(Breathe) oh - ee - oh - ee - oh

70
RESTS

Rests are silences in music. They come in a variety of lengths, just like notes. These silences
are just as important as the notes.
note rest
whole me sant

half =

quarter : 2

Rests and notes of the same name share the same duration.

Whole note Whole rest

| | | | | | | |

Half notes Half rests

| | | | | | | |

Quarter notes Quarter rests

Check your knowledge!

1. Define rests in music.

2. Identify the following rests: = =

3, In : meter, how many beats does a whole rest receive? A half rest? A quarter rest?

71
A
Al PRACTICE WITH RESTS

Read each line (clap, tap, or chant)

 Animal Song
For 4-Part Speech Chorus

Divide the choir into any number of groups up to four, Each group may chant one of the
four numbered parts. Each part may proceed to the next part sequentially without break
in rhythm. (example: group 1 sings parts 1-2-3-4, group 2 sings parts 2-3-4-1, etc.) Work
for a sing-song kind of inflected speech at a light dynamic level. Practice slowly at first
and gradually increase the speed of the beat.
Traditional Lyrics Music by
fj JOHN LEAVITT
Quick inflected speech, lightly

1 r Z i —d- aii - —ffPg—p4—

Al - li - ga-tor, hedge -_ hog, ant - eat-er, bear, rat - tle - snake,

2 |i +—_ + jf pf d--- p-—}}--#-—_

Bull -_ frog, wood - chuck, wol - ver - ine, goose? Goose! Whip-poor-will,

3 o oO A,

Mud tur - tle, whale! Glow - worm, bat! Sal - a - man - der,

4 A, CA = 4, O, ul 4

Ea -_ gle, king - er - on, sheep, duck and_ wid

- geon, cou -_ gar,

buf - fa ~- lo, an? =) Sal - =) “con da) hare.

chip - munk, jack al, moose? Moose!

oO A,

snale, mal - tese cat!

ar - ma - dil - do, bea -_ ver, seal and pi - geon.

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

73
 Practice voice-builders everyday

REVIEW AND PRACTICE

Answer the following questions orally in large or small group discussion. Refer to previous
chapters as needed.

1. Describe the steps for a good singing posture.

2. Why is good posture important in singing?

3. Describe a good singing posture for singing from memory. Describe a good singing
posture for holding music. For sharing music with another singer.

4. What are the five basic vowels used in singing?

5. Why do we need articulation in singing?

6. What are the articulators?

7. What are the three stages of breathing for singing?

8. Describe the action of the diaphragm during breathing. The abdomen. The ribs. The lungs.

Tone/ Articulation
Review all the elements of good singing in the following exercise:
e Take a full expanded rib cage breath, maintain the support while singing the phrase, and
release.
e Breathe with your mouth in the shape of the vowel you are preparing to sing.
e Repeat at different pitch levels, both higher and lower.

Text by William Blake

(ah) (ah) (ah)

Ti - ger, ti - ger, burn - ing bright in the for - est of the night.

74
 THEORY BUILDERSTI

REVIEW AND PRACTICE

Check your knowledge!

Name the order of whole steps and half steps for any major scale.

Define sharp. Define flat.

Name two ways sharps and flats can be placed in music.

Where is a sharp or flat sign placed in relation to the notehead.

Where is a key signature placed?

Name the key signature for C major. For G major.

What is the term for silences in music?

8. Identify the following rests) 2% — ™

9. How many quarter rests equal a half rest? How many half rests equal a whole note?

10. In ; meter, how many beats are in two whole notes?

@ 3 a) whole step

@) _—— b) quarter rests

GB) Gage & yheee’ 2 c) G major

OF === ay al step
© = @)'C major
0 = f) F sharp
® - - g) B flat

7 h) half rests
75
LZ KEY OF G « RESTS

Sing each line separately and in any combination.

76
_ UNISON VOICES

Music History: The text for this short piece was written by the Scottish poet Robert Louis
Stevenson and included in his collection of poems for children: A Child’s Garden of Verses.
Stevenson, who lived from 1850-1894, also wrote two of the most famous novels ever
written, Treasure Island and The Strange Case of Dr. Jekyll and Mr. Hyde.

Rain
For Unison voices and Piano

ROBERT LOUIS STEVENSON Music by

A EMILY CROCKER
Lightly (¢ = ca. 132)
Piano RH

Piano LH

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

77
 .
+)

il
(h|
hz

Seon
tea

]
pean ey
._——" }
—a

i)
&

~—
é
2
It falls on field and _ tree, It

=
BH
c

1
5

7wv
:

And on the ships

Dn
'

=
: mys
hz2

SSS Se ES Se SS
atl as
ee
SSS GS
eS a ST
BE SS A a
A)
)

qa
[=
On
:

=
a |
h>2

I]
Il
at

|
*
r—)
1

aa

2
LLL

ne
SF
il
cn
pe

ily
|
===

un
5

‘a
—

78
 Practice voice-builders everyday

POSTURE /BREATH

1. Stretch high overhead. Bend at the waist and gradually stand upright, one vertebra at a
time. Nod your head “yes” several times, then “no.”

2. Yawn-sigh

3. Imagine there is a milkshake as large as the room. “Drink” the air through a large straw.
Exhale on a yawn-sigh.

4. Sip in air as though you were sipping water. Notice the cool feeling in your throat.

5. Breathe in with your lips in an “oo” shape, then sing the following exercise. Repeat the
pattern at different pitch levels, both higher and lower. Open the vowel to an “ah” as you
go higher and an “oh” as you go lower.

6. Take a full, relaxed breath and sing on a staccato “hoo.”

Short and detached

These exercises, and many others you will learn, contribute toward a relaxed and open throat.
An open throat will help you produce a free, open tone that is not constricted or tension-
filled, and will help keep your voice healthy. This is important as you develop resonance and
flexibility in your voice.

79
Vocalization
The source of vocal tone is the /arynx (pronounced “LEH-rinks” and popularly called the “voice
box”). The larynx is a part of the respiratory system and is not muscle, but is made of cartilage.
The larynx is located midway between the mouth, nose and throat above, and the lungs and
trachea (air passages) below.

You can find your own larynx by locating your “Adam’s Apple.” If your Adam’s apple is not
prominent, you can feel it if you lightly run your fingertip down the front of your neck from
your chin, until you feel a hard structure with a sharp upper edge. If you hold your finger here
while you say “ah” you can feel the vibration that the larynx produces.

Larynx

The Vocal Folds

The vocal folds (also called vocal cords) are a pair of muscles attached to the front and back of
the larynx. They open and close somewhat like a valve — open for breathing, closed for
singing (and speaking). Exhaled air passes between the gently closed vocal folds, causing
them to vibrate. The number of vibrations per second produces pitch. The following
illustration shows the vocal folds from above.

The Vocal Folds (seen from above)

Epiglottis Cartilage

Glottis

Vocal Folds Closed Vocal Folds Opened

(Singing) (Breathing)
MELODIC INTERVALS

An interval is the measurement of distance between two pitches. When intervals are played in
succession, they are called melodic intervals. Following are examples of intervals of 2nds, 3rds,
Aths, and 5ths.

Read the pitches, echo sing, or sing each example as a group:

Count: line Outlines

an interval
of a 2nd
Count: space
=

Count: line Outlines

an interval
of a 3rd

Count: line space line space Outlines

an interval
Count: space line of a 4th

Count: line space line space line Outlines

an interval
Count: space line space line of a 5th
3

Check your knowledge!

i" What is an interval?

81
 y
MELODIC INTERVAL PRACTICE
Ke f
&& S Z

cf g
Identify the following intervals.

c=)
NE

=iS)
ws
=

2
wn

I
€ D, that’s a sec-ond, C E, that’s a third, C F, Cy G;

i=)
Ae

;z
=

&
Ss

om
3

that’s a fifth, F that’s a fourth, E that’s a sec-ond.

we

a
s

5=

G , GD,
<2)

G A’ B that’ sa
=]

that’ third that’s a fifth,

S

sa sec ond ? >] b]

ae

s
é

s
heyom

<
3

€)G; B G,
Ss

that’s a fourth, that’ sa _sec-ond.

82
4 clps ce] Ba 1°) é ze |
= oH a. 3 = nd iy

83
ZZ : KEY OF G INTERVAL PRACTICE
V

eae. the following exercises. Echo sing, or sing as a group.

yas
poe<——ccc
oh SSS

dt J See
@
2
= & [esgs wllwl ~)= 8 f= = #

Sing Hosanna
For SA a cappella

Sing_ Ho san - na, Sing Ho - naS =| ' S cc} Lift your _ voic - es __ high! Oh,

san - na, Sing Ho - Mu - sic fills the sky, the sky.

Sing Ho -_ san - na, Sing_ Ho nas Mu - sic fills the sky, the sky.

TENOR BASS CHORUS

Sing Hosanna
For TB a cappella

Sing_ Ho san - na, Sing Ho - n a= ' — eo} Lift your _ voic - es____ high! Oh,

Sing Ho san - na, Sing_ Ho san - na,_ Lift _ your voic - es high, so high.

&
I
san - na, wa 20 fills the sky, the sky.

F I
Sing Ho -_ san - na, Sing_ Ho San - na, — Mu - sie fills the aky, sky,

Ks
 = a yy= fe] % 3 ~”
Bad

Sing Hosanna
aa) eee eee a
aca
me Me We ills
}
MiTe

LY

ll
ih

Hihi
am
==

.
y

td
7 ee aa
Gis Beamer

ill e
a
ee
eeeHA aeedt

|
tg
= bog

4
Sing Ho Lift your_ voic - es high! Oh,
=
4

—
S

a
TM
|
<= &
ar aa aay ana
IN)

Bhi
f
ees Sa a
2 =

ie
ria |
ao
.
V

ER ED)
l| 4
Mey Wy Us
i
See |e

fp
Sing_ Ho Lift_ your voic - es
=

gs

‘OD
|

=
miO ra ia a Ss
}

Mihi

il
ih
es

thd)
5 — to —a
.
)

fal
at
eas
ill r

||
Ti: Bellies =r 7” 2A | 0 ME Se PS
Ht e

4‘

Ee me

Sing Ho Lift high! Oh,

x

eSB8 lille
a

eae

S
gatt‘will g
a
(
(UIT
\

~Q a ZB ra
i
ome
ill ia
|

Kt

|
co

aa
at

lll

RI
a aan —= ES.
ae ae
ee — =
ll ¢
Sing_ Ho Lift_ your high, so high
=
2

3
|

I) ae | >, 5
Hie
Re WM) s its Ot

oe!
Wee
hg : |i a: fal ¢ «

Toy

(he ithHDs
}

ll
Mh : We e
‘ieee
ro

inn

to =

iy
—— — a a

#
¢
si

Pp)

Mu - sic sky, the sky.

2 I
=
i)
=

5
Ree

aed
Saar
aie |Sah eles |—-——--__
i

He
it =
tne?

= aT =
oe
I) =
HSE,

HDs Wi
4. -
J

Se =a —~@-———_}
ft =
Me Med

TS
Mie

[seer

Mu - sic sky, the sky.

2
i)

i)
Ss

a=
allie

aaa
We alll A

lll
l

A ET eS Sy7 EEO! ne
nan
(or

ry
sith

—
Bf gZ
aay
—— oo:
7
s|

[eS]

Mu - sic sky, the sky

Z
=
o
[—)

&
e WIT

2 Un
8
_—

LS
== a 7 ER S| i ¢ Bese |
yu
Tl
atte

Sy
il

4
ll

ofLae
a eee |
nan

lll
Poh

Eos) feteeencss; SAE 3s|

aaeaesy RSL i

Sing Ho -_ san - na, Sing_ Ho san - na, _ Mu - sic fills the____ sky, the sky.

