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ensemble to help them take ownership of the work they to have difficulties singing a true legato, and this
are doing too. frees the voice up to create a smooth line. It really
“I have some young students who need help wak- frees the sound!”
ing up in the morning before they can output any-
thing to me. If I get them up and moving it helps —Robin Allebach,
them when they come in sluggish. Stretching at Director/Founder, Robin’s Nest Music Academy
the beginning of a rehearsal is a great way to get
them started and help them focus. I especially like So that makes two votes for SOVTs from two incredibly
to count down starting from 8 and shake each arm knowledgeable professionals. I think I’m going to do some
and leg as the countdown goes; 8 on each arm, research and prep more of those for my next rehearsal! I
then each leg. Then we restart the countdown at 7, love the octave sirens as well. Not only do they have the
then 6, and so on until you get to 1 and everyone benefits Robin lays out above, but most of my singers love
shakes their arms/legs once super fast. I also like doing them—they’re fun! One of the main reasons singers
‘Toxic Patterns’ as a warm-up game to get them think they are fun is because they are very freeing for the
engaged and listening. We use hand signs with voice, like Robin mentioned. We like to be free and open;
solfege, and I tell them what the ‘toxic pattern’ is so does our voice!
that they should avoid, and then we do call-and- By simply asking the question, “What’s a warm up or
response on various short solfége patterns. I throw a guiding principal for your warm-ups that you like?” we
in the toxic pattern, and they have to avoid sing- have four great examples in this article. I love hearing what
ing it back to me. It’s a great way to get them en- other people are doing for their groups to cultivate success-
gaged and listening. This activity also works when ful development. It gives you an opportunity to authenti-
you have 5 minutes left of rehearsal and you need cally integrate that success into your own program. There
something to wrap it up, or use it in the middle are so many great ideas out there to be shared in our com-
of rehearsal as a mini-brain break from the music munity. Never hesitate to reach out or to share!
you’re learning!”

—Taylor Huwe, General Music,
Prairie Elementary (Worthington, MN)

Physically engaging our singers is so important! Tay-
lor is working exclusively with K-2 students, some of the
youngest among our school-age singers. The foundation
that is being laid for them to be “whole body” singers will
impact them forever. It is crucial to have good develop-
ment for our youngest singers! All of us can benefit from a
little more physical engagement as well, whether it’s help-
ing your brain to process solfége syllables by adding a hand
gesture or waking up your body and getting the blood flow-
ing at the beginning of a rehearsal. It’s good for all of us!

“If I had to choose one exercise over any other
(aside from breath preservation/SOVT onsets) it
would be octave sirens. [u] or [i] to [a]. Sirens help
to unify the voice with the body, and show the sing-
er the amount of breath pressure needed. Also, I
have found that singers in this regional area tend

ChorTeach Volume 15 • Issue 3 21 Spring 2023