Chapter 2 The Fourteen Pedagogical Cardinal Rules: A Brief Over Finally cher is 2 need in veal education fora well-rounded, multifaceted approach to singing that combines the usual ‘concer for artistry with accurate knowledge of the singing proces. Instructors who adhere to unbendable methods are unfit aspsing singers It behooves etches to derive their techniques of teaching fom comprehension of Fandameatal rincples rather than from proceses leaned by roe that becomes more distorted as it moves hough succeeding _generations of teachers and singers, (p.2) Maribeth Bunch Dynamis of te Singing Voice In dig wap ar shin thi uns ahem of pedal materal and human intracton, there seers o bea poten and song Common denominator in all warps that are musically secs est of my conclusions are based upon much obser, special of Frauke Hasenann and her ens, parila Sabie Hosta and Constartinaeliou Choal conto must eae thatthe uty oho warmup detemines what wil aspire fo thee othe ear. Poor warps lado poor rehearsals Rematable a may see, hve fund thatthe omision of any ofthe sep resented on the pages that ow creates a negate, ‘snowballing pedagogical effect on the rest of the rehearsal, which reduces or hls music learning. Experience as lo shown tats unis © proceed it the iter portion ofa ears ut al the ada rules" have been comps The general pedagogical “ore” of warm-up I nat acomplia mater, does however ee tril persistence on the part ofthe conduct anda loving nsisece om the part ofthe conductr hat hsePoin be achieve. Provoking and evoking are equal partners inthis proces! \When analyzing the great work of many conductors there seams to be ‘one overtidngprinciple—that of dogged adherence toa sel of pedagogical principles, which achieves long-term and amatic vocal growth This is ‘certainly tre in great studio teaching. The same shouldbe the casein teaching choral ensembles as wel, ‘Anarrow and concise set of vocal objectives is absolutely neces sary when dealing with singers of limited expetience. This nattow set of ‘objectives must be presented in a pedantic order forthe vocal principle to be applied. As one of my musi theory professos always aid, “System |scomort” Many pesons | have observed use the warm-up to bombard the chor wth vocal techniques inthe hope that such a bombardment will, rough quantity prove thelr technique. While some vocal tech- nique can be acquired through such pedagogical bombardment, healthy, langtezm vocal growth occurs trough ately chosen and pedagogical: ly narrower materials atthe beginning tages of vocal development. In each warm-up, there are certain pedagogical isues that must always be accomplished, Regardless ofthe length ofthe rehearsal these objectives must be accompliched ifthe echearal cto be vocally heathy. RTT The Fourteen Pedagogical Cardinal Rules 1. Deconstruct posture brought to the rehearsal 2. Reaign and employ Body Mapping principles to reeducate the singers 2, Create and reinforce awareness tall times, 4, Use the sigh o create space and dlagnose vocal issues. 5. Inhalate and eshalate 6. Generate resonance. 7. Sing onthe breath a al times. |. Be cei ll sounds are hythmically vital9, Use physical gesture to reinerce the singing process and body awarenes 10, Be conan all sounds ae spacious, high, and forward SH. 11 Reinforce pitch awareness 12, Use a epented exercise as “home” Ahways use Core Vocal xercies 13, Use the same warm-up sequence in planning ech warm-up. 14, Make cetain that egardles ofthe exercise the position of the lary remains low and relaxed, ‘What follows fa bref summary of pedagogical principals foreach of the points above. A “mini-chaper” is devoted to each point. Fr frther in-depth pedagogical information, consult the resources sted inthe bibl ‘ography ofthis book. Rule 1 DECONSTRUCT POSTURE ROUGH TO THE REHEARSAL ‘when singers enter the choral eehearsal they bing with them thir personal accumulation of por “posture” acquired throughout the dn the begoning ofthe choca ensemble warm-up, the inital step isto perform activities that will tke the posture ina direction of deconstuction—beeskng apart, the muscular rigidity and postural incoreciness, and moving w a sate of body alignment hoene ou fa balanced and aware skeletal system, Rule 2 ReAUCN AND enetoy BODY MAPPING PRINCIPLES TO REEDUCAT THE Body Mapping i principle that hasbeen championed by Barbara Conable in her application af the principles of Alexander Technique The vader i ‘eferted ther books (listed in the bibliography ofthis text for further information and explanation. Based on my experience, Body Mapping