SOUTHERN ARKANSAS UNIVERSITY

CHORAL ENSEMBLE HANDBOOK

2017-2018

1

Southern Arkansas University

College of Liberal and Performing Arts

Department of Music

Choral Singer’s Handbook

2017-2018

Introduction

Thank you for auditioning to become a member of the Heritage Singers and/or Chamber Singers. Your decision to

join us represents your commitment to participate in an activity that is deeply rewarding on many levels. Socially,

the interaction of the members of a choral ensemble often results in friendships that endure well beyond

graduation. Emotionally, the texts and settings of repertoire selected for rehearsal and performance allow singers

to experience a wide variety of human sentiment, some of which may coincide with actual life events in the lives

of singers. More often than not, many pieces are representative of future life episodes into which singers project

themselves and, as a result, live out many emotions not yet experienced. Similarly, the spiritual plane is

dramatically connected to vocal music. The use of the word “spiritual” does not necessarily connote religious

practice or creed. Rather, the study, rehearsal, and performance of choral music—when fully entered into—

creates a profound connection with our innermost being; our spirit. Consequently, it does not matter whether the

repertoire is sacred or secular. The union that exists from the efforts of one human being’s poetry, another’s

compositional process, and the involvement of many individuals combining their talents to discover and share the

multi-layered meanings that underlie lyric and music creates connections from human to human, and human to

self that can be described in no other way than spiritual.

Full and enriching experiences such as these cannot be assumed; their occurrences must be the shared goal of each

singer and the conductor, and they must be the objective of each and every rehearsal and performance experience.

It is for this reason that this handbook has been created. While no amount of written text can ensure a meaningful

ensemble experience, it is hoped that this book will be used by each member of the ensemble(s) to provide more

opportunities for an inspiring activity that is often not attached to academic pursuit. Your involvement in this

choral ensemble is viewed among the members and me as much deeper than merely an extra hour to complete

your enrollment, or the means to obtain scarce scholarship assistance. Participation in this ensemble demands the

application of musical skills, the contribution of healthy vocalization, the commitment to attend every rehearsal,

and constant focus on the aim of creating a significant experience for every member in attendance. This handbook

provides all of the information necessary for such a level of involvement.

The handbook is organized in such a way that it may be used as a reference as needed, or it may be read from

cover to cover. The first section pertains to immediate concerns related to the course syllabus, the performance

calendar, performance attire, and rehearsal schedules. Issues related to academic expectations, attendance

requirements, dates and venues for performances, and detailed elements for pre-rehearsal study may be found in

this section. The second section of this handbook addresses the ensemble obligations on those singers who have

been awarded Choral Performance Scholarships. These requirements are in addition to the terms outlined in the

scholarship award letter and provide opportunities for scholarship recipients to exercise leadership in many

aspects of the ensemble. While the first two sections may seem to occupy a position of academic priority, sections

three through six contain the most essential details related to the ensemble experience. Here, elements such as the

need for regular rehearsal attendance, rehearsal and performance etiquette, and the overall health of the ensemble

as a whole are addressed. Fundamentals of navigating and studying the musical score are presented in section four

making it the largest segment of the handbook. This section includes the letter names of pitches, descriptions of

the treble and bass clefs, the solfeggio syllables and Curwen hand signs, how to decipher rhythmic notation,

instructions on numbering measures, how to follow repeat signs, the International Phonetic Alphabet and its

relationship to ensemble diction, instructions for marking scores, how to locate pitch cues and clues, making use

of a tuning fork, the importance of audiation (and what it is), the difference between learning music and

rehearsing music, and how to memorize the score. Section Five focuses on the use of the voice in ensemble

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singing. While no text can “teach” a singer how to use the voice efficiently, topics such as breath management,

vocal onset, and other key vocal issues are presented—including the importance of adequate rest and hydration—

in an attempt to provide helpful information related to the use of the voice in a choral environment. Finally,

repertoire-specific details appear in the final section. Texts appear in their original form (where possible) apart

from the composer’s setting, translations are provided, and any other pertinent elements are reserved for this

section.

I am so pleased that you have decided to participate in the Choral Program at SAU. Your presence will enrich the

others in the ensemble. And it is my hope that this handbook will enable you to have a more enriching, informed,

and satisfying experience as an ensemble member.

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Contents

Introduction ........................................................................................................................................ 1

Section I – Course Syllabi for Heritage Singers and Chamber Singers.............................................. 5

Section II – Scholarship Recipients .................................................................................................... 11

Section III – The Ensemble Experience ............................................................................................. 12

Section IV – Section Leaders ............................................................................................................. 13

Section V – Grading Criterion ............................................................................................................ 14

Section VI – The Choral Score ........................................................................................................... 16

Part 1 – Fundamentals of Music Reading .................................................................................... 17

1. I – Names of Clefs and Pitches ........................................................................................... 17

1. II – Identification of Key (Key Signatures) ........................................................................ 18

1. III – Solfeggio Syllables ...................................................................................................... 19

1. IV – Pitch Alteration ........................................................................................................... 19

1. V – Curwen Hand Signs ...................................................................................................... 20

1. VI – The Tuning Fork ......................................................................................................... 20

