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In this short segment, students learn the main melo- repetitions reinforcing the motor skill needed for the
dy of the piece focused immediately on singing a legato technique. For example, after rehearsing the entire
line with correct phrasing, using the technical skill to piece mezzo forte for several weeks to learn notes and
sing the crescendo and decrescendo while executing rhythms, suddenly changing to singing softly requires a
long phrases. Solfège was not needed on the solo line different motor skill/vocal technique altogether. All the
and was added as a support on the harmony section. repetitions learned on notes and rhythms without ex-
Also notice the scaffolding where either the support of pression must be “undone” and replaced with success-
the piano or movements is removed each step until stu- ful repetitions to develop the new technique. Expressive
dents are independently singing with no help. In the musicianship is fundamental to all students’ develop-
next lesson, following a quick review of the expressive ment and should not be delayed until technique is in
elements and melody on the last page, teachers could place. “Technique exists so that it is possible to make
choose to add text to the last page keeping the expres- music—therefore, it is important to remember that
sive elements, or have students apply the expressive el- making music is the reason for technique, and not the
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ements of the last page to the beginning of the song. reverse. This is an inseparable partnership.”

Why This Approach Works How to Be Successful
Using This Approach

• More opportunities for successful repetitions and expressive feed-
back Planning! Planning! Planning!
Introducing expression early in the song learning Choir directors often juggle multiple responsibilities,
process keeps the focus on the musicality rather than are pressed for time, and may find themselves learn-
the notes and rhythms, providing ample opportunities ing a song alongside their students during rehearsals,
to hone expressive skills. How often do teachers hear resulting in expressive elements being added as an af-
students say they are done learning the piece because terthought towards the end of the learning process. To
they know the notes and rhythms already? Learning ensure that expression is integrated from the start, di-
the song is not the objective! Singing beautifully and rectors must find time to score study and have a plan
artistically is the objective! The song is only the content to be able to lead with expression first. Expert teachers
in which students apply and practice specific musical have a clear auditory image of the piece at hand before
skills and vocal technique in the same way students in a beginning rehearsals and model beautifully and expres-
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literature class identify concepts (theme, plot line, pro- sively throughout the rehearsal. While this plan may
tagonist, character growth, foreshadowing, setting, etc.) change during rehearsals, having a solid foundation is
and apply to each new book they read. When expres- crucial.
sion is integrated and rehearsed from the initial stag-
es of learning, conductors have more chances to offer Challenges of This Approach
feedback, repetitions, and questions about expressive
elements. Focusing the rehearsal on expression makes • No way can students do that many things at once!
expression more important to students than learning Small sequence steps are key to success. Teaching
“the song.” expression early in the song learning sequence requires
students to perform multiple skills at the same time.
• Students learn one version and develop and practice only one When confident on each individual skill, performing
motor skill multiple skills can be rewarding, but attempting to
Singing forte is a different technical skill than singing perform multiple skills without confidence can lead to
piano in terms of breath, energy, balance, and blend. feelings of anxiety and stress. Successful teachers have
Having multiple repetitions results in multiple correct lesson targets that are positioned at a level of difficulty

CHORAL JOURNAL March/April 2025 Volume 65 Number 7 45