86
 VOICESUILDERSS
Practice voice-builders everyday

POSTURE/BREATH

1. Stretch overhead, side to side, up and down, then shake to relax any tight muscles.

2. Raise your arms overhead, stretching the fingers out in all directions. Bring the arms back
to the sides, relaxed and free of tension.

3. Exhale all your air. Wait for a moment until your body lets you know it needs air. Allow
the air to flow in without effort.

4. Sip air through a straw. Allow your lungs and rib cage to expand outward.

5. Place your fingertips just below your rib cage and take a “surprised” breath. Notice the
movement of the diaphragm.

Tone
Review the 5 basic vowels used in choral singing: ee, eh, ah, oh, 00. Remember when you
sing these vowels to sing with a relaxed jaw and vertical space inside the mouth.

hah hah hah hah hoh hoh hoh hoh hah hah hah hah hoh
6) hoo hee hoo hee
hee heh hee : heh

ZL Fiat

87
 TONE

There are many other vowel sounds used in both speaking and singing. Here are some
examples of other vowel sounds. As a general rule: Sing the vowel sound as you would say it,
but modify the vowel in the following ways:
e Keep a relaxed jaw
e Maintain vertical space inside the mouth
e Keep the corners of the mouth from spreading outward

Repeat (7) - Q) at different pitch levels

“4
a” as in cat

88
 THEORY BUILDERSSS

_ HARMONIC INTERVALS

Let’s review intervals. In the last chapter we learned that an interval is the measurement
between two pitches. When intervals are played in succession, they are called melodic
intervals.

When intervals are played simultaneously, they are called harmonic intervals. Here are some
examples of harmonic intervals.

Harmonic intervals are the building blocks of harmony. Two or more harmonic intervals
combined form a chord. Thus, a chord is the combination of 3 or more tones played
simultaneously. Here are some examples of chords.

Check your knowledge!

1. What are intervals played simultaneously called?

2. What are intervals played in succession called?

3. What is a chord?

89
 a 3 i=M4 wi = == 2 fe 2
= es] 7)

Practice the following exercises. Notice the harmonic intervals that result when one group
sustains a pitch while the other group moves to a higher or lower pitch. Listen carefully for
balance, tuning, and blend.
G
Remember that a fermata ( f ) means to hold a note (or rest) longer than its normal value.

Practice the following exercises in 3 parts. Notice the chord that results as one group sustains
a pitch while 2 other groups move higher and lower.

90
 SIGHTREADINGS

= eeat2] =] be & & @ =4 : z bs

Sing each line se parately and in combination. Can you describe the time and
key signature?

91
 _ TREBLE « TENOR BASS « MIXED

Musical Terms
>

f accent; emphasis on one note (or chord) over others around it. When singing a note that is
accented, you can emphasize the note by singing it louder or by stressing the beginning consonant
or vowel that starts the word. You can also use the diaphragm to create a breath accent.
accel. — accelerando; becoming faster; a gradual increase in tempo.
History: The author of this text, Francis Beaumont, was an English playwright who lived from
c.1584-1616 and was a contemporary of William Shakespeare. It was quite common for plays
of this period to use music.

Dance!
For SA, TB or SATB and Piano
Text by Music by
FRANCIS BEAUMONT (1584-1616) EMILY CROCKER
Fast (¢ = 172) A A
>

Piano

Soprano f
oe ae a i a a er | | |
wy. See, EE eee ee Ee A ee | LO ee EMO TE
res . ee ee ee . ) | PI ST (eT) PTE PE Ee BEE A
TAS) LMA LALA i ee aa...

Alto Shake off your heav-y trance! And leap in - to the dance, Such

GE
Gf.. = =
ae
Bae
A
eee
Meee Sea
Bey eS
nicaDBS(aweammmammena
aaa
aces
TS) = = aS Ce AEE [ee ae | (PE EE Se
> > ss >
Dance, dance, dance, dance, dance, dance, Such
Tenor f
a

tae
Hee PET
SS
(ES. ET SS a crear
ee
eenen can ES EE | IG

eee Shake off your heav-y trance! And leap in - to the dance, Such

f > > >

eye fg

mo. Se a er EE Ee Ke Ee TOS! A ERS CR is

eee ae ES) FS | (ES

Dance, dance, dance, dance, dance, dance, Such

V |
2)’ & See ES ee GSS SS ee) ee ee a ee Se (See) (Se Pee TS
. aapee,__ ee GE EE ee ee ey Ee © EL ee ES SSS

all
>"
O /.. =e ee | ee Ee FS, ee ee A ee eee EE Se ie Pe See Se eee
SF a Se et = 2 See _.) | |) e
ry °

> >Q

Ee OSS SSS SEAL SRE (BSR SE eee I emma) (ST) Se ES EY ENE) SE ST PT OER
a ee
(25-24 a Ey TT SS LESS AE SB,
EEE TREE ERLE BN TEE
_ TTL ED |B ES
eee ee
> — > = A, A,

Copyright © 1995 by HAL LEONARD CORPORATION

92
International Copyright Secured All Rights Reserved
 4 em on ha Isa Basa iS Baez ely TS sz US
o] sy og i) a & hy & ua © hy 3 hy Be Ci} hy i Ny a hy
Lal
iin alls NN
alltu * . a] ie eS
a? eS a
a?
2] an a an

; ull <& < =| =

|
siill Ss P : _
PTT
RA
| Ul= = = =
, i=) i=) So i=)
fe = Smt =

AS
|$§
A$s
s
S
OA & =| AG = A 0) | a2] Z 2 LZ

Hh il ld}= I = LTS = i
|
CBN 3 g A A

2)
i
PPA Es f "8
|s s 8 c

~ sd
| 5 & 5 5
®) $: 3: $‘ $‘ ||
||

=x
iTs Ui Ti = S = HT}
olor lh ; g 3 & |
2 o| e nan gee RT oe PLL Se Lt aeme Mit
i-?) > vo | 3 rs = =| = =|

f | | > > > >

x BS
2 Saw font
ll i 5 | « Es é s S|
ll
“

<
:
Cl ais : = Ue NFS 3 ie 7 | 3
OA a -|@ =| e ry =| a) }

*
: sa lill z A ¥
i D/A
TN W/%
Beet
| \
Vai,
IN N
Ae
|e 2) NIA
TNA
= i) i)

2 2
: SS S

1 E ll E i [| || irMh ll. |
S io}
=|
“|e

93
 = ea Gas ax preapeeers Ee |
se
Oe me eee
Gaze Sa SSI
a | ae
Sa
> >

all the stars to fol - low! Dance!_ Dance!

2 Sie eS Ear cee eae

a eg ee ee
a Ores

dance,

=a ee SS
7”eels mE ee) a
_ Sa Grae See Se
SSS

all the stars to

Se

t |seal

lh
ii
:
cresc.
>
See aa ee EES

T
eS
eee ee
TES)
aaa

Dance! Dance! Dance!

; "||
Peal
cresc.
> >
ies

1
Saaai ay
eeeEe ee
ee ee ee ee
aT Ed eee
Lae
[ee SS
SS ee
ie

Dance! Dance! Dance!

ESA

creésc.
7
aa
ars

Dance! _ Dance! & = >) Yo Dance!

4
ase B i

cresc.
™
4 Mite

(l|

i,
“oh
hi

2
|

94
 Practice voice-builders everyday

POSTURE /BREATH

1. Stretch your arms overhead, then bend at the waist and stretch toward the floor. Slowly
rise up, One vertebra at a time until you are in a standing posture.

2. Rotate your shoulders, first your left, then your right, then both shoulders. Raise your head
so that it is in line with the spinal column, and not tilted up orr down. Remember to stand
in a good singing posture:
Stand with feet apart (Is your weight balanced?)
Knees unlocked (Can you bend them easily?)
Back straight (Are you standing erect comfortably and not stiff?)
Head erect (Is your chin level, and not too far up or down?)
Rib cage lifted (Is your chest high and able to expand?)
Shoulders relaxed (Are they comfortably down, not too far forward or back?)
Hands at your side (Are they relaxed and free of tension?)

3. When people are suddenly startled, they usually take a deep natural breath very quickly.
Take a “surprised” breath. Notice the action of the diaphragm.

4. Imagine that there is an elevator platform at the bottom of your lungs. Drop the platform
toward the floor as you inhale. Inhale 4 counts, exhale 4 counts. Repeat with 5, then 6
counts.

Physical Exercise: A regular program of physical exercise is very useful in a singer’s

development. Exercise\improves breath capacity, the cardiovascular system, endurance, and
general good health. Be sure to have a physician’s approval before beginning any exercise
program, but the benefits of such a program are significant.

Tone /Articulation = “ i
Review the following vowels: i (gift), a (cat), u (run)

ching ching ching

Sad os mad ____ sad sad sad
hum hum

95
 THE NEUTRAL VOWEL

The second syllable of the following words and several one-syllable words use what is called
the neutral vowel (a), also called schwa. It might be described as similar to an “uh” sound,
and is an unstressed word or syllable. To produce this vowel:
e Keep space inside the mouth
¢ Maintain a vertical mouth shape
¢ Do not allow the corners of the mouth to spread outward
e The mouth is more closed than an “ah” vowel

Examples:

(2) (9) (2) (2) (2) (9) (2) (9)

1 t A L Pues
sofa nearest — quiet autumn joyous of the wouldn’t

sleeps _ the crim - son pet - al, now the white.

(2)
Bas - kets of ro - ses we bring from the gar - den.

96
TRIAD AND TONIC CHORD

Let’s review chords. In the last chapter, we learned that two or more harmonic intervals
combined form a chord. So, a chord is the combination of 3 or more tones played or sung
simultaneously.

A triad is a special type of 3-note chord built in 3rds over a root tone. Following are some
examples of triads. .

Triads

When a triad is built on the key note of a major scale it is called a tonic chord. You'll notice
that the word tonic is related to the word tone. Tonic is another way of referring to the
keynote in a major scale and tonic chord is another way of referring to the triad built on that
keynote.

Tonic chord: C major Tonic chord: G major

Check your knowledge!

1. How many tones are needed to form a chord?

2. Describe a triad.

3. What is another name for keynote?

4. What tone of the major scale is a tonic chord built on?

5. Is the tonic chord a triad?

97
 Seesoe

i=fe) 2 aE].° ]1°= 3 Ba a Bs 3 b==1°]BS

eee
so
Practice the following drills which outline the tonic chord. Remember, when the melody
outlines the tonic chord, you are singing melodic intervals. When 3 or more parts sing the
pitches of the tonic chord simultaneously, the ensemble is singing a chord.

The Tonic Chord

Melody Drills

Chord Builders

98
2 @é ky = 6 =YU 1°)Ps fe) [-4a a : i=‘aew@Suid

Echo-sing each line or sing as a group, until the melodic patterns of the tonic
chord are familiar.

99
 = ce] 2 = .? Es ke) es a | Ea oe& 2 = aaac,)

Sing each line separately and in any combination.

1 00
_ TREBLE CHORUS

History: |n this piece for treble chorus, the text is by Christina Rossetti, a 19th century
English poet who lived in the Victorian era from 1830-1894. Rossetti, who has been described
as one of the greatest poets of her time, wrote both of nature and of the spirit. Her brother,
Dante Gabriel Rossetti, was also a well-known poet and painter.

Musical Terms:
opt. div. — optional divisi; the part splits into optional harmony. The smaller sized cue notes
indicate the optional notes to be used.

As you prepare Spring Quiet, concentrate on the following:

Notice the interval skips in the tonic chord.
In measures 9 and 11, notice the quarter rest on the first beat of the measure.
In measure 17, the melody is presented as a canon. In measure 21, notice how the melody
outlines the tonic chord.
Sing with full breath support and good vowels and articulation.
if you sing the opt. divisi, notice the full 3-part tonic chord in the last measure.