1. VII – Meter and Rhythmic Notation ................................................................................... 21

1. VIII – Count-singing ........................................................................................................... 21

1. IX – Dynamics and Expressive Markings ........................................................................... 22

Part 2 – The Choral Score ............................................................................................................ 23

2. I – Various Score Layouts ................................................................................................... 25

2. II – Mapping Repeated Sections ......................................................................................... 25

2. III – Marking the Score ....................................................................................................... 25

2. IV – Numbering Measures .................................................................................................. 26

Part 3 – The Text .......................................................................................................................... 27

3. I – Discovering the Meaning of the Text ............................................................................ 27

3. II – Choral Diction .............................................................................................................. 27

Part 4 – Studying the Score .......................................................................................................... 29

4. I – Revisiting the Tuning Fork ............................................................................................ 29

4. II – Identifying Reference Pitch Cues ................................................................................. 30

4. III – Audiation ..................................................................................................................... 30

4. IV – Learning vs. Rehearsing ............................................................................................. 31

4. V – Memorizing .................................................................................................................. 31

Section VII – Repertoire ..................................................................................................................... 32

Learning your part ................................................................................................................... 32

Section VIII – Voice Care in the Ensemble Setting ........................................................................... 33

Section IX – Current Repertoire and Course Schedule ...................................................................... 34

Translations and IPA .............................................................................................................. 35

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APPENDICES

A. Tuning Fork Pitch Reference (Triadic Outlining) ............................................................ 36

B. Tuning Fork Pitch Reference (Scale Reference) .............................................................. 37

C. Ensemble Leadership ........................................................................................................ 38

D. Rehearsal Review Form.................................................................................................... 40

D. Policy Agreement Form.................................................................................................... 41

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SECTION I – COURSE SYLLABI

Southern Arkansas University

MUEN 1141/3141 – Heritage Singers

Fall 2017

David DeSeguirant, Director

BFA 210

Office: 235-4246

daviddeseguirant@saumag.edu

Office Hours: Posted

CATALOG DESCRIPTION

Concentrates on choral literature of varied styles from each major historical period. A select ensemble with a

vigorous performance schedule. Membership is by audition only. One hour credit. Fall, Spring semesters.

COURSE DESCRIPTION

The art of music is one means by which humans communicate with other humans what it means to be a human

being. In a choral ensemble setting, voices of humans with very different backgrounds, interests, and tastes

dispense with those differences for the purpose of combining their efforts to communicate the intent of composers

with a single approach. Heritage Singers will rehearse and perform music from a wide variety of composers and

style periods with the following goals:

To exhibit outstanding musicianship

To expressively communicate to each other and to the listener

To examine how various cultures, composers, and style periods communicate through choral music

To eliminate the societal barriers that prevent human beings from understanding one another in an

increasingly global climate

REQUIRED MATERIALS

Folders, scores, and tuning forks will be assigned by number and distributed at the beginning of the

semester and remain the property of Southern Arkansas University. Folders may be removed from the

rehearsal hall for the purpose of practice, and is encouraged. Folders, music, and forks must be returned to

the University immediately following the final performance of the semester. Failure to do so will result in

a grade of “incomplete” and a charge will be assessed to the singer’s account for lost and/or damaged

folders/contents, determined by the current retail price (plus shipping) of replacement copies.

Pencil with eraser

Concert Performance Apparel

Students are responsible for the cost of concert apparel.

Ladies: Long, black dress ($64 current pricing + SH), black dress shoes, natural-colored hose.

Men: Black tuxedo, black dress shoes, black socks ($105 current pricing + SH).

Casual Performance Apparel

All: Blue “Heritage Singers” Polo (≈$69 current pricing); Yellow Oxford (~$19.75-$25.30

depending on size); khakis

Students are responsible for the cost of casual performance apparel.

FEE

A course fee of $20.00 will be applied to your tuition account as per the published Tuition & Fees 2017-2018.

6

GRADING

Grading Scale

91-100 A

81-90 B

71-80 C

61-70 D*

0-60 F*

*Students receiving an attendance grade of D or F grade by Friday, October 6, will be dismissed from the ensemble

Grading Criteria†

Attendance 45%

Section rehearsals (80% must be attended for full credit) 10%

Assignments 45%

†Please see Handbook section, “Grading Criteria” for detailed discussion of graded elements.

Absence policy: Singers are expected to attend rehearsals regularly. However, situations occasionally occur for

which an absence is necessary. Each singer is allowed three (3) absences without penalty. For the purposes of this

syllabus, an absence is defined as any time a singer is not physically present for a scheduled rehearsal. A fourth

(4th) absence constitutes sufficient cause for removal from the ensemble, and the singer will forfeit any remaining

Choral Performance Scholarship for the balance of the academic year. Cell phone use during rehearsal

constitutes an absence.

Tardies

Each tardy will be counted as 1/2 of an absence. Two (2) tardies will constitute an absence. Singers will be

counted tardy for rehearsal in the following situations:

Upon entering the rehearsal hall after warm-ups have begun.

Singers without folders

Singers with cell phone or other communication device during rehearsal

Performances

Failure to attend any scheduled performance will result in a final grade of F.

