Page 54 - June/July.indd

choral rehearsal. The unity of cho- collision of the vocal folds in the ini- either Do, Mi, Sol, or high Do
ral blend can occur when singing a tial warm-up process. This protects and sustain it on an /o/ vowel”);
3
piece together. This allows for each the folds while stretching the mus-
singer to bring their best vocalism to cles to prepare it for intense activity. 3) a pedagogical relationship be-
the repertoire. Choir directors can accomplish this tween the warm-up and the rep-
Strong support exists to minimize by keeping the mouth closed during ertoire to be rehearsed; and
much of the warm-up. Titze recom-
mends semi-occluded vocal tract ex- 4) a variety of activities. 5
ercises such as lip trills, tongue trills,
All the humming, and phonation through The pedagogical relationship be-
a straw. For example: a lip trill on tween the warm-up and repertoire
4
a simple scale (scale degrees 1, 2, 3, helps to transfer the vocal technique
scores, 2, 1) gently engages the folds at the developed into the literature. Stu-
rehearsal’s onset. The simplicity of dents can then identify these items
the scale and limited range allows for in the rehearsal, reinforcing their
all the the voice to “wake up” before more self-effi cacy in rehearsals. The va-
riety of activities provides a gen-
demanding vocalizations.
Ensure a high-quality breath and tle transition from the busy outside
time. pitch clarity in these semi-occluded world to the rehearsal setting.

vocal tract exercises; this serves to
The opening moments of re-
establish foundational elements be- hearsal provide an opportunity for
fore tackling other aspects of choral “group voice building” or “group
technique: choral blend, articulating vocal technique.” This philosophy
in synchrony, matching vowels, etc. guides the enhancement of the
An ending warm-up can consist of a choristers’ vocal skills. Because ad-
legato /a/ vowel while singing scale olescent singers have diff erent vo-
degrees 1, 3, 5, 8, 5, 3, 1 in the sing- cal ranges, developing non-pitched
ers’ fullest, most resonant voice. The vocalization exercises draws the
forte dynamic and the arpeggiation students into the choral experience
that spans an octave is a heavier sing- by helping them achieve success at
ing load that can strengthen their the rehearsal’s onset. Examples of
ability to project with energy while these include: laughing or crying in
combining the technical concepts a general vocal range, high-pitched

ur popular RingBinder solidified early on in the warm-up. squeals, and low-pitched growls.
O frees your scores with the Depending on the age of the sing- Listen for unanimity of the stu-
push of a thumb, and its lock- ers, the warm-up process can look dents’ diff erent parts of their ranges.
ing mechanism allows smooth, very different. According to Freer, a These can morph into more specif-

snag-free turns. See all our successful choral warm-up for ado- ic consonant and vowel sounds like
folders and accessories on our lescents will have four components: /baba/ or /dodo/ to refi ne vowels,
website, or order by phone.
consonants, and technique. Within
Toll-free: 1.877.246.7253 1) a logical sequence that remains this “group voice building,” singers
Telephone & Fax: 1.604.733.3995 constant from day-to-day; evolve their technical “toolbox” so
that when encountered with a diffi -
2) student choice and experimenta- cult vocal passage in the literature,
tion with the warm-ups (ie. “pick they have the means to navigate it

52 CHORAL JOURNAL June/July 2021 Volume 61 Number 11