Spring Quiet
e ®

For SA a cappella
CHRISTINA ROSSETTI (adapted) Music by
EMILY CROCKER
Expressive (d = ca. 132)

Soprano

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International Copyright Secured All Rights Reserved

101
 Where in the white - thorn sing eth a thrush.

And a rob in sings __ in the hol ly bush.

Here the sun _____ shin eth most ___ sha - di

here is heard an ech

of the far sea.

History: |n music during the 16th century, an ode was a text set to music in a strict chordal
style and in a rhythm dictated by the rhythm of the words of the poem.
The text for the piece that follows, Sons of Art, while contemporary, has similarities to the odes
of an earlier time.
Henry Purcell (1659-1695) was an English composer of the Baroque Period who wrote odes
and hundreds of other songs, choral pieces, instrumental and dramatic works. As a composer
for the English court, in 1694 he wrote a famous ode on the occasion of Queen Mary II’s
birthday entitled Come Ye Sons of Art, Away.
Musical Terms:
ostinato — a repeated pattern. Notice how the bass part in this piece repeats the same four
bars. This serves as an accompaniment device beneath the tenor melody.
opt. div. — optional divisi; the part splits into optional harmony. The smaller sized cue notes
indicate the optional notes to be used.
fine — an Italian term for end. After a repeat the fine sign indicates the end of the piece.
As you prepare Sons of Art:
e Use good breath support, vowels, and articulation.
¢ Sing musically.
e If you sing the opt. divisi at the end, notice the full 3-part tonic chord in the last measure.

Sons of Art
For TB a cappella 4
Words and Music by
EMILY CROCKER
With vigor (# = 132)

Tenor

raise your songs to - geth

Bass

join your voic - es ev - er.

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103
 TENOR BASS

Mu sic, mu sic, all our tri - butes bring.

sic, our hearts _ an voic es sing.

Come, a li you sons of Art. Come all you sons of

Sing of laugh - ter, sing of mirth, and r¥= & Nn ' 3 =)o now be

Come a ll you sons of Art. Come all you sons of Art.

104
MIXED CHORUS

History: |n the early stages of America’s nationhood, the purpose of education was aimed at
practical and religious matters. Music for worship and recreation was primarily an oral
tradition — people learned music by listening to it.

As time passed, however, the quality of singing declined so that a clergyman of the time
wrote: “The tunes are now miserably tortured and twisted... into a horrid medley of confused
and disordered voices.”

In response to these concerns, Singing Schools developed. These singing schools were led by
traveling teachers who for a fee would teach the basics of reading music in small towns and
villages. Sometimes whole families would attend, and enjoyed the social aspect of singing
together in a group.

Music became a part of the school curriculum for the first time in 1838 when Lowell Mason
convinced the Boston School Committee to include it in the public schools.

Lowell Mason wrote many songs and choral pieces during his lifetime, including the text for
the piece that follows.

As you prepare to sing O Music, Sweet Music:

e Notice how the melody outlines the tonic chord.
e When all three parts combine, listen as the 3-parts create harmony.
e In measure 9, the melody is restated, this time as a 3-part canon.
e Sing with good breath support, vowels, and articulation.

O Music, Sweet Music

For SATB a cappella
Words by LOWELL MASON
Music by JOHN LEAVITT
mf
ft 2 Sas et GE ee TS SSL] Se Sen Ge EE Rea ae S|
Soprano / Se Sie
SRG BA
ee eS
es SS
Se
1 ee ee
Se0
I)
an PT
ames I]eae eee ET
ey Te
cet ET)

O mu - sic,sweet mu ~-_ sic, Thy prais-es we will sing;_ we will

mf
“i a a ee ee Se 2a Bae ee Ll Oe ee ee ee Se ee)
Alto i fe ee ee ee eee
Paes a ae Sn eS i ann ae ee Be_ ee , _eee eed Cs

O mu - sic,sweet mu -_ sic, Thy prais-es we will sing;_ we will

mf = an
Tenor SS a ee ee a a ee ae ee ee ee ea oe
RRS Seated SR Ti C5 ES EO eS eS ee ee ee ee ee ee) ee Ee LS ee ee bo ee Ss
Bass ES, Ae SE S| Se eS (SE DD en Da ee Gene SE ewe

O . mu - sic,sweet mu ~-_ sic, Thy prais-es we _ will sing; we will

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

a o na
 of the pleas - ures and hap - pi - ness you bring. O mu - sic, sweet
=
—
vo

=
Sea Sea |
ESS
SaaS ee SST
ey Sas |
aaa
—

:
tell of the pleas - ures and hap - pi - ness you bring.

tell of the pleas - ures and hap - pi - ness you bring.

=3 sic, Thy prais

- es we will sing; we will tell of the pleas ures and

mu sic, sweet mu -_ sic, Thy _prais- es we will sing; we will tell of the

Unis.

mu sic, sweet mu - sic, Thy prais

- es we will sing; we will

WT SSS IED
ne
eee
EE
a
Sas 1s ES
eae
S|
aSSSrs ae 2 Se
sl gi
ee

4
eres See = eee Roe SS ee eee)

S= - pii - mess you bring.

| as aa Se
a =
ae awe
aS
(ee
eee i] =a" BES)
SS)
eee
2)
een
el
eee)

pleas ures and hap - pi ness you bring.

tell of the pleas - ures and hap - pi ness you bring.

 Practice voice-builders everyday

REVIEW AND PRACTICE

1. Describe the steps for a good singing posture.

2. How does an expanded rib cage affect breath capacity?

3. What are the five basic vowel sounds? Describe the basic formation of each.

4. What is the general rule for producing other vowel sounds in addition to the five basic
vowel sounds?

5. What is the neutral vowel?

6. Describe the difference in the vowel sounds of the following:

e 2nd syllable of sofa
e 1st syllable of father

7. What is articulation in singing? What are the three main articulators?

8. What is the source of vocal tone? What is it popularly called?

9. How do the vocal folds produce sound?

10. How can physical exercise help to improve singing?

Tone /Articulation
Sing the following exercise which reviews vowel shape and articulation. Repeat at different
pitch levels.

- ing care and

107
 REVIEW AND PRACTICE

Check your knowledge!

1. What is an interval?

2. What is the difference between melodic and harmonic intervals?

3. What is a chord?

4. How many tones are needed to form a chord?

5. What is the difference between a chord and a triad?

6. What is another name for keynote?

7. What tone of the major scale is a tonic chord built on?

8. Is the tonic chord a triad?

Identify the following melodic and harmonic intervals.

108
= 5 Y 1°)=
ae fe) a a e & aeyyP4 =) @y 2 re)=

Musical Terms:
pickup note(s) — A pickup note(s) (also called upbeat or anacrusis) is one or more notes which
occur before the first barline.

Sing each line separately and in any combination. Notice the pickup note in each exercise.

109
 KING WILLIAM
Treble Chorus ¢ Tenor Bass Chorus

History: The text for King William is taken from an Early American Play-Party song. Play-
parties were social events at which young people came together for refreshments, games, and
singing. In many communities of the time, dancing was frowned upon, and while the play
parties included ring dances, reels, and other partner games, the participants sang the songs
without instrumental accompaniment, and so they were considered to be games or “play-
parties” rather than actual dances.

In this play-party song, a young man would stand holding a broad-brimmed hat in his hand.
Then he would place the hat on a girl’s head, and they marched together, linking arms. At
the end of the song, the girl placed the hat on another boy’s head, and they continued as
before. The song was repeated until all had a turn. At each “crowning” of the hat the couple
would exchange a kiss.

As you prepare to perform King William:

e Find the places where the melody outlines the tonic chord. Practice these intervals so that
you can sing them accurately.
e Read the rhythm, add the pitches, and repeat until accurate.
e Sing with good breath support and articulation.
e Identify the neutral vowels in the text and sing them with less stress:
Will-iam Georg-es, etc.

HOSANNA
Mixed Chorus

History: The word Hosanna (or Osanna) is a Hebrew word expressing triumph and glory. The
phrase Hosanna in excelsis Deo is a phrase taken from the Sanctus, a section of the Latin mass.
Since the advent of polyphony in music, the Hosanna has often been set to exciting music in a
brilliant style. The Hosanna is often presented as a coda or ending section of the Sanctus.

As you prepare to perform Hosanna:

e Notice where the melody outlines the intervals of the tonic chord. Practice these sections
so that you can sing them accurately.
e Notice how the parts enter in a staggered pattern, but not as in a canon. Rather, the
entrances can be described as imitative, because they imitate each other, but not exactly.
e Read the rhythm, add the pitches, and repeat as necessary for accuracy.
e Pronounce the Latin phrases: aw-SAH-nah een ek-SHEL-sees DEH-awh, Ah-leh-LOO-ee-ah.
e Sing the last syllable of Ho-SAN-na as a neutral vowel.

110
 <
as ee Md . = ~ tes Ee

= & halr*)ellBal uuoS fe] & » 2]

King William
For SA and Piano

Traditional text, adapted Music by

EMILY CROCKER
Quickly (¢ = ca. 152)

t—

a. i}S ie)

Soprano

King Will - iam was King Georg-e’s son, and from the roy - al line he sprung. Up -

King Will-iam was King Georg-e’s son, and from the roy - al line he sprung. Up -
Sy

ee_h|
[al

on his coat he wore a_ star, and brave he was in time of war. Cir - cle danc - ers

ud“7
Ff,

on his coat he wore a star, and brave he was in time of war. Cir - cle danc - ers

ilk |

a
| hy
2
ooh a)

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

111
 ll

ie
LS® See

nan
eee ES a eae eq Lae aa ere a= 2
ew eS eS Ben == = aaa R= nen
Se

|
REE y
wy
Saal mamas
| 4 pee ag [/-—— eS
Sa
EE
SS
a
a
one and all, cir - cle when you hear the call. Dance you all to

il
TN

|
ae Sse

lia
[mae Se
ee Sy Bese al) Pore) [eee
ea
| 4
eS
= ——-s |
gl
_
aSS —
one and ll, cir - cle when you hear the call. Dance you all t

il
THe

the

YI
maa SSS aera
SS [/——
eS | RES RRP neeait |
|
& Sa ae
o_o |
€4 a a ea ea

|
ll
aN

LA
aS Se ee a ee)
ce
pas fee
See eelRe
See SS
pos ee ee a)Ree
SS oa) ee
A,

Lc trea aera ES Saas P= ae ee CS) ES (Se ee

eee) penal aaa i as ae == Eanes eee
a | @ 72 JE eee (eee ae aS Sa
Re See a ee Ree ees}

fife and drum, cir - cle danc - ers one by _ one.

Bes2

oe [=a
=eee5 es ee RS SS ee)
|

= =a See
SESS A > Sa ee ee)
(a a Sa ae Sse es i eee | Se, Pe ee)
g

SA 0TS i=¢ peg Jia

(eee ee (iB _Am Se See)

fife and drum, cir - cle danc - ers one by one.