It is highly recommended that all students enrolled in this course read the information in the links and statements below.

Hearing Health

https://nasm.arts-accredit.org/wp-content/uploads/sites/2/2017/02/5a_NASM_PAMA-Student_Information_Sheet-Standard.pdf

Neuromusculoskeletal Health

https://nasm.arts-accredit.org/wp-content/uploads/sites/2/2017/02/5a_NASM_PAMA_NMH-Student_Information_Sheet-Standard-

NMH_June-2014.pdf

Vocal Health

https://nasm.arts-accredit.org/wp-content/uploads/sites/2/2017/02/6a_NASM_PAMA_NMH-Student_Information_Sheet-Standard-

Vocal_June-2014.pdf

Academic Integrity:

The mission of Southern Arkansas University empowers all members of the University community to develop and encourage learning

environments that create, expand, acquire, share, evaluate, and communicate knowledge. Academic integrity at SAU is an

organizational and individual responsibility to honesty in all learning experiences. Students, faculty, and staff share responsibility for

maintaining the highest standards for academic integrity. This policy focuses on the academic integrity in course-related work, its basis

and context is applicable to all.

7

Any act of dishonesty in academic work constitutes academic misconduct and is subject to disciplinary action. Acts of dishonesty

include, but are not limited to, plagiarism and cheating.

For detailed information on academic integrity, read pages 26-27

of the SAU 2010-2011 Undergraduate Catalogue.

Disability Support Services:

It is the policy of Southern Arkansas University to accommodate students with

disabilities, pursuant to federal law, state law, and the University’s commitment to equal

educational opportunities. Any student with a disability who needs accommodation

should inform the instructor at the beginning of the course. Students with disabilities are

also encouraged to contact the Office of Disability Support Services, which is located in

room 216 Reynolds Center, telephone 235-4145.

CREDIT HOUR DEFINITION

For every course credit hour of a 15-17 week semester, the typical student should expect to spend approximately 45 clock hours per term of

concentrated attention on course-related work, including but not limited to time engaged in class, as well as out-of-class time spent reading,

reviewing, organizing notes, preparing for upcoming quizzes/exams, problem solving, developing and completing projects, and other

activities that enhance learning.

8

Southern Arkansas University

MUEN 1061/3061 – Chamber Singers

Fall 2017

David DeSeguirant, Director

BFA 210

Office: 235-4246

daviddeseguirant@saumag.edu

Office Hours: Posted

CATALOG DESCRIPTION

Select ensemble with enrollment determined by audition. This ensemble will be devoted to chamber choral

literature. Membership is by audition only. One hour credit. Fall, Spring semesters.

COURSE DESCRIPTION

The art of music is one means by which humans communicate with other humans what it means to be a human

being. In a choral ensemble setting, voices of humans with very different backgrounds, interests, and tastes

dispense with those differences for the purpose of combining their efforts to communicate the intent of composers

with a single approach. Membership in Chamber Singers requires concurrent enrollment in the Heritage Singers

ensemble. Chamber Singers will rehearse and perform music from a wide variety of composers and style periods

with the following goals:

To exhibit outstanding musicianship

To expressively communicate to each other and to the listener

To examine how various cultures, composers, and style periods communicate through choral music

To eliminate the societal barriers that prevent human beings from understanding one another in an

increasingly global climate

REQUIRED MATERIALS

Folders, scores, and tuning forks will be assigned by number and distributed at the beginning of the

semester and remain the property of Southern Arkansas University. Folders may be removed from the

rehearsal hall for the purpose of practice, and is encouraged. Folders, music, and forks must be returned to

the University immediately following the final performance of the semester. Failure to do so will result in

a grade of “incomplete” and a charge will be assessed to the singer’s account for lost and/or damaged

folders/contents, determined by the current retail price (plus shipping) of replacement copies.

Pencil with eraser

Concert Performance Apparel

Students are responsible for the cost of concert apparel.

Ladies: Long, black dress ($64 current pricing + SH), black dress shoes, natural-colored hose.

Men: Black tuxedo, black dress shoes, black socks ($105 current pricing + SH).

Casual Performance Apparel

All: Blue “Heritage Singers” Polo (≈$69 current pricing); Yellow Oxford (~$19.75-$25.30

depending on size); khakis

Students are responsible for the cost of casual performance apparel.

FEE

A course fee of $20.00 will be applied to your tuition account as per the published Tuition & Fees 2017-2018.

9

GRADING

Grading Scale

91-100 A

81-90 B

71-80 C

61-70 D*

0-60 F*

*Students receiving an attendance grade of D or F grade by Friday, October 6, will be dismissed from the ensemble

Grading Criteria†

Attendance 45%

Section rehearsals (80% must be attended for full credit) 10%

Periodic rehearsal evaluations 45%

†Please see Handbook section, “Grading Criteria” for detailed discussion of graded elements.

Absence policy: Singers are expected to attend rehearsals regularly. However, situations occasionally occur for

which an absence is necessary. Each singer is allowed two (2) absences without penalty. For the purposes of this

syllabus, an absence is defined as any time a singer is not physically present for a scheduled rehearsal. A third

(3rd) absence constitutes sufficient cause for removal from the ensemble, and the singer will forfeit any remaining

Choral Performance Scholarship for the balance of the academic year.

