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Choral Pedagogical Tools and Vocal Exercises                  A Practical Guide to Teaching Handel's Messiah





           Within the choral canon, Handel’s Messiah is one of   able and variable to suit the general technical needs of
        the  most frequently  performed works  by  non-profes-  most amateur and student singers.
        sional choral ensembles. While preparing Messiah, cho-
        ral singers are offered ample opportunities to build and
        refine singing technique while engaging in historically            Practical Tools to
        informed performance practice. Nuanced performanc-              Convey Teachable Skills
        es are harder—but not impossible—to foster with lim-  Conductors can use the following study guides as an
        ited rehearsal time. Given careful rehearsal planning,   example of how to clearly highlight individual lines of
        non-professional  choral ensembles can  perform  with   counterpoint when instructing less-experienced singers
        historically informed artistry and singing technique   at any level. Study Guide A (Figure 1) provides an exam-
        grounded in voice science.                          ple of introducing motivic material for the movement,
           Below, practical solutions will be offered for teach-  “And the Glory of the Lord.” In this guide, each motive
        ing singers who are unaccustomed or inexperienced in   is written out individually outside of the choral score
        navigating the stylistic nuances of historically informed   texture.  Core  musical  material  of  the  movement  is
        performances. These solutions will offer examples of   shown through iterations of motives “a,” “b,” “c,” and
        pedagogical  tools and their  practical  applications to   “d.” Within this study guide, other musical concepts,
        help expedite the rehearsal process of Messiah. In addi-  such as articulation, metric accentuation, and rhythmic
        tion, this article offers sequential vocalises to teach agil-  alterations (which were assumed practices in Handel’s
        ity and artistry in melismatic vocal lines that are typical   time but informed performance practice today), can be
        in Handel’s choral works. The content offered is adapt-  demonstrated explicitly and efficiently.














































        24      CHORAL JOURNAL  October 2023                                                             Volume 64  Number 3
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