IN®

il)

|
ial ES) aes es eal)el Eee
[ear Pa)
aaa Ba |eee secre eae CS ee) a SS Pee ae
— aaa | 4 a soeremersnaeers GEESE
GS ee ESE Se Eee a
9

| ¢ pot | aS
Ih

SS OS aaa) Sai
aN

YN
H

=e
fw LEE Sa SS PS Be Sen Lea
bi] Ln re ee eres SS Ses PSE ee a ee Ea
A,
TS

(FLFR S TS TSE a TEL SS i Seen ae er Ee OS ee ES

Be EASE SESS EE Se ee ees
mee ae ee SN SN eee ee eee
5

a Se Gee es ee ee ae es
ty

eZ
 PERF

TENOR BASS CHORUS

King William
For TB and Piano

Traditional text, adapted Music by

EMILY CROCKER
Quickly (¢ = ca. 152)

Piano

Tenor f
———
: King Will-iam was King Georg-e’s son, and from the roy-al_ line he sprung. Up -
Bass J:

=< eo ee rr
Lew 4 a hee Sy SSSaa See ee i ee De | PS ee a ee

= a ieee ee A Ee) ee ee eee) ee ee) eee Ee Beas

King Will-iam was King Georg-e’s son, and from the roy-al_ line he sprung. Up -

iY G3 =] = Sey Gated Ee ee ee ey ee ee _ ae = Se ie

Or | LES aE ee ie ee a See SS) ES Se ee eee eel ee eS Eee

id (it {2S Re See Ti aie Dit fe ee ee a LG | ee ee eS ee ee eres 4] Ge ee
G7 4205 5 ee ee SE Se eee eS See SS Dt LS oe Se ( ee (ae
Sa og ee ee) a ll Si ) ii ee Soe
os > A, wo

AS) pe SS SS SESS 2) 2S EE) Ser et ees

WY , 2S | PS) a Peabrey Se eee _ eee ee es ee | Se Be ie Sa (ae aaa [el aes ee)
it. SSeS ae ee Ee, ee ees Lee eee eee eee bs a ae {/-—__# —__@_____} ¢ __#@ 6 —_#§—_,
DARA V2 Se i ee eh ad Sa aes al See

on his coat he wore a_ star, and brave he was in time of war. Cir - cle danc- ers

| SG os 0 a —=e i a ee " rae

=e SS SET
WY Ee SSS SSS WS BESS 4S OF Ee) ee Se Be RS Ee ee eee eS Se een
ee eS eee ee Ee ee
aS Ss ee ae ee Ge) ES a Ie Les i Ge ee Re ET ( a oe _ ee ee i ee) Se FE PS
Se En Te Ee BT Wd] Ee WS ad SS (| (A Ge | ee eee ee ed Cee eee i ee EE (2 eee

on his coat he wore a_ star, and brave he was in’ time of war. Cir - cle danc- ers

YF , C2 SSS SS SY SS __ SES) ET] PS SE PEON RASS FY Se PRE Rey eS ee _ SO eS

i /... - Se ne rr Pe Se ee Se EY RE DS SES ee Ge" ee ee) ee ee ee ee ee
LO Gl a eee eee ee Ie eee) Ee BSS Se Se eee ee =e Bee PES Ge? SE eS)

2 RA
) |
,. | | l
ah!
i

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

11 Ww
114
Mee GN_ TN oh Basz aN TS aN
#1 Us a Basz
[dy et. BH A ml het... les N ml le . A
WH ho2ore | 2
wuce =
Me
| = |
wee
tk |e Tl a
} | Lie] a=) <=) a=)

I Nl |, |, |‘ |‘
| TO6 = itt 2 Tal i hagapees ge n h ils
i | UW ne : He[hy li Wie ie
: [I
1 7 ' 1

ILS ME ne ye ay? Wye

a
2
‘=
ll ML We altine e We (Mss sl Mle
Ih TL (=)
i=)
wn
n Me | lll Whe
TTS
Hh
Bo
5
eer
ae
NEG
TTS
the
lh | il oe | cP) | ? FA | FA \

UM Wk | ames
| l I tl Ue He
Hh Bika | lil il

AR)
‘a
TS
or
on
Dance
ae
Dance
Ss

—
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Jama]

you
you

eee
ESAS
all
all

ee
|
=

Pt
ss)
pee

s | s |
 = x a u im fe] a =) w

Hosanna
For SATB and Piano
Music by

g
= ls 4. |bad
*, 4 ,-

a
will
>= ry = nw iI 8
a
é °

< £
sl yf
3

TS
a
Tenor

Bass BH
|leh!
Je

f=

CV <2 7
‘I

\ 5°
(msi EE SES SSE
es eT ES Be CS a SS
SE
EEEE: SS PS,
cs?

Piano (L.H.)
ah

EERE
AE TT
LT
OE SS

san - na in ex - - Sis, ex - sis, Ho - - na in XK «=

(=e ee ee eee aes 2255 eae aaa

Chg = maa naar
Ss ee === 2
Nee
SSS maa Ree Lecce
(.. = See ey Se ay Se PE Pe) TR LEI ETS be oe ee Eas
SV Se Se 2 ee ee, eR | a
seca SSS: See ES eat

Ho - san - na in ex - cel - sis,

si Ho - san - na in ex -

Bea $e Rcnnminaesa
Say 2ST
{ee = ea eee

san - na in
i exe cell sis
si in ex -

Pee
ea ee SN Ae ee
PS SS east esta ot
Cael
ed eet Sa

in ex cel sis in ex
in
—=
SEE
el

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

115
 HiPe
Pp
|

Messe
fe
SS aces Sat Se EE Ge

ian
eS)
ae ee
eo Ree Gey
i?)

2
3

Al - le - lu -. ia, ‘5 - le - Ju] fa

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Ges)

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a

lips
3

Al =, uy Sra.
D

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:

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Pf
cs

[lz
En
D
.

HN
|| |
sill il
|

PT

HH = |p a

H
A
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lli
it
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Mil
ul
ul
maps
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reAS

RR
RA yp
S
|
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S
ll

()

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Saas

aie
il
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[ =

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Al = le = lu) = ta;

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fy
mene et
le Sea ee ee aaa
atari
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tp.
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[=] pe ee se
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a}
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Al - le, Al - le - lu,
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116
 Al - Ie Al le

Al le lu ia, Al -k Al le

Al le lu ia, Al le =. i oe Al le, Al ~ b& ~ Mm He

Al le lu ia, Al le = ie ia, Al = Te Al le - le He

=z =z =z

ae
sen
sa
a

ex cel
- sis ex cel - sis De oe!

san na in ex - cel - sis in ex cel

- sis De oe!

in ex cel - sis in ex cel

- sis De o!

in ex cel - sis in ex - cel - sis

Ve
 POSTURE
/ BREATH /TONE

1. Stretch, then yawn-sigh-

2. As you stand in your best singing posture, concentrateon relaxing and releasing the
tension in your body without slumping.
e Relax your neck and move your head forward and up, so that i is aligned wath your some
¢ Allow your spinal column to lengthen vertically.
° Balance your weight evenly between your feet, and evenly between the hee! and the bail
of the feet.
© Release the tension im your knees.
* Release the tension in your shoulders.

3. Inhale with your mouth in an “ah” shape while pulling your elbows back. Simao your ams
forward as you exhale on a whispered “oo.” Repeat several times.

4. Imagine a milkshake as large as the room. “Drink” the air through 2 large stave

Diphthongs (pronounced D/F-thongs)

You are familiar with the five basic vowels for choral singing: ee, eh, ah, oh, co. As cowered im
previous chapters, other vowel sounds (4, U, i, 2 and others) are modifications of these basic
vowels. A combination of two vowel sounds is called 2 diphifong. Since wowels are the bass
of a free and open tone, and a choral sound that is blended and im tune, i is importantip
learn to sing vowels and diphthongs as an ensemble.

A diphthong consists of two vowel sounds: the primary vowel sound and 2 secondary wowe!l
sound. This secondary vowel sound is (usually) at the very end of the diphthong, just before
the final consonant or next word or syllable.

For example, the word “I” is really a diphthong using an “ah” and am “ee.” The “ee” isa weny
brief, almost phantom sound at the end of the word. '

|=ah (ee)

‘h

118
 VOIESBUILDERSIO

DIPHTHONGS

Here are some other common diphthongs. Sing each word on a unison pitch, and
concentrate on maintaining the pure, primary vowel sound. Just as you release, place the final
secondary vowel sound at the end of the tone. It should be very understated and unstressed.
Can you think of other examples? Can you find examples in the music you are rehearsing?

day = (d)eh _(ee)

py awit (ee)
though = (th)oh (00)

Some diphthongs are formed from consonant sounds, and the secondary sound occurs before
the primary vowel sound:

you = (ee)oo

want = (oo)ah (nt)

Practice the following exercises using diphthongs.

Repeat with:

youth (ee-oo-th)
wise (00-ah-ee-z)
 DIPHTHONG PRACTICE

Repeat with
my (mi - ah - ee)
| (@h
- ee)

* French for “good-bye”

Repeat with
way (00 - eh ~-ee)
life (I ~ ah ~ ee -f)

120
KEY OF F ¢ DOTTED HALF NOTES

Key of F Major
The key of F major indicates that the keynote will be F. The grand staff below shows the f
major scale as well as the whole/half step progression that is required for a major scale.

a 4 »

ee
= U

: FIGI AIBC; DIELE

hi: = | = whole step

ped half step

This time, the whole/half step progression requires a B flat. (Remember that a flat lowers a
pitch by one half step.) If we had written A-B, the interval between these two pitches would
have been a whole step rather than the required half step.

Remember also that a key signature is placed after the clef sign at the beginning of a line.
This time the flat is on B’s line, and indicates that every time B occurs in the music, it should
be sung as a B flat.

Dotted half notes

In our music notation, we need to be able to measure note values with durations of three
beats (especially in meters of 3). Our notational system accomplishes this by adding a dot to
the right of a note head. The rule governing dotted notes is the dot receives half the value of
the note to which it is attached.

i d = 2 beats ¥ i = 3 beats

Check your knowledge!

1. What is the key signature for the key of F major?

2. What is the dotted note rule?

3. How many beats does a half note receive in : meter? A dotted half note?

121
 P4 idBe fe) Ms Me & re]E oaa <= ¢q wallBa r4 re]f=ry2]

The Tonic Chord Chord-builder @)

Chord Drill

3
4

Sing each line separately and in any combination.

i Saas ane GS ry- eee ed) © ee a a eee

hit 2S Gi eed CSS DO Eee i ae
a eS eee Oi ee ae eS) (SS eee 2 ee

122
= be] iedwi @. : 2 an

Sing each exercise separately and in any combination.

123
 LOVE IN THY YOUTH
Treble Chorus

History: |n the 1600's, kings and other noblemen often hired musicians to work in their
courts. One popular type of courtly music was the lute song. These songs, usually about
love, were accompanied by the /ute, an instrument similar to the guitar. The text of Love in Thy
Youth was probably used for a lute song in a nobleman’s court.

As you prepare to perform Love In Thy Youth:

e Look through the song and become familiar with the key of F major.
e Notice the places where the melody outlines the intervals of the tonic chord.
e Find the section of the song that is monophonic (unison melody). Find the section that is
homophonic (parts that share the same or nearly the same rhythm, but on different pitches).
Find the section that is polyphonic (parts have different rhythms).
e Read the rhythm, then add the pitch, and repeat as needed.
e Add the text and sing musically using good vowels, diphthongs, and articulation.

AS THE HOLLY GROWETH GREEN

Tenor Bass Chorus

History: Like the song for treble chorus described above, this song for tenor bass chorus As
the Holly Groweth Green was probably a lute song. Sometimes kings would write their own
texts or songs for their musicians to perform. King Henry VIII of England wrote the text of As
the Holly Groweth Green.

As you prepare to sing As The Holly Groweth Green:

e Look through the song to become familiar with the key of F major.
e Find the places where the melody outlines the intervals of the tonic chord.
e Notice the call-response between the tenor and bass, in measure 43 on “adieu”
(pronounced ah-d(ee)oo, the French word for “good-bye”).
e Read the rhythm, add the pitch, repeat as needed.
e Add the text and sing musically, using good vowels, diphthongs, and articulation.