Tardies

Each tardy will be counted as 1/2 of an absence. Two (2) tardies will constitute an absence. Singers will be

counted tardy for rehearsal in the following situations:

Upon entering the rehearsal hall after warm-ups have begun.

Singers without folders

Singers with cell phone or other communication device during rehearsal

Performances

Failure to attend any scheduled performance will result in a final grade of F.

It is highly recommended that all students enrolled in this course read the information in the links and statements below.

Hearing Health

https://nasm.arts-accredit.org/wp-content/uploads/sites/2/2017/02/5a_NASM_PAMA-Student_Information_Sheet-Standard.pdf

Neuromusculoskeletal Health

https://nasm.arts-accredit.org/wp-content/uploads/sites/2/2017/02/5a_NASM_PAMA_NMH-Student_Information_Sheet-Standard-

NMH_June-2014.pdf

Vocal Health

https://nasm.arts-accredit.org/wp-content/uploads/sites/2/2017/02/6a_NASM_PAMA_NMH-Student_Information_Sheet-Standard-

Vocal_June-2014.pdf

Academic Integrity:

The mission of Southern Arkansas University empowers all members of the University community to develop and encourage learning

environments that create, expand, acquire, share, evaluate, and communicate knowledge. Academic integrity at SAU is an

organizational and individual responsibility to honesty in all learning experiences. Students, faculty, and staff share responsibility for

maintaining the highest standards for academic integrity. This policy focuses on the academic integrity in course-related work, its basis

and context is applicable to all.

10

Any act of dishonesty in academic work constitutes academic misconduct and is subject to disciplinary action. Acts of dishonesty

include, but are not limited to, plagiarism and cheating.

For detailed information on academic integrity, read pages 26-27

of the SAU 2010-2011 Undergraduate Catalogue.

Disability Support Services:

It is the policy of Southern Arkansas University to accommodate students with

disabilities, pursuant to federal law, state law, and the University’s commitment to equal

educational opportunities. Any student with a disability who needs accommodation

should inform the instructor at the beginning of the course. Students with disabilities are

also encouraged to contact the Office of Disability Support Services, which is located in

room 216 Reynolds Center, telephone 235-4145.

CREDIT HOUR DEFINITION

For every course credit hour of a 15-17 week semester, the typical student should expect to spend approximately 45 clock hours per term of

concentrated attention on course-related work, including but not limited to time engaged in class, as well as out-of-class time spent reading,

reviewing, organizing notes, preparing for upcoming quizzes/exams, problem solving, developing and completing projects, and other

activities that enhance learning.

11

SECTION II – SCHOLARSHIP RECIPIENTS

Scholarship Recipient Responsibilities

Singers in the ensemble who have received a Choral Performance Scholarship are regarded as leaders in the

choral program at SAU. As a result, the responsibilities of leadership necessitate a standard of participation to

which non-scholarship participants look for guidance. This section of the Choral Handbook includes the

requirements for retaining the Choral Performance Scholarship as set forth in the award letter. It also lists

ensemble-specific tasks in which your assistance to the director will demonstrate to others your commitment to

the success of this ensemble. I am hopeful that when requests are made for help with non-rehearsal related tasks,

Choral Performance Scholarship recipients will be the first to volunteer—and that the work will not be left to only

a handful of singers.

Attendance at rehearsals is a must. Recipients of Choral Performance Scholarships will be recommended by the

Director of Choral Activities to the Director of Financial Aid prior to the beginning of a new semester. I reserve

the right to decrease scholarship award amounts relative to the percentage of rehearsals attended.

Choral Performance Scholarship Award Requirements:

The recommendation of the Director of Choral Activities and the making of acceptable grade progress (a grade of C or better) in both

ensembles and Class Voice/Voice are necessary for the renewal of the scholarship for a second semester. In addition to the above

requirement, each Choir Performance Scholarship recipient must maintain a minimum of 2.0 cumulative grade point average and earn a

minimum of twelve (12) hours at SAU – Magnolia each semester.

Choral Performance Scholarship Volunteer Assistance:

Sorting and filing music in the Choral Library

Assist with Choral auditions

Setting rehearsal venue

Recruiting (accompany Director of Choral Activities on high school/community college visits; participate in on-

campus efforts such as Organizational Day, Preview Day, etc.)

Concert PR (distributing posters in the community, etc.)

Music learning (please make it your responsibility to learn your music AND to assist those around you who may be

having difficulty learning theirs. This is a team effort, and you are a leader on this team!)

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SECTION III – THE ENSEMBLE EXPERIENCE

The reasons cited among singers in choral ensembles—whether academic, church, or community related—include

the enjoyment of being with other people outside of the employment/classroom environment, experiencing great

repertoire and texts, going on choir tours, being with friends, my boyfriend/girlfriend is in the choir, the girl or

boy I want to be my girlfriend or boyfriend is in the choir, and so on. Each of these reasons is valid, and each has

merit. Choral participation should meet each of these expectations. The rehearsal and performance of choral

music is, by its very nature, a very social activity—one in which, when it has become the focus of each

participant—all of the above motivations (and more!) for joining a choir are met and exceeded.

