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CHORTEACH
           Rhythmic Integrity in


           the Choral Rehearsal:                                                                       REPLAY


           A Bag of Tricks and More





           THOMAS WINE




















        Thomas  Wine is  professor  of music  education and di-  on the rest following the last pitch, for example, 1 & 2 & 3
        rector of WU Choir and Shocker Choir at Wichita State    & “t,” if the rest is on 4 and the concluding consonant is
        University. He is a former director of choral activities at   “t.” Variations on this method should also be utilized for all
        Spartanburg High School.                                 compound meters.
                                                                   Understanding and having a method for solving counting
                                                                 problems is vital to the musical health of an ensemble.
           Robert  Shaw,  the  legendary conductor,  was tenacious
        in his pursuit of precise rhythm in every ensemble  he
        conducted.  From  attacks  and  releases  to  the  placement        Rushing or Dragging Tempi
        of diphthongs and consonants, Shaw instilled a sense of
        rhythmic  integrity with all  of the  musicians  under his   • Accent “ee”
        direction. I believe one of the keys to his great success was
        his belief that choirs shouldn’t merely feel the rhythm; they   • Metronome
        needed to think carefully about what defined the various
        rhythmic  components  of any  work.  The use of count-   • Get physical
        singing  became  an important tool  for developing  group
        musicianship in any Robert Shaw chorus.                  • Telegraph
           Count-singing  is the  practice  of  rehearsing a  choral
        work on counts rather than singing the text. Singers use a   • Recording
        number on every beat containing a pitch, thus engaging the
        singer for the entire length of long notes. When subdividing   • Slow down
        rhythms  for eighth-note  patterns  in duple  time, singers
        should sing 1 & 2 &, etc. Shaw replaced the number “three”   • Fewer beats
        with the syllable “tee” to make the tongue move faster and
        not  slow  the  rhythm  on  that  beat.  For  greater  rhythmic   • Count 8
        definition, singers should count sixteenth notes as 1 ee &
        ah, 2 ee & ah, 3 ee & ah, etc. To perform a cut-off more   Accent  “ee.” Start  with count-singing. By accenting  the
        accurately, singers should place the appropriate consonant   second sixteenth note in a beat group, stress is taken away


         ChorTeach   Volume 15 • Issue 4                                                 21                                                                          Summer 2023
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