124
TREBLE CHORUS

Love In Thy Youth

For SA a cappella

Anonymous, 17th Century Music by

Lightly (¢ = ca. 144)
é EMILY CROC
CROCKER

Soprano

Alto

Love in thy youth, fair maid; be wise, Old Time will make thee

cold - er, And though each morn -_ ing new a - rise, Yet

and young, Thine’ eyes like twin _— stars shin

fair and young, Thine eyes___——_—iliike twin___— stars __—_ shin : ing: But
; . —— . . . .

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International Copyright Secured All Rights Reserved

125
 ere day be sprung, a Il these wi ill be de

Then win - ter 5 5 = rfDn

Then win - ter comes wilith a li his

fears And all thy sweets shall bor row °

9 Too late then

wililt thou show - er thy tears, A nd to 0 late shall so r

row. too late shall sor row.

126
iSBea2 0 & fa]@ a 1°]= 0 4 =» A

As the Holly Groweth Green

KING HENRY VIII Music by
Lightly (¢ = ca. 144) EMILY CROCKER

As the hol ly grow eth green, and nev er chang eth

hue, So am, ev er hath been Un to my

la dy true; As the hol ly grow eth green With

Vy; all a lone, When sum - mer flow *TSie— can - not be

seen and green wood leaves be gone. Now un to my

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

N27,
 la dy Prom - ise to h er I make, From all

0 th er on to h er be take.

a dieu, a dieu my

a dy, a dieu. Who hath m V heart tru

be sure, and ev er shall.

128
MIXED CHORUS

Musical Terms:
i 2 First and second endings. A repeated section; the first time, sing the first
ending; the second time, skip the first ending and go to the second ending.
As you prepare to perform The Call:
e Find the places where there is an interval skip in the F major tonic chord.
e Notice the quarter rest on the first beat of each phrase.
e Add the text and sing musically, using good vowels, diphthongs, and articulation.

The Call
For SATB a cappella
Words by GEORGE HERBERT (1593-1633) Music by JOHN LEAVITT

Moderato (d = ca. 110)

Ist - mp, 2nd - f Onc
Soprano
Alto

strife; Such a Life, as kill - eth

‘part; Such a Heart, as joys in

Copyright © 1995 by HAL LEONARD CORPORATION 129

International Copyright Secured All Rights Reserved
 Practice voice-builders everyday

_ POSTURE/BREATH

le Stand in your best singing posture. Imagine there is a balloon attached to the top of your
head. Allow the balloon to bring your head into alignment with your spine.

2. Exhale your air on an “ss” like air escaping from a tire. On a signal from your director, stop
the air, and notice the breath support from the diaphragm.

3. Imagine that as you inhale you are filling a balloon with air. Inhale over 8 counts, exhale
Onial sso"

ARTICULATION
In our daily speech we are often careless about pronouncing all the sounds of all the
words:

| gotta go home now. Are ya goin’ t’ the dance? Who ya goin’ with?

In choral singing, however, it’s important to articulate the diction clearly. Otherwise the
performance will sound ragged and sloppy. Here are a few exercises to practice
articulation. Speak each phrase first, then sing it on a repeated unison pitch or scale
pattern.

“a7 and “d” ;

Both consonants are produced with the tip of the tongue, but “t” is “unvoiced” and “d” is
“voiced.” Notice that sometimes the “t” sound is used even when there is no “t” in the
word: laughed is pronounced /aft.

Repeat the following “t” patterns:

CL) PERMA ONC pete, AC
e Tiptoe through the tulips
e Two times ten is twenty
¢ He laughed. She talked. We worked. They hoped.

5. Repeat the following:

Wea fend2fen 6fine feoOA bu 8od8|
e day by day
e dream a dream
e door die

130
ARTICULATION
“+” and “d” before a vowel
When “t” or “d” is followed by a syllable or word beginning with a vowel, connect the “t”
with that vowel:
What a surprise!
Wait until tomorrow.
Sweet is the sound.
The winding road
Open the window
Ride off into the sunset

“+” and “d” before a consonant

Even though in speaking, we often drop a “t” or “d” before a consonant, singing it that way
would sound careless. Practice these consonant sounds, followed by the same sound on a
short phrase:
e t-b, t-b, t-b might belong, might belong
e t-d, t-d, t-d sweet dessert, sweet dessert
e t-f, t-f, t-f Is it free? Is it free?
e d-m, d-m, d-m We could meet you there.
e d-th, d-th, d-th Sound the trumpet

“+t” followed by another “t” — “d” followed by another “d”

Most of the time when a “t” or “d” is followed by another “t” or “d”, you will want to
pronounce only one of them.
e | went to see the doctor.
e Come at ten o'clock.
e We had a great time.
e Pretty as a picture
e Written on the wall
e Hey diddle diddle, the cat and the fiddle

“+t” followed by an “s”

Most of the time, you will want to connect the “t”with the “s”.
° sweet song
e great sound
e street sign
¢ Mozart sonata
e short story
 THEORY

EIGHTH NOTES AND RESTS

So far, we’ve used whole, half, and quarter notes. An eighth note( J ) is half the value of a
quarter note. Two eighth notes ( JJ ) have the same duration as one quarter note. The
eighth note has a corresponding rest, the eighth rest ( 7 ) which shares the same length as an
eighth note.

Below is a chart summarizing the notes and rests we've learned.

The following diagram summarizes the relationships between the notes we've studied:

oO
yo oS
d d
eS eX
recta ec OL ee
Lo ON eae
sp aesAe
If the quarter note receives the beat, you can consider eighth notes to be a division of the beat:

Beat: ; i J J

Divisions ewe Ted), i

Eighth notes may be notated singly with a stem and a flag:

Ae ane
Or they may be beamed together in groups:

Jy Ces
Check your knowledge!
1. How many eighth notes equal a quarter note? A half note? A whole note?

2. Describe two ways eighth notes can be notated.

132
 THEORY

Y fe RHYTHM PRACTICE
g
7

Read each line (clap, tap, or chant).

@ lot lillial atl agOC ae

n
annn
ona siglaieesbetelall ele </oles2,

fennel.
@
 EIGHTH NOTE PRACTICE

opi tL An | UL ee
op-pHhlls
) 9a) ) ae
6 lt AA ee
@te - eeje ¢ dye SLT. 4. 14
@ ph) bby BO
® proved oejrdv nd SLA. A, 4.1L
ope til... No bo, Vo
@te
F.4d
4 vefe 4
@te 1 LLL. joo LEI
Je
@ 00), 000) oo,

134
SPEECH CHORUS

History: Hey Diddle Diddle! is an English nursery rhyme. Sometimes these rhymes are called
“Mother Goose” rhymes, but no one knows exactly why. We don’t know who made them up
or when they began. Rhymes for little children like this one exist in many different languages
and cultures around the world.

As you prepare to perform Hey Diddle Diddle!

e Read the rhythm of each part.
¢ Combine the parts.
e Add the text. Repeat to increase the tempo.
e Add the dynamics, and concentrate on the articulation and diction, especially the “t” and
“d” sounds.

Hey Diddle Diddle!

@ @

For 2-Part Speech Chorus

English Nursery Rhyme Music by

EMILY CROCKER
Quickly, with humor
i
pat [ings aa ea St a
Hey did-dle did-dle the cat and the fid-dle the cow jumped o-ver the moon. The

af
Part II
= > >

Hey did-dle did-dle the cat and the fid-dle the cow jumped o-ver the moon. The

(Finger snap)

Oh aS a
lit - tle dog laughed to see such sport and the dish ran a-way with the spoon.

(Finger snap)

lit
- tle dog laughed to see such sport and the dish ran a-way with the spoon.

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135
 a oe
mf oe

> =

Hey did-dle did-dle the cow jumped o - ver! Hey did-dle did-dle, the cow jumped

plas
>
aes je inesrabal ea
>

Hey did-dle did-dle, Hey did-dle did-dle,

> >

o - ver! The cat, the cow jumped o-ver the moon. The

Memo
>
r: ip ty i
Hey did-dle did-dle and the fid-dle the the cow jumped o- ver, the

lit - tle dog laughed to see such sport, and the dish ran a- way,

6
>

lit - tle dog laughed, laughed, and the dish ran a- way, the

dim. al fine (Whisper)

the dish ran a - way, ran a-way with the spoon. The spoon!

dim. al fine (Whisper)

dish ran a - way with the spoon. The spoon!

136
 Practice voice-builders everyday

REVIEW AND PRACTICE

fs What is a diphthong?

2: Describe how to sing the vowel sounds in the following diphthongs:

|! my day joy now’ way though

How do you perform the “t” or “d” in the following phrases?

¢ Wait until dark
e The winding road

. In the following phrases, how do you sound the “t” or “d” when singing?
e Great day!
e Sound the trumpet

In the following phrases with double “t” or “d” sounds, do you sound both of them when
singing?
e Hey diddle diddle
¢ Come at ten o’clock

How do you perform a “t” or “d” followed by an “s’”?

e Sweet sounds
e Ends so soon

Apply your knowledge by singing the following exercises:

ing road. You are old, Fa-ther Wil-liam, you are old! Sound the trum - pet!

137
 REVIEW AND PRACTICE

Check your knowledge!

How many beat(s) does an eighth note receive in a meter of f 2

How many eighth notes take up a whole measure of 3 meter? r meter? ; meter?

How many quarter notes take up a whole measure of : meter? meter? ; meter?

How many half notes take up a whole measure of : meter? ri meter? i meter?

What number of eighth notes equals the duration of a half note? A whole note?

What one note value completely fills a measure of H meter? Of : ? Of _ ?

What note value receives the beat in i meter?

How many beats does a whole rest receive in ; meter? A half rest? A quarter rest? An
eighth rest?

oe Assuming a meter of i, how many eighth notes are in the song Happy Birthday to You?

10. Supply a meter for the following rhythm patterns:

pest Lae Dee ee

res a

138
a: = i=)GYRas E =a © = farl 4 c*)f=i A
aay=

Read each line separately and in any combination. Describe the time and key signature.

139
 TREBLE CHORUS

History: |n the late 19th and early 20th century, interest began to grow in folk music. Cecil
Sharpe in the British Isles, John Jacob Niles and John Lomax in the United States, Bela Bartok
and Zoltan Kodaly in Hungary, and others traveled back roads and country lanes writing down
tunes sung by the people they met along the way.

As the work of these musical pioneers became known, composers began to use folk music as
source material for symphonies, ballet scores, operas, songs and chamber music. In America,
Aaron Copland and Virgil Thomson were two well-known composers who made use of
American folk music. In Hungary, Kodaly, in addition to his work in cataloging folk music and
composing, became known as a leader in music education. Let Us Chase The Squirrel is an
example of a simple American folksong arranged using Kodaly techniques.

As you prepare to perform Let Us Chase The Squirrel:

e Discover which sections are monophonic, which are homophonic, and which are
polyphonic.
e Identify the key, and notice the places where there are interval skips. Take special care to
distinguish the descending intervals from the tonic: F to E, and F to C.
e Read the rhythm of each part, then add the pitch. When the parts are secure, combine
them into two (or optionally three) parts.
e Add dynamics and perform expressively.