But on a more elemental level, it is a very human activity. The rehearsal and performance of choral music differs

from instrumental performance in that human voices, and not manmade instruments, produce the music. This is at

once what draws singers and conductors into this experience and at other times becomes the primary frustration

for them. Because human voices (ignoring for the moment, bodies) convey so much during the communication

process, tapping into one’s individual emotional, spiritual, mental, and physical history can create incredible

experiences for singers, conductors, and audiences. But human beings are challenged when asked to communicate

only that which is the focus of a rehearsal or performance at any single given point in time. There are so many

other things to communicate when we come together as an ensemble! What did you do last weekend? Where were

you last night? Why didn’t you text me? I so failed my freakin’ Biology exam, how’d you do? The list goes on

and on. Reining in the desire to communicate personal feelings and experiences unrelated to the repertoire at hand

is a challenge, but no more so than resisting the temptation to interrupt a conversation with something completely

random. It is even less easy to do when current technology allows people to carry on multiple conversations

simultaneously.

Consider for a moment if all chat rooms, texting, IMing, and future modes of communication were not silent, but

instead were instantly audible in SurroundSound. Now consider adding body language via webcams, Skype, or

other visual tools on a 360° screen. The chaos of so much human communication happening at once—while a

positive thing in and of itself—would be overwhelming. The choral rehearsal hall can easily become such an

environment. When 30-40 singers enter a room with 30-40 individual goals, needs, thoughts, experiences, moods,

etc., and those singers choose to divide their attention between the needs of the ensemble and their motivations,

the level of productivity quickly diminishes, and the resulting experience is both chaotic and unsatisfying for the

ensemble as a whole. On the other hand, the choral rehearsal hall can become a place where personal distractions,

concerns, worries, and difficulties may be set aside, and the choral community’s goals, desires, aspirations, and

successes become the top priority. When this occurs, the productivity increases, and the ensemble experiences a

sense of satisfaction and enrichment in the sharing of a single pursuit with other human beings.

What factors contribute to a satisfying ensemble rehearsal and performance experience? The answer is at once

complex and simple, and is found in the word, “ensemble.” The word is defined as, “all the parts considered as a

whole.” The word carries with it the sense of total commitment to a single purpose. For the choral experience

then, ensemble is achieved when all members are in attendance. Ensemble is achieved when all members are on

time. Ensemble is achieved when all members have their own scores. Ensemble is achieved when all members

mark their scores with pencil. Ensemble is achieved when all members use their bodies in an efficient way while

singing. Ensemble is achieved when all members listen and mentally participate when a single voice part is

isolated for work. Ensemble is achieved when all members participate in the expression of the music and text.

Ensemble is achieved when differences between members are addressed in a mature and respectful manner.

Ensemble is achieved when differences between members are accepted as a part of the human experience.

The choral experience is not an individual one; it is a shared human endeavor. I hope that as we come together to

learn, rehearse, and ultimately perform our music that we will do so as an ensemble in every sense of the word,

and that in so doing, our audiences will envision a world in which individual differences can be set aside for the

greater cause of the ensemble that is humanity.

13

SECTION IV - SECTION LEADERS

Section Leaders for the ensembles are selected by the Director and assigned the responsibility of teaching the

fundamental elements of the concert literature (pitches and rhythms) to ensemble members within their voice part.

Although some repertoire will have divided voice parts (e.g., Soprano I, Soprano II), a single section leader for

the entire voice part will teach any divided sections.

Section Leaders will employ solfeggio syllables for teaching new repertoire, as the syllables will be referred to in

full-chorus rehearsals by the director. Since the full-chorus rehearsals will often make use of count-singing to

unify rhythmic precision, rhythm teaching should proceed along beat numbers (“1,” “2,” “3,” etc.), beat divisions

(“1 &,” “2 &,” etc.), and subdivisions (for simple meters [2, 3, or 4 is the top number of the time signature], “1 ee

& uh;” for compound meters [6, 9, or 12 is the top number of the time signature], “1 la lee”).

Section Leaders should use tuning forks during section rehearsals. Pianos are notoriously out of tune, and even

when they are in tune they are tuned according to each piano’s unique scale (size, construction materials, string

windings, etc.), making it out of tune by nature. Brains are much better at intonation than wood and steel. All

singers are required to bring tuning forks to section and full-chorus rehearsals.

Section Leaders will set section rehearsal times taking into account individual singers’ class and employment

commitments. Section Leaders will keep a record of attendance at all section rehearsals and provide the Director a

weekly report of members’ attendance.

During full-chorus rehearsals, Section Leaders will periodically check singers’ folders for measure numbers,

rehearsal notes, and pencils. A log sheet for each voice part will be provided for record-keeping purposes. Section

Leaders are to also monitor cell phone use during the rehearsal. If a singer’s cell phone is not in the folder cabinet

at the front of the rehearsal hall and is being used during rehearsal, Section Leaders are requested to record the

date, and to politely instruct the singer that the cell phone is to be place in the folder cabinet for the remainder of

the rehearsal. Since not all Section Leaders are seated in areas that permit a view of all the singers in the voice

section, Section Leaders are authorized to monitor any cell phone activity throughout the entire ensemble.

