Page 66 - CJNov_Dec24

Rehearsal Break
R ehe arsal Br e ak

as the rhythm dictates. Numbers are used as mean getting slower.”
follows, “one-and-two-and-tee-and-four-and,” Yes, he is conducting time, but notice the plethora
substituting tee for three because the consonant of expressive dimensions solved by internal timekeep-
group in the latter takes too long to articulate. ing. By his focus, we can tell he is aware of many fac-
tors, not the least of which is having to compete with
Figure 1 illustrates the notated music on the top staff a stronger singer who has their own sense of time or
and what is actually sung on the lower staff. You can interpretation. How does Shaw’s method and dem-
3
see Dr. Shaw using this technique in a live rehearsal. onstration address metric cohesion? And, more to the
4
Notice that he is expressively conducting other concepts point of this article, do you have distinct strategies for
within a time-felt framework. He is just conducting a addressing metric cohesion?
figure 8 but encouraging each singer to keep internal
time for group unity. Shaw then includes dynamics Combining Solfège and Tempo
in the counting, which led to consistent, coherent In my experience, the popular warm-up in Figure 2
expression freeing him to conduct phrases, anticipate is especially helpful for visual and kinesthetic learners.
entrances, and blend choir and accompaniment. He Practice it daily until the ensemble masters it and keeps
cautions that “Getting louder does not mean getting internal time.
faster,” and the reverse, “Getting quieter does not

Figure 2. Solfège time-keeeping exercise

64 CHORAL JOURNAL November/December 2024 Volume 65 Number 4