Let Us Chase The Squirrel

For SA or SSA a cappella
Children’s Game Song Arranged by
Fast (d = ca. 84) EMILY CROCKER

Soprano I

up the hick-’ry, down the hick-’ry, Let us chase the squir - rel,

Soprano II

Let us chase the squir - rel, up the hick-’ry, down the hick-’ry, Let us chase the squir - rel,

Alto (Opt.)
Let us chase the squir - rel, up the hick-’ry, down the hick-’ry, Let us chase the squir - rel,

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International Copyright Secured All Rights Reserved

140
 up the hick - ’ry tree. Let us chase the squir - rel, up the hick -’ry, down the hick - ’ry,

up the hick - ’ry tree. Let us chase the squir - rel, up the hick -’ry, down the hick - ’ry,

up the hick - ’ry tree. Let us chase the squir - rel, up the hick-’ry, down the hick- ’ry,

Let us chase the squir-rel, up the hick-’ry tree. Let us chase the squir - rel, up the hick -’ry, down the hick-’ry,

| 2. Bae Ee eee ee
“ Sad be ee ee ee Pe ee ze === ase Sy Me Se es a SE
a. eg
4 2 a
aaaae a oe A
a a
ee ee a
eee ee eee
a
ee - ee EE ee
ee eT
Let us chase the squir-rel, up the hick-’ry tree. Let us chase the squir - rel, up the hick-’ry,

Let us chase the squir-rel, up the hick-’ry tree. Let us chase the squir - rel,

down the hick-’ry, Let us chase the squir - rel, up the hick-’ry tree. Up the hick-’ry tree.

up the hick-’ry, down the hick-’ry, Let us chase the squir - rel, up the hick-’ry tree. Up the hick-’ry tree.
 TENOR BASS CHORUS

History: Sea Chanteys were songs sung by sailors in rhythm with their work. Work on board
a ship was very hard, and different kinds of songs developed for pulling ropes and other tasks.

Leave Her, Johnny is a variation of two earlier sea chanteys: Leave Her, Bullies, Leave Her and
Across the Western Ocean. The song dates to about 1850 when thousands left Ireland after the
potato famine forced them to flee the economic hardship of their native land.

As you prepare to perform Leave Her, Johnny:

e Identify the key and time signatures, and notice where the melody has interval skips.
e Read the rhythm, then add pitch, and repeat until the parts are secure.
¢ Sing in two (or optionally three) parts, and add the text. Sing with expression.

Leave Her, Johnny

For TB or TTB a cappella

Traditional Sea Chantey Arranged by

With expression (d = ca. 108) EM

Tenor I =

thought I heard the__ cap - tain_ say, “Leave her, John - ny,__—

Tenor II SG Ce eee SS SE Re SAN Pe

(Opt.) Ke 4 — FO OO

I__ thought I heard the__- cap - tain_ Say, “Leave her, John - ny, __—

Bass Sa areas eee os eee emma! seme fee sat fa Ree ee eee ee eee
[__ thought I heard the__- cap - tain say, “Leave her, John - ny,

° leave her. To - mor-row is your’ wed - ding_ day, it’s time for us to

leave her. To - mor-row is your wed - ding day, it’s time for__ us to

a ee — a eae es ee ee Se eee
52 ee_oan Rami Sacer wlRewevese mcuancar! Semoun Copeees iWfoams bemoan emesis MoCo Gye

leave her. To - mor -row is your wed - ding day, it’s time for_ us to

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142
 * EW Se Se) eS eee ES a ee Be ee See Ss ee 6) eS SE ED (eee ee ee ee Pa ee ES)
7 SE GE) Sey a SSS |SSS SSS a ee ee eS el el
Of, U4"Sw 2355) Semen Sl Bea {SS SO See Se Be eS See 2 ee ee eee ee eee
IMAG DR. epee - ESS Se Se SS See ee eee ee 4 ESS pe ae)

leave_ her.” The_ trip was hard and the wind was_ strong, Leave her, John - ny,__

|_f — —
4 RID iT Re eee 2 ee ES (a a ee) ee ey ee ES ee eee Se Le ae | ae es eS es
LE yl 2 eae es eS Ee eS eee See" SS Es Sees SSS Bes Se ees ie ese ae ee Eee
ee ee ee J», _ 632 Bess Se SSS Se PS SS SS eee aD ee

leave her.” The_ trip was hard and the wind was_ strong, Leave her, John - ny, __—

Ze
= > 2D SS AS See
. ae ~<A aes ay
SSE SSR Sa Bae Saeae S EG _ ee B ae are SS SS See aay
CAG Se (2 Se Bae eee ie ee Se ee Sa a ee I ee RR ee SE ee Se ee a (ST
ores Se he | 7 Se Se Sees A ES CS SS eee ee

leave her.” The_ trip was hard and the wind was_ strong, Leave her, John - ny,

'/..wa (es =o Shes ag SS ee J3 2 DS eee ee a

BR) & =e ee) eee (a See RE Ee ee 2 eee eee eee ee ee ee eee ee ee eee

leave her. But you’ll be back’ be - fore e’er_ long, It’s time for us to

SSS aS ee ee Se ee
LY iN Ee ee eS eS i eee Eee 2) 6 ee ee Se ee Pe ee ee et ee ee
ea — eg ef a SSS)SES ES eee eee En eee eee eee. eee eee eae

leave her. But you'll be back be - fore’ e’er_ long, It’s time for__ us to

YS Cee ee ee eee ee) _ eee ees ee

MRSS RE jee _ Oe ee es ee FE ee) _ ee ee |Sel (Ree 4S) 6d Reed) ae SSS
PASS 2 SSeS Lee SS eee SS a es See ee SSS. a eee © ee Pee ees
1 SSS 1 Ee Se (ee ee es Fe, ee Sey ae ees | === ie Sree aT RS SS Se

leave her. But you'll be back be - fore’ e’er long, It’s time for__ us to

it... mal) ae El - Seen

BS Se ee SS ee aS Sees ere ee ee ed a A eS)
WW AAO USA SS me - See ES, SS [a eee ee) i Re ae] Ease eee ae es SSS)

: leave_ her. It’s___—_— time for us to leave her.

sss pa
| REN
SS SS SS SS SSS ee SS PS Se Se BS |e nS a (eer a Ss |
CY 2703 Fi” aS Se ed (ae a Sa - SE 9 Eee) SES |
i”. Tae iS 22 eee ee Ges Ee ~ Se ee |] <REAS SEAR SSIS SSS eee St ee |
DRA) ae)
2S - ES ee bene) ae De ses. SE L_] = Eee re eS Le Se ST

leave _ her. It’s___—i time for us to leave her.

 MIXED CHORUS

This traditional rhyme has been set to music in such a way that the humor of the text is
emphasized. As you prepare to perform Betty Botter:
e Notice the places where the melody outlines the intervals of the tonic chord.
e Notice the 2- measure rest in both the SA and TB. Be sure to count and listen to the other
parts so you come in on the right pitch at the right time.
e Chant the text in rhythm, concentrating on articulation. Use expression!

Betty Botter
ATB
Traditional Rhyme ae ee Music by
Fast! JOHN LEAVITT

It will make my bat-ter bit-ter, But a bit of bet-ter but-ter

Will __ make my bat-ter bet-ter. So she bought a bit of but-ter Bet-ter than her bit-ter but-ter

her bat -ter, And it made her bat - ter _ bet - ter.

bet - ter Bet - ty Bot - ter bought a bit of bet -ter but - ter. Yeah!

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved
144
 Practice voice-builders everyday

POSTURE /BREATH

Posture: Check your posture and ask yourself these questions.

Stand with feet apart (Is your weight balanced?)
Knees unlocked (Can you bend them easily?)
Back straight (Are you standing erect comfortably and not stiff?)
Head erect (Is your chin level, and not too far up or down?)
Rib cage lifted (Is your chest high and able to expand?)
Shoulders relaxed (Are they comfortably down, not too far forward or back?)
Hands at your side (Are they relaxed and free of tension?)

Remember that just like athletes, singers need to prepare themselves for the physical process
of singing. Performance, whether on the playing field or in a concert will suffer if the body is
not sufficiently prepared or involved.

Practice good posture, good breathing, and good vocal habits every day in rehearsal, and
these good habits will be there to help you succeed in performance.

1. Lift the left shoulder high and let it fall. Repeat with the right shoulder and finally both
shoulders. Stretch overhead, fall forward like a rag doll, and gradually stand up to a good
singing posture.

Breath: Practice breathing exercises every day. Apply this practice to all your music making,
sight-reading music, rehearsing music, performing music.

2. When people are suddenly startled, they usually take a deep natural breath very quickly.
Take a “surprised” breath. Notice the action of the diaphragm.

3. Imagine that there is an elevator platform at the bottom of your lungs. Drop the platform
toward the floor as you inhale. Inhale 4 counts, exhale 4 counts. Repeat with 5, then 6
counts.

ARTICULATION
Singing the consonant “r”
There are two kinds of “r” sounds which are used in singing in English. The American “r” is
the “r” which is used in daily speech. The flipped “r” could be described by the saying “very
good” sounding as “veddy good” as they say it in England (the tip of the tongue at the back
of the front teeth). Both are used in singing.

In singing, we must carefully prepare the articulation of words containing “r” sounds. This is
because an “r” can affect the vowel sound which it precedes or follows. Say or sing the word
“care” on a unison pitch, holding the vowel and gradually changing to the “r” sound:
“keherrrrr “. Did you notice the movement of the tongue and the change in
the sound?

145
 ARTICULATION

Guidelines for singing “r”

Whether you choose to sing an American “r” or a flipped “r” will depend on the kind of music
you are singing. It is important, however, for an ensemble to have a uniform sound on an “r”,
since even 1 or 2 voices can affect the sound of the entire group.

Sing “r” before a vowel: This holds true whether the “plr is in the same word with the
vowel, or in adjoining words. Practice the following examples and repeat at different pitch
levels.

De-emphasize “r” before a consonant: This can be a challenging concept for anyone
learning to sing, but a necessary one in developing a pleasing choral tone quality. There are
some exceptions to this practice, mostly in popular music and certain kinds of solo work, but
in general, the rule applies. Practice the following examples, omitting the “r” sound when it
precedes a consonant.

first
brah(ee)t, fuhst stahr ah(ee) see too-nah(ee)t

146
J] MORE ABOUT METER
Remember that meter is a form of rhythmic organization. In the simple meters we have been
using, the top number indicates the number of beats per measure in the music. The bottom
number indicates which note value receives the beat.

4 = Four beats per measure( J J J J)

4 = The quarter note ( J ) receives the beat

3 = Three beats permeasure( J J d)

4 = The quarter note ( J ) receives the beat

2 = Two beats per measure( J d )

4 = The quarter note ( J ) receives the beat

So that the ear can easily recognize and group notes into the various meters, each meter
stresses certain beats. Almost all meters stress the first beat of each measure. This is called the
downbeat.

z2 2 |e J |
Piahrenanenedinnnt
aban yngis4|
In i meter, a secondary stress occurs on beat three along with the stressed downbeat.

te dd tgs
i |

Check your knowledge!

1. Define meter.

2. Describe the following meters: 3, 2, 4.

3. What is a downbeat?

4. What beats are stressed in Fi meter? In ; meter? In i meter?

147
CHANGING METERS

Read the following exercise with changing meters. Clap, tap, or chant.
_ TREBLE « TENOR BASS « MIXED

History: Music with changing meters has been widely used throughout history and in various
cultures. During the Renaissance, meters shifted easily from meter groupings of 2 beats to
groupings of 3. During the period from 1600-1900 metrical patterns became more regular,
although Bach, Beethoven, Brahms, and others used techniques which interrupted the regular
pulse. Brahms wrote a famous work Variations, Op. 21, No.2 which was written in : + 7
By the 20th century, composers became interested in more variety in rhythm and meter as a
compositional technique. Works for all kinds of ensembles were written with changing
meters and other interesting rhythmic effects. There are many famous works which use
changing meters including Igor Stravinsky’s Danse sacral from The Rite of Spring and Carl Orff’s
Carmina Burana.
Music from other cultures including music of the Middle East, Eastern Europe and Indian ragas
are often organized with complex meters and other rhythmic devices.
As you prepare to perform Alleluia:
e Identify the time signatures throughout the piece. Identify the key.
e Read through the rhythm. Stress the downbeats and other secondary beats in each
measure as they occur.
e Notice the places where the melody outlines the intervals of tonic chord. Can you identify
the tonic chord when it occurs?
e Add the pitch, and repeat as needed for accuracy.
e Add the text, and work to increase the tempo. (De-emphasize the “r” in the word
“together,” i.e. sing as too-GEH-thuh)
e Sing with energy and expression.