SECTION LEADERS

2017-2018 SEASON

SOPRANO – SOPHIA MCKINNEY

ALTO – KATHRYN COOPER

TENOR – CLINT KESTERSON

BASS – BEN THOMPSON/GEOVANNI WILLIAMS-SMITH

14

SECTION V – GRADING CRITERIA

Attendance (Criterion 1)

Even though attendance represents only 45% of the grade, the issue still requires some comment.

Often, individuals who sing in academic choral ensembles are assessed a grade based solely on attendance. While

this has been a traditional approach, its usefulness in contemporary choral ensembles is subject to question—

especially at the collegiate level. For this reason, regular rehearsal attendance is not the only factor that will be

considered for grading purposes. Singers are expected to attend all rehearsals. Each student is allowed one weeks’

worth of absences (three for Heritage Singers, two for Chamber Singers). Absence from rehearsal beyond one (1)

week constitutes sufficient ground for dismissal from the ensemble. Absences from scheduled rehearsals should

be reserved for documented academic activities necessitating student participation or physical ailment. Absence

from a dress rehearsal will prohibit the singer from participating in performance. Absence from any scheduled

performance will result in a final grade of F.

Subsequent absences for illness are not considered excused. A week of absence should be sufficient for most

illnesses that may be encountered. If you are facing extended health issues, please drop MUEN

1061/3061/1141/3141 from your schedule until your health status improves allowing regular, consistent

attendance.

Most physicians, dentists, optometrists, ophthalmologists, orthodontists, and other medical practitioners are

available to see patients before and after the 11:00 am MWF and 3:00-5:00 pm TR time slots. Please do not

schedule a medical appointment if it will interfere with your attendance. If your parents schedule doctor visits on

your behalf, please explain to them that the ensemble time slot is an academic course for which you will receive a

grade.

Request that your employer schedule you to work at times that will enable you to attend the entire rehearsal. Do

not plan to begin or end your shift at a time that will necessitate an early departure from rehearsals, or cause you

to be late. Explain to your employer that the ensemble time slot is an academic course for which you will receive

a grade. If your employer will not show flexibility in this regard, please drop MUEN 1061/3061/1141/3141 from

your schedule until your employment status allows regular, consistent attendance.

In short, save your absences for those times when an illness or medical emergency requires a physician’s care or a

death in your immediate family necessitates your presence for attending a funeral. All absences will be treated

equally; there are no excused absences.

Academic Labs: Students with an academic lab conflict may enroll in MUEN 1061/3061/1141/3141 only if the

lab conflict will constitute not more than one (1) absence from rehearsal per week. Singers missing rehearsal for

labs must listen to the rehearsal recording and complete and submit the Rehearsal Review Form at the next

scheduled rehearsal (may also be submitted via Blackboard).

Once rehearsal has begun there is no acceptable reason for leaving the rehearsal space before the entire ensemble

has been dismissed. All personal issues (e.g., bathroom visits, water fountain, etc.) must be attended to prior to or

following rehearsal.

Cell phones

Cell phones are never allowed in the riser area. Cell phones are to be turned OFF and placed in the choir folder

cabinet at the front of the rehearsal hall. There is to be no texting or other use of a cell phone during rehearsal. If

your phone rings during rehearsal and you leave to take the call, you will be marked absent. If you are expecting a

phone call during the rehearsal hour, you have the following options:

1. Notify the caller that they must leave a message and you will return the call after rehearsal

2. Tell the caller you are unable to take phone calls during rehearsal

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3. Use one of your absences to take the call. The absence will not be excused for this purpose.

Section Rehearsals (Criterion 2)

Your Section Leader will schedule periodic section rehearsals. Your Section Leader will do her/his best to

accommodate scheduling issues. Please be flexible. You are expected to attend any section rehearsal. Your

Section Leader will maintain records of section rehearsal attendance. To receive full credit (10% of your final

grade), you must have attended at least 80% of all section rehearsals leading up to the Fall Concert. Should an

employment or class schedule prevent your attendance, you must contact your Section Leader to learn what

passages and specific details were addressed during a missed section rehearsal to receive partial credit.

Assignments (Criterion 3)

Although most choirs do not have “assignments” per se, there are occasions that work will be assigned to the

ensemble. For the purposes of participating in the SAU choral program, most of the assigned work will include

the following:

1. Numbering measures

2. Studying/learning solfeggio syllables for specific passages

3. Studying/learning rhythms for specific passages

4. Having your assigned folder, repertoire, and pencil at each rehearsal

5. Adding marks (e.g., no breath, stagger breathe, watch, reference pitches, etc.) to scores

6. Adding diction notes to scores (most often I will use the IPA for diction purposes)

Additionally, folders will be checked periodically for:

1. Pencils

2. Music

3. Measure numbers written into score

If a folder check is called and a singer does not have her/his folder, a tardy will be assessed, and a zero (0) grade

will be recorded for that folder check.