and the conductors understanding of its principles are the most impor- tant aspects of choral ensemble pedagogy. An understanding of Body Mapping allows fora pedagogical unlocking of al other aspects of vocal technique Infact, depending on the singers, this information alone ere- ates bodies that wil sing betes, making it posible fora choi sing well 10le 3 CREATE AND REINFORCE AWABENESS AT ALL TIS Tin addon to kinetic and ttle awareness, singers ned fall experience oftheir own emotions andthe emotions inapied bythe se they singing. Al this ier sees, together with auditory and visa information, i called inchsiesvarnes, Ince svatenes contin al ert information i the momen te information i aeaddTchie svarenest is rch and pleasurable state of being one of the ratone pope love snging 10 mich As boos ichsive awareness and an accurate Body Map ar effitive proof gsi problems tha plague singer, tly protecting singe cove Hime. (p19) Profound embodiment is also the key o ensemble, Singers continuous, intimate, often intense awareness of their own bodies (sensations, movements, and emotions) is ‘the ideal condition for feting and responding to each other snd tothe conductor. Then a chorus is chorus and not {use collection of individuals singing atthe same time ‘The many choral conductors who have helped their singers regain fll body awareness a they sng are surprised and delighted by the tenfediference embodiment makes in the quality ofthe singing, (p14) Barbara Conable ‘The Structure and Movement of Breathing ‘fone wanted an overall objective for great choral ensemble teaching, it would be o create inclusive awarenes tll times during the rehearsal process and performance, White many of us each vaious aspect of vocal technique, thik our pedagogical shontomnings ly in the fact that we do not reinforce and incorporate that teaching with awareness. Without such awareness, podagogicl information recedes as other musical matters take hold tis possible for pedagogical information to be made par of ones "Inclusive awarenes. The key to that process oink the pegogical concep witha kinesthetic. choral ensemble teaching has ad any shortcomings, thas been its inability to kinesthetcall link pedagogical information to a body kinesthetic, rather, a kinesthetic awareness. “The reason for this isthe fact that heretofore, musicians have always believed they have only ive senses to wrk wih as teaches. The fact that there are six senses, the sith being knesthesia, narrowly defined ae the feeling ofthe body when engaged in musical performance. For musilans, hearing andl knesthesia must be ther most important senses. With every rehearsal, eprioritzing of he senses must take place if vocal technique [sto be not only learned but also easily recalled. ‘While it may sem ifcult 0 teach a type of inclusive awareness that includes kiestesa tis actually relatively simple. Being aware isa sate thats easily achievable once we understand thatthe world crests in us sate of unawareness. Unawareness canbe countered by simply calling Persons into a state of awareness by asking them in varying ways i they are aware of themselves. Simplistic as it sounds this call 0 awareness isa Powerful pedagogical fore and isthe key to longterm retention and reall inthe choral rehearsal. Body Mapping, aural avareness, listening, and fecling ae all components. lt isthe responsibilty ofthe conductors to contemplate ways to constantly cll their choirs into a sate of awareness thats not letng, but rather prolonged and alive Rule 4 Use Te GH TO CREATE SPACE AND DIAGNOSE VOCAL SSUES. “The use of what i referred 1 a the “sigh s one ofthe mos valuable pedagogical tools available to the choral conductor in determining the ‘overal heath ofthe vocal mechanisms power a adagnosi tol should not be underestimated. A complete understanding of how to teach proper technical execution ofthe sigh i at the core of al vocal instruction forthe ‘horn other words, the choir cannot execute the sigh na vocally comect way then consequent vocal wills. Most importantly choral warmup ‘cannot and should nt proceed until the sigh is coecty exeeted Rule 5 INMALATE AND ExHALATE. Perhaps more than any ofthe other cardinal ules, his tule is most often laken for gated, tis assumed that inhalation and exhalation are natural occurrences that do not need to be taught While singers naturally espate 2and understand breathing for life, they ack an understanding of breathing for singing, In every warmup, inhaling and exhaling exercises must be done so singers readap thet breath mechanisms to accep the aint