Alleluia
e

For SA, TB, or SATB a cappella

Music by
JOHN LEAVITT

Soprano
Alto

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved
149
 (Hand Claps)

(Hand Claps)

(Hand Claps)

(Hand Claps)

150
(Hand Claps)

(Hand Claps)
3S
x8
S

—
‘Ss
Ss
aS

=~
S5
=

S
 COMPREHENSIVE REVIEW

Answer the following questions orally in large or small group discussion.

is Why is good posture important in singing?

Ze Describe the steps for a good singing posture.

Sa Describe a good singing posture for singing from memory. Describe a good singing
posture for holding music. For sharing music with another singer.

Why do we need articulation in singing? What are the articulators?

What are the three stages of breathing for singing?

Describe the action of the diaphragm during breathing. The abdomen. The ribs. The
lungs.

How does an expanded rib cage affect breath capacity?

What are the five basic vowel sounds? Describe the basic formation of each.

What is the general rule for producing other vowel sounds in addition to the five basic
vowel sounds?

10. What is the neutral vowel?

i Describe the difference in the vowel sounds of the following:

e 2nd syllable of welcome
e 1st syllable of Alleluia

14, What is the source of vocal tone? What is it popularly called?

13. How do the vocal folds produce sound?

14. What is a diphthong? Describe and demonstrate how to sing the following
diphthongs: light bright you | why now

Le Describe and demonstrate the pronunciation of the following words using the
consonants “t”, “d”, and “r”:
Dream a dream Sweet music Rejoice! Dark brown is the river

oz
COMPREHENSIVE REVIEW

Check your knowledge!

What is rhythm?

Define beat.

How many half notes equal the same duration as a whole note?

How many quarter notes equal the same duration as a half note?

How many quarter notes equal the same duration as a whole note?

How many lines and spaces make up a Staff?

Give both names for the clefs we’ve learned and describe them.

Name the pitch which may be written on its own little line in either clef.

When treble clef notes are written in the bass clef or bass clef notes are written in the
treble clef, they use additional little lines as in #8. What are these lines called?

LO: What are the vertical lines that divide a staff into smaller sections called?

VW Name the smaller divided sections of a staff.

12; How can you tell the end of a section or piece of music?

Is. Describe meter.

14. What are the numbers that identify the meter called?

15: Describe the following meters: 7, a, :

16. What is another name for musical notes?

17; Define scale. What is the Italian word for scale and its definition?

18. Describe key. Describe keynote.

1, What is the difference between a whole step and a half step?

153
 COMPREHENSIVE REVIEW

20. What is a major scale?

Pa What is the order of whole/half steps in a major scale?

22. What is a slur?

25: Where does the word pianoforte come from and what does it mean?

24. Describe f p mf mp. What are these signs called?

2): What is an octave?

26. Define soprano, alto, tenor, bass.

Zi: What is an interval? What is the difference between melodic and harmonic intervals?

28. What is a chord?

22: How many tones are needed to form a chord?

30. What is the difference between a chord and a triad?

3h What is another name for keynote?

a2 On what tone of the major scale is a tonic chord built?

a5: Describe the key signature for C major, G major, and F major.

34. How many beat(s) does an eighth note receive in a meter of i ?

ae What number of eighth notes equals the duration of a half note? A whole note?
|
36. What is a downbeat?

ah What beats are stressed in 4 meter? In 4 meter? In r meter?

38. What is the dotted note rule?

154
[=oe lad@ od]ad 1°)= fe] "4 —) “A

Oh, Soldier, Soldier

For SA and Piano

Traditional Text Music by

EMILY CROCKER
Fast march

Soprano f
LS

sol
- dier, sol-dier, won’t you mar-ry me with your mus ket, fife, and drum?”
Alto

Basa
|

aki
“Oh, sol-dier, sol-dier, won’t you mar-ry me with your mus-ket, fife, and drum?” “Oh
|

tile

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

155
 TREBLE CHORUS

et |
aa=

ae zara
==
a
==
p
ee
ey
ee See J
=x]

no, sweet maid, I can-not mar-ry thee, for I have no coat to put on ”
Then up she went to her

aaa fe ee eee
ee |ee
ee ee ee ae
ass}
masa
ay
=
=
si
=e
as
SE
rae
—
no, sweet maid, I can-not mar-ry thee, for I have no coat to put on
99
Then up she went to her
(hat)
(boots)

= =a > aaa FS eee

SS
aaa
eae Ey ae
eee
}—s—
eel
SS
3S
Ss
Saas
Sa SS
Be
Saas

grand - fa-ther’s chest, and got him a coat of the ver - y _ best “Oh
(hat)
(some boots)

mea
ae
a
Sa
aa)
oe | a aaa
| a
sa a ee
GS" SSE
a
ETE ey

grand - fa-ther’s chest, and got him a coat of the ver - y _ best. “Oh

(hat)
(some boots)
i
Wy
riiat c

tl RS Sa
= a
ih
Ree ees eS Se
Sa - aes
-w—
(Ge eS
aa
eae SSs4 =
BS
ne
ee
eee ee
Lanes rare

ae
is
ee
a
en
Ses
i Rae
a AE
vera
Rae
aes
Sea
=a
= eee Gees Ae
aes a ae SPE MS Pe SS

156
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EEE

ie we \ l vl vla ae
Baez Basz oN fhsz Basz Basz
a bel Siac} WI
wa SS

|
ge)

| oe: it : | he oe
|
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35
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Ss Ss

= | Ny
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IA} i)
hae
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Pm
a
i=) | i)
: =} ibe & =| HT}
ee] & Ss Sy CS io]

P|
ells K=|
cS NT = ee
ee ee BP ] Pp ]

| 8 Ms =
s€
& [TN & € & il
a 2 & Elaiis
) | | ATT ile
; . = a nal
Ss a=) = ) }
2 2 _ il a il
& | bs | |
ll ni &
i}
IA) 3s IM;
aa ~
7) 17a) o oe
= = 2 &
; ; S 3 S a
3 s Ny Vv
Ss :
= « | Ny a S = ro) 5 8 6
Ss OS be eS ee AN bof Ss

= callers S ieee Ss)

. : NY
. & s)
.
2 All) = TT S Cp —
« = si{t > silt
= eae gE ae Ht :
: 7 ;
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sits : ible
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ne “esa Na?
as S i
e 5 4
ort ay
i=)
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=] fy

1S7,
 TREBLE CHORUS

Tempo I

[Sree ie hee ee
a ee el al |
Baza
f
.--: Sa
ae ae a a es frog
= 1 ae [a
==
ar
Ee
mus - ket , fife, and drum?” “Oh no, sweet maid, I can-not mar-ry thee, for I

oma)
iS BiifeT
Sal Meese ee aes! ene eee Tee ae | aa =a
ee
'— ieee
EC RES
eee ee SS
Bisse laa
ear,
See SS) Beane Bees
SA LSS
—— ae

mus - ket, fife, and drum?” “Oh

no, sweet maid, I can-not mar-ry thee, for I

A, A, A, 4,

div.
a aE aes IT RST ES LT
Se Ce Ss ae ee ee t aT
Shs See Se
iY a ee eS eee ea GSS 6 kre ee ee eee)
_
SEE!
ee 7 (SSS aaa
SS Se
eee) ee ee ee

have a wife at home.”

hf.
=tere Poe 5) is ee eS SO aaa a
a ae a ee ES) F SSS 6 WE eS a ae a Cee ae
SSS ES 2 ee | i a ee Sea SS SS Se eee eae
|
EET
£2 ET ee SESSA
Oi SST (2255 0 SeeaeS
|_ S SSeS

have a wife at home.”

tl HT

158
 TENOR BASS CHORUS

The Hunt
Traditional American (adapted) Music by
EMILY CROCKER
Fast (d ca. 160)

‘ial
“it
PITT
he

Th
ie
Tenor
LA
Hg

yi; ah ey
A lb
U.S
le Ct
ea
ae
——
SESS
— =e
——
3il3 e ©
=
elf
A

With horns and hounds in _ cho-rus, —-*)— a) 5 in the day. With horns and hounds in _
en
sale

OT
To ail
cn

TH
A

en aaa oes
AAS)
a
SSS
—
hs2
i a
|
a
aT ea[|
TINY!> oo
)~

hig
oN

Gar TEs
(eee ey

Copyright © 1995 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

159
160
ch Baud Baad ah Baad -
u.
ih To
Me AE) ae e AE) aus
ll ° hide ri .£ || as
aif]
yy = \
iWeiese Ef Hr I
i?)

La
é , w“
Ld

=
fe)
[-"4
3 =
af (7)

rH
allie B: ll Gn 3 bsint
all Sinanoeei=) Raw ba) || i)
g g | ze |
Su

Cj
2 S4 | £

; : | ll

; ill rc Hs
\QS
= ci = Hy} >
|
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sun
sport’s
|

shines
ae

i
aaa
er

eel
aa)

ay

WwSez
[|= —_ —-

ewes

now
up
ex - ceed - ing
 \© T™ GN
th ~eOE 6 +GN > NEE BIE... ad
ATY le tTsz 2=
TaN N) S \ (—)
ill > =| a
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re)
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2 sail : 1a h 4
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OAR) \ ° WAN S
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| | || ll C Ran © good) 5 Ran
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ui) \\ai
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Hl Hi : ;
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APES

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sal LD}
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161
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 =
AHse
Nil é Uill
ull
am TH
ea l||
ae
S38
Z ee ul ‘
: z ll e|l l » ‘
= mall fl s ETN] EB 4
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Mes HT > dill
©
ex
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Ue Lio
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lll co
in)] al era
i Me Nie dl

Copyright © 1995 by HAL LEONARD CORPORATION

All Rights Reserved
rez ‘
ll = ‘UH
Se il elle abl
Ul

International Copyright Secured

z ull
Se Ui eee ull
= itl allipae
TI
Tui Heap
Ellis
oe Hap (=
Ul
‘LLOo
3g: ui
ty pat
mel é aaiulll —o
l
til : "ull
2 AW|| ,

dong.