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SECTION VI – THE CHORAL SCORE

Music majors have ready access to the courses related to music reading, but for many non-majors the choral

rehearsal may represent the only opportunity to learn the ins and outs of navigating a score of music. In terms of

the choral experience, the ensemble will progress quickly as each member masters basic elements of music

reading, the choral score, and how to make the best use of the tools used within the rehearsal to teach the music.

This section is organized in such a way as to allow those with knowledge of some elements to skip or skim what

is already known and focus on areas that are less secure. There will be no examination over the contents of this

section. It is included as a reference, and you are invited to use it often as we work through our repertoire

together.

Part 1 – Fundamentals of Music Reading

I. Names of clefs and pitches

II. Identification of key (Key Signatures)

III. Solfeggio syllables

IV. Pitch alteration

V. Curwen handsigns

VI. The tuning fork

VII. Meter and rhythmic notation

VIII. Countsinging

IX. Dynamics and expressive markings

Part 2 – The Choral Score

I. Various score layouts

II. Mapping repeated sections

III. Marking the score

IV. Numbering measures

Part 3 – The text

I. Discovering the meaning of the text

II. Choral diction – IPA (International Phonetic Alphabet), vowel unification, consonant energy and

application

Part 4 – Studying the score

I. Revisiting the tuning fork

II. Identifying reference pitch cues

III. Audiation

IV. Learning vs. Rehearsing

V. Memorizing

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Part 1 – Fundamentals of Music Reading

The illustration below identifies many elements of a musical score. Specific aspects of musical notation will be

addressed separately.

1. I – Names of Clefs and Pitches

Modern notation uses the first seven (7) letters of the English alphabet as the names of pitches. The letters follow

in consecutive order (A, B, C, D, E, F, G) as a scale ascends. When the first seven letters have been used up, the

pitches begin again at A.

Clef sign Key signature

1st system

2nd system Repeat signs

Measure numbers

Time signature

Barlines

Ledger lines

Names of notes on bass clef

Names of notes on the treble clef

Ledger lines

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1. II – Identification of Key (Key Signatures)

Key signatures provide a summary of the sharps and flats in a given piece of music. They also indicate the tonic

pitch (or, in solfege, “do”). All of the keys (both major and minor) are shown in this part. It is not necessary for

you to identify keys of the choral repertoire at sight; you may use this page as a reference tool.

An easy way to memorize key signatures is a chart called the “Circle of Fifths,” so called because whether you

move clockwise or counter-clockwise, every key is five steps away from the adjacent key. For instance, from C

major to F major, five letter names are spanned: CBAGF; from F major to B-flat major, five more letter names are

spanned: FEDCB, and so on. The number of sharps or flats (there are only 7 of either) can easily be seen on the

clockface. Major keys appear on the outside of the circle, minor keys appear on the inside.

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1. III – Solfeggio syllables

The solfeggio (or solfege, for short) syllables are a useful tool in reading music. Since the relationship between

syllables never changes, you can easily read the pitches on the score without the aid of a piano or other

instrument. It takes a little practice, but once you have an understanding of how to use the solfege syllables, you

can read about 95% of all choral repertoire. That is not to say that you will be able to read the score at sight—but

with a few minutes of focused study, you should find that you are able to sing the pitches using the solfege

syllables.

1. IV – Pitch alteration

Pitches can be altered from their normal (natural) state by half step using accidentals. The chart below contains

accidentals we will most frequently encounter.

natural (cancels previous accidental)

flat (lowers pitch one half step)

double flat (lowers pitch two half steps)

sharp (raises pitch one half step)

double sharp (raises pitch two half steps)

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1. V – Curwen Hand Signs

The Curwen hand signs were developed by John Curwen to aid in music reading. Composer Zoltán Kodály

adapted them for use with the solfege syllables. The hand signs correspond to the seven syllables.

do

ti

la

sol

fa

mi

re

do

1. VI – The Tuning Fork

Your tuning fork is tuned to A=440—the second space from the bottom of the treble clef (see: I. Names of Clefs

and Pitches). Using the tuning fork, it is possible to locate any other pitch. For instance, if you are trying to find F

as do, you can sound the tuning fork, hear the A, and then sing a scale down to F (A, G, F = “Three Blind Mice”).

If do is C, you can find it from A by starting from A as la, and singing “la-ti-do.” There are many other ways to

use the tuning fork, and we will explore them in rehearsal.

To use the tuning fork, strike the tines against your wrist or knee to set them vibrating, take the handle of the fork

and place it just inside the outer ear canal, against the cartilage. This will allow the vibrations to be conducted to

the inner ear in the most direct manner.

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1. VII – Meter and Rhythmic Notation Time Signatures communicate the durational length of a measure of music. A time signature consists of two numbers, one on top of the other. The bottom number denotes a rhythmic value ( = whole note; = half note; = quarter note; = eighth note; = sixteenth note, and so on), and the top number tells how many of the bottom number it takes to fill a measure. For instance, a time signature tells the performer that the duration of every measure of music will be equal to two quarter notes. Rhythmic notation provides the duration of notes in relation to one another. Unless dotted, all durational values are divisible by 2. The whole note is equals 1. All divisions follow mathematically: two halves equal a whole; two quarters equal one half; two eighths equal one quarter; two sixteenths equal one eighth, and so on. Whether the symbols are notes or rests, the proportional durations are the same. The illustrations below show note and rest values and one way in which the notes might be viewed proportionally.