their bodies so the singing process can ake place ina heathy fin, ‘Once again, the use of Body Mapping is of primary importance in ‘reinforcing and creating correct inhalationeshalaton in singer. Tis can ‘only be accomplished, however, after body alignment has been taught and reinforced, as well as reinforcing how air enters the body lke a wave that moves from top to botom). Later inthis ext, procedures fr teaching inhalation and exhalation willbe detailed, Remember that before any phonation can take place, inhalation and exhalation exercises must be Performed. Also remember that singers bring with them whatever tensions they have acquited during the day. The warm-up should attempt to purge those acquired pattems ad reinorce the conect Body Maps or inhaatng and exhaling might be elpol to think of this part of the warm-up asthe creation ‘ofa container fr the breath. ligament creates the contains, and inhalation and exhalation allow fling ofthe container. Singers need to practice filing and emptying the cantar at the beginning of exch rehearsal ule 6 Generate RESONANCE (Of all the steps inthe warr-up process this isthe one that is most often either mised or performed a the von pot in the pedagogical sequence "have found tha if his step is not aught and achieved at ft appropriate Poin inthe warmp process, then the vocals forthe rst ofthe rehearsal becomes unrly and, at times, unusable, Many conductors atibute this toa “bad day. Initial generation of resonance through activation af the resonators ereates the raw materials for ll vocalism that ft follow, [Atthis sage ofthe warm-up, its important to understand the peda {09a imperative contzned in ial resonance vocalises. Sa important is this step that it can never be missed and must always occur inthe ‘warm-up afer inhalation and exhalation and befoee any phonation takes place inthe rehearsal this sep is omited, singers will begin singing ith the resonances they have used in their peaking voices all day. Not only are those resonances insuficient sound “uel for he singing proces, but there noeds tobe a tanstion between speaking and singing, resonances, In vocal terms the conductor must be assured that sulficient 8ow head resonances thead voice) have been activated Without that activation, the singing wil lack vibrancy and coor, and thee wil be no dynamic ‘variation i the music performed. fle 7 SING ON TE BREATH AT ALL TIMES (One ofthe conductor’ primar responsibil is to ensure that singers re singing “onthe breath” at al times, Regardless ofthe age of the chol, this rule is often broken. The reason is simple. Conductors are not ‘rained to listen forthe diferences between a sound that eof the breath and one that is onthe breath Singing of the breath usually causes other tenor “Third row —>- baritone and bass ‘Second row —>- soprano Front row —> allo Use ofthis seating arrangement creates an envionment frre singing and greatly reduces the probability fr laryngeal tension that is created by most choral ensemble seating arrangement. For cher vocings of choirs, 8 seating arrangement should be used tat i s close ta this model as is pomible ”Chapter 3 Philosophy of the Choral Warm-Up: Ts a Warm-Up Necessary? Sound Pedagogy rests upon starting right and upon grad~ ual progress. (p. 23) William J. Finn ‘he Art ofthe Choral Condor Ieisimporanto be clear on wo points concerning the choral yarn: (1) the purpose of the warm-up and 2) what shouldbe taught during the warm. The fist queson thats usualy asked is whether a warm-up Is neces Many conductors, teachers, and church musicians fel that because thei rehearsal time sso shod, a warm is nat necessary or possible, Regardless ‘ofthe length ofthe rehearsal, a comprehensive warmup (as decribed in this book) sof he utmost impotance, In fact its the most valuable pat ‘ofthe rehearsal. Done well the warm-up can pre-determine the success of the rehearsal It should contain two important overall ements: 1. Proparing the vocal insrument for corect and heathy singing and 2. Providing aural instruction, aural oientation, and musial aural Titeracy forthe choi, separate rom the Iterature being taught in the rehearsal and yet intimately related to the tonaiy ofthe rmatras being taught ‘his tox wl pot ea wih he second par ofthe warm-up. Er Taining Immersion Exercises fr Choirs (GIA Publications, 2004) addeeses that part in detail ‘What must be understood is that choral singe bring a vocal instrument ‘0 rehearsal that in al liethood, has worked in its speaking voice all dy. ‘he primary role ofthe warm isto make a transition from speaking wie