=
8

:
2 tT ES alll
Il
5 a & NTT
; z =
a en
:
4 2 i i Le i
re) Sy SY TS et 1
PGI ial Sy
a = zs ||
ee En g ‘=|
E
- ES 5 iS SI B 2 cpl le ohh le oe ee ta
é eae a < a a rw rh? TS? IM aN Uc ie

162
 = eR
=
eum
ad|6 me es ©

me
hs,
Ihe ann

e :
=a075
Baud

elie
eS TE

rin
Ee RE ae

B3 = 2 5 2 3
(edb
Fe] iveet St (Se RE SS |
a ES a
Well
Dn =

TI
bells, sil - ver bells.
Ss]
'

Band
=a0%
rT|
M
|ceeds oi Mn eee Sake
ae aay Pee rE ey

“: =
jw |

a ¥ Gs
EEE TT, Jee Garey SS

o5 r = ES = 2 an =

ll
bells,

a=
1
sil - ver bells.

re
a5
Band
iy Sw SS SS i SVS SS

Wile tye
eT Bi | eoee ee

: Eilts
aaa - Se ee SS ee
{+
—___|
£
Sn a i ell
=
E2 E = » @} ¢ o
- ic rhyme,

me e
ahA
i
Wile
q
AY

=a ey 3 oo 5 i=l A= pe 3 op
9} dong

aU
Bend
| |
|: i Po
:
:
ohc ine
\

enh
Bana Ue |lsi] Iin:| WsWyeWeHisTA;ne
|
WeMe
s = == 3 E | 3 & 3 | Z-

Wt
Se > —

Uh||HL) |
-*)

LN UH UiWIS
1

DO
aSee
= SE
Dana

= s x= §
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5= e & & Me s 3& & 3 . 3 at ov — %—

a= AE
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Se)
Bena
WNUT (fer ll =a

iWle :
Me
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a
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q pC e—
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ep Se 5 20 “ = 2 eb =
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:

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tin - gle tin- gle tin- gle, how they
E3

ll ih Ll NL)wea
NO)
Desa
Ik ll il il Mid Tl | HHTLS
Ul 4
Bh

ch4 anne S\)

= ina)
 MIXED CHORUS

a 14 ==
ES) Ee SE) SS ae a a a eee (ee mee SE
ee Se | ee 2 2
eee
ivéals eT fn ee OO) a eae eee
aN ee Os es Ges Es

All the heav-ens seem to twin-kle with a

r}
EY === Se Cae ee ST st aa == __.._.§ SSS nS
he ee eee SS ee eee eee
Ll). ae, aes ER 2 ae ae Le Se Se Ee Le ee aed es ed Ee ee
OAS). SR Es ee a a eh ie Se ee ee ee aS| ee SS eee

While the stars that ov - er sprin-kle, while the stars that ov - er sprin-kle with a

ana i-cy air of night, in the i - cy air of night, in the i- cy air of night, with a

tin- gle tin-gle tin-gle, how they tin- gle tin-gle tin- gle, howthey tin- gle tin-gle tin-gle, with a

ae li
Bue
alsv

AN
P= liiN e@

crys - tal-line de- light. Ding dong

Eve

nl ) 1
=a
See ee

crys - tal-line de - light. Ding dong Q S S ge

3S,

G ill
=I
AS

crys - tal-line de- light. Keep

- ing time time time in a sort of run - ic rhyme,

Lo) :
crys - tal-line de - light. Ding = 5 we a S 5 ae dong. Keep - ing

onan
P=uy
rae
Mii per
'(
=)
ro

il
\

NW
|
|
| i
N> i |
aa
s
‘) |

164
 FS : rma | a
(eo) >

:
LTv5
=
B|
————
= op
a=)
dong. Hear the sledg-es with the bells,

fasv5
cS

| OE
=
oe ee
ne
eee Pe
\
a EE

a
a=) OD (=)
dong Hear the sledg-es with the bells,
TS
oie
ll We | A
ees Eee
a
ee
| Pier a
SSeS) =
A= SSeS
a
psa eg
=a ae)
|
SE nee Me) Sa Sea) ka) aa Seal
6 S Zo B=)
S| rary oy & 3
sort of run -ic rhyme, keep-ing time time time in a

Can,
¢
SSS
|
SSS Sa lleI
eee We SS EES
Whe ED oT
ES, EF
a
SE SE
Se ISSEY
ae ee) ae
a
ETT
ee a i
aeae
EB)
pi=arg pT
Saree es)

= ie eee > Raterseal

{____] =
eS E Ssa: oF a
©
- ae
S sf sort of run- ic rhyme, keep-ing time time time in a
| : 1 | ' ' ' ! t ; '
uJ
j

i
BS
eeeSS
s

fasch
|
my | Bt ee ane Tees
a
EET Sa
o)
a ere
Sener ESS
ee > Sa ee

a = ' : ) fm 2 g n
' o he
bells, Ding!
ing!
TS
ch

|
D > J

a =
|

cc)
fon 2 Z
a
—
oO be
ee aay
a
ae
eee
Sas
eee
eee

SS
ee ee
se eee ee

ie
' n
' bells, Ding!
ing!
TS
ch
| a Sa
ea a
le
ec
a
S=
}
r Se a e 2 Weg
= o
keep - ing
i
a

time.
a Fee | a ees Ree

f
| =e
eeea a
(OP cee eee eee ee
eae ee es EE ee Se See
|
ee re

Wg 3
ES Ss ee Se ee ee ee)
E} Z S St fs AC < oS

et
eo
'
5i time. Bohm!

te
( 2 eee ee ae Se eee
Se
0 as
Li
_N|
Al pg =
6S ee ee ED 4
|] |e aay / 4 Sear
= abSeeTA A
 (Movable “do”)
“Ho”
changes as the key changes.

Key of C major

Key of G major

Movable “do” — Accidentals (in all keys)

Ascending chromatics (“do” changes in each key)

Descending chromatics (“do” changes in each key)

166
 SOLFEGE

(Fixed “do”)
“Do” is C and the pitch syllables remain fixed no matter what the key.

Key of C major

Fixed “do”
Accidentals are fixed as follows:

Ascending chromatics

i) aa) Se a 7) a eS rrr H
BAY V ) Sey SSS UJ
- ve oO To eS

do ti la sol fa mi re do

re}:
oe D ba -= be
ve 2 eSNG = = io 3 = !
| 2 = a

167
 Numbers (pitch)
Like movable “do,” the
a n”
changes with each key.

Key of C major

Accidentals can be performed either by singing the number but raising or lowering the pitch
by a half step, or by singing the word “sharp” or “flat” before the number as a grace note.

Key of C

3 4 #4 5

168
COUNTING SYSTEMS - SIMPLE METER

There are several systems in use which are quite effective. Here are three:

Traditional Eastman

rap srpell pe! asp

tiriti tiriti tiriti tiri &a2 &a3d &ad Ka teta2 teta3

169
 COUNTING SYSTEMS

Kodaly Traditional Eastman

(Beat) | | | | | | | | | | | |

40d
S01 dd) JT) dS) 4
tiriti tiriti tiriti tiriti le& 2e& 3e& 4e& ltate 2tate 3tate 4tate

tim ritim ritim ritim

(Beat) | |

es die. eer
tirim tirim tirim § tirim

170
OTHER SIMPLE METERS

Adapt the information from the charts on pages 169-170 to apply to music in other
simple meters: |

Simple Meters: Simple meters are based upon the note which receives the beat, i.e. i
meter is based upon the quarter note receiving the beat.

2 = 2 beats per measure ( J) J )

8 = The eighth note ( J ) receives the beat

ee ete oe |
3 = 3 beats per measure ( J) J J )
8 = The eighth note ( 2) ) receives the beat

en Ce eee
4 = 4 beats per measure( J J J 2)
8 = The eighth note ( J) ) receives the beat

Reeetmaetetiory,
vy) Jeu ofSega dahSarg glee sete |
2 = 2 beats per measure ( J d )
2 = The half note ( J ) receives the beat (Note: sometimes written as ¢ “cut time”)

Seem OP hte cee she ea toads [Petey vi

3 = 3 beats per measure ( dd d )
2 = The half note ( d ) receives the beat

me side J yd od 1 epeavaie tywey

4 = 4 beats per measure ( J J J d )
2 = The half note ( J ) receives the beat.

Re. dla | co, | WaROoh Madea agin MH bald: nit |

171
 COMPOUND METER

Kodaly Traditional Eastman

(Beat) |

g
ta

OTHER COMPOUND METERS

Adapt the information from the above charts to apply to music in other compound meters.

Compound Meters: Compound meters are meters which have a multiple of 3, such as 6 or 9
(but not 3 itself). Unlike simple meter which reflects the note that receives the beat,
compound meter reflects the note that receives the division.

To determine the note that receives the beat, add three divisions together. For example: :

6 = 6 divisions to the measure (2 groups of 3)

8 = The eighth note receives the division
(the dotted quarter receives the beat)

9 = 9 divisions to the measure (3 groups of 3)

8 = The eighth note receives the division
(the dotted quarter receives the beat)

12 = 12 divisions to the measure (4 groups of 3)

4 = The quarter note receives the division
(the dotted half note receives the beat)

An exception to this compound meter rule is when the music occurs at a slow tempo, then
the music is felt in beats, rather than divisions.
172
 RHYTHM DRILLS

fa Simple Meter
The rhythmic, melodic, and harmonic exercises on the following pages are included for
reference or drill as needed.

Beat, Division, and Subdivision

Clap, tap, or chant each line

) ccd ag L ee e casa
Division
os)foal pO besesolimer i Loleong eae om nl Or
pion eee eo ies Mapee
@ FE ee Da SE ee oP ee ew eee ew eee
Subdivision

173
Vfl RHYTHM DRILLS
Dotted Rhythms
Clap, tap, or chant each line

Dotted half

og J ee ee
|d 1) | ae
@ $e a iene

Dotted quarter

@ 44-1 Ee

ogi po bh)

Gif Ses dar cc OMIT

lena
Dotted eighth

» Pow ee ee

Panrst ae
et a
RHYTHM DRILLS

Compound Meter
Clap, tap, or chant each line.
What note gets the beat? The division?

cy A ae a a ee

(oy et tS a oa a CL ee

eae eee i eee

fe
ee
Dotted patterns

ee ee oo oe)
pees ee mmoemas im foe. Jom

ge yy
a
eee ym
© ge. SB in| STO aed ve

@ $ Le tect | |d: ale i

cari cea i toad

7s
 & aa= 1°]a5 |= es aswallc|A

Key of D Major

Chord-builders

Chord Drills

Sing separately and in any combination.

176
Qa =(=°]= a 4 =e= wllA

Key of B Flat Major

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1|/8
+ ) |h
i

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Ti:

:
°
al
HO

Chord— builders

Chord Drills

Sing separately and in any combination.

 ABOUT THE AUTHORS

EMILY HOLT CROCKER is a native Texan and was a professional educator

for 15 years. She taught all levels of choral music, specializing in middle
school/junior high, where her choirs received numerous superior ratings in
concert and sight-reading competitions. In 1989, she joined the music
publishing industry and in 1992 was named Director of Choral
Publications for Hal Leonard Corporation in Milwaukee, Wisconsin. She
holds degrees from the University of North Texas and Texas Woman’s
University and has done additional post-graduate work at the University of
North Texas, where she was assistant conductor of the A Cappella Choir
and taught music education.
She is the founder and director of the Milwaukee Children’s Choir, a group that was organized
in 1994 and is sponsored by the Milwaukee Chamber Orchestra.
Ms. Crocker is known nationally as one of the premier choral writers specializing in music for
young choirs. She has over one hundred works currently in print and since 1986 has been
awarded ASCAP special awards for Educational and Concert music. In addition to her
responsibilities at Hal Leonard, she maintains a busy guest conducting, workshop, and writing
schedule each year.

JOHN LEAVITT is a Kansas native, born and raised in Leavenworth, Kansas.

He completed doctoral work in Choral Conducting at the University of
Missouri-Kansas City Conservatory of Music.
His undergraduate work is in music education from Emporia State
University. After graduation, Dr. Leavitt moved to Wichita, Kansas where he
worked in television for five years. At Wichita State University, he pursued a
Master of Music degree in piano performance with significant study in
composition.
a While in Wichita, he directed the parish music program at Immanuel
eutheran Church and served on the faculty at Friends University where he won the faculty
award for teaching excellence in 1989. In the fall of 1992, Dr. Leavitt accepted a one year
teaching appointment with Concordia College in Edmonton, Alberta, Canada, where he was
director of choral activities and assistant professor of music.
Returning in 1993 to Wichita, he now devotes himself to full-time composing and conducting.
He is the artistic director and conductor of a professionally trained vocal ensemble known as
The Master Arts Chorale and an associated Children’s Choir, The Master Arts Youth Chorale.
Dr. Leavitt’s works receive wide acclaim and he has received ASCAP awards since 1991. In
addition to his busy guest conducting and workshop schedule, he writes many commissioned
works each year.

178
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ESSENTIAL ELE TS FOR CHOIR

ISBN 978-0-7935-4329-8
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73999 91492 4 9°780793°543298 ||

HL08740069

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