1. VIII – Count-singing

Count-singing was a tool developed by the late Robert Shaw (1916-1999) as a rehearsal tool for his choirs.

Simply put, singers substitute beat numbers (and their divisions as necessary) for text. There are no sustained

numbers; singers count through long durations and through tied notes. The numbers counted are determined by

the time signature or by the conductor (“T” is substituted for the number “3” for clarity of articulation). The

following is an example.

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1. IX – Dynamics and Expressive Markings

There are many ways in which composers mark their scores to indicate relative loudness, character, speed, and

articulation. The list below is not meant to be exhaustive. Instead, it provides some of the most often encountered

markings in the repertoire we sing.

pianissimo = very soft

piano = soft

mezzo piano = medium soft

mezzo forte = medium loud

forte = loud

fortissimo = very loud (very strong)

cresc. Gradually increasing volume

dim. Gradually decrease volume

legato smoothly

sostenuto connected

marcato marked

staccato detached

espressivo expressively

dolce sweetly

accelerando gradually increasing tempo (also: accel.)

ritardando gradually reducing tempo (also: rit.)

> accent; apply added stress to beginning of note

. staccato mark

_ tenuto mark; accent entire length of the note value

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Part 2 – The Choral Score

2. I – Various Score Layouts

Because choral music spans such a wide period of time (think in terms of the early notation of Chant up through

the present), the appearance of a choral score can vary widely. Even so, some elements remain constant. The

general order of voices is always from the highest to lowest, from the top of a system down. For mixed voices,

this translates into (reading from top down) Soprano, Alto, Tenor, and Bass. The following examples show just a

few of the various layouts that are possible.

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Sometimes sopranos and altos

share the treble clef

Sometimes tenors and basses

share the bass clef

When all the voices are singing a unison

line, the composer will often use a single

clef

Occasionally a composer will include arrows at the

end of a system to indicate the single unison clef

will be divided into two or more clefs

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2. II – Mapping Repeated Sections

To reduce the cost of music publishing, editors often require composers to use a variety of symbols to indicated

repeated sections of music. When you are first becoming familiar with our repertoire, take a few moments to scan

the piece for symbols that direct you from one place in the music to another. Doing so will enhance your rehearsal

experience by allowing these symbols to eliminate the confusion as they are meant to do. Below is a sample of

some of the most commonly encountered symbols that communicate how to navigate through a choral score.

2. III – Marking the Score

Music notation, at its best, serves only to represent on paper what will be interpreted in sound by voices. If a

composer were to indicate every single nuance, vowel, consonant length and placement, etc., the score would be

nearly unreadable (not to mention the publishing expense). Even so, conductors study the score to determine a

composer’s intent. In essence, they read between the lines (and notes) to arrive at the closest interpretation to what

the composer had in mind when s/he put the notes on the paper. Consequently, conductors will often add marks to

indicate important words, the highpoint of a phrase, where and where not to breathe, vowel sounds, and other

editorial reminders. Singers are required to bring pencils to rehearsal so that when the I instruct the ensemble with

these reminders, they can be added to the score. Please do not use a pen to add these markings. Music is a living

art, performed by human conductors and singers. Over time, a conductor may have life experiences that

completely alter the way in which s/he views the text and its setting, requiring that singers erase old markings and

add new ones. Some common markings follow.

’ or // may be used to indicate a breath

NB may be used to indicate no breath is to be taken

Steal may be used in passages where silent breaths are to be taken to create an uninterrupted line

may be used to indicate a place to watch me

may be used to mark reference pitches

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2. IV – Numbering Measures

To save time in rehearsal, I will often use measure numbers to specify where they wish to begin working. Often,

the directions are given from general to specific: “Black is the Color of My True Love’s Hair, page 4, measure 65,

beat 3.” Using measures numbers saves a great deal of time and ensures that everyone is in the same place when

the rehearsal of a passage begins. Consider the alternative: “Black is the Color of My True Love’s Hair, page 4,

second system, fourth measure, beat 3.” Even though there’s only the addition of a single phrase, it leads to

confusion for the singers, and wasted time that could be spent rehearsing. When all the singers have their

measures numbered, the rehearsal can move quickly and efficiently, making the music-learning and rehearsing

process much more enjoyable to all.

Measure numbers should be written above the soprano line, on or just to the right of a barline. The general

practice in numbering measures is to begin numbering with the first measure that contains the full duration

indicated by the time signature. This is the system used in Heritage Singers and Chamber Singers for numbering

measures. However, many publishers have begun accepting submissions directly from composers using music

notation software such as Finale® or Sibelius® that often begin numbering measures from the first few notes of

music. It is a good idea to look over each piece to see if the measure numbers have been provided by the publisher

(sometimes they appear under the piano part) as this will determine where measure 1 began. An example of how

to number measures is provided.

An incomplete

measure of beats

is unnumbered

The first complete

measure of beats

is numbered “1”

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Part 3 – The Text

3. I – Discovering the Meaning of the Text

Ensemble singing is a very human activity. Each of us brings to the rehearsal and performance our own life

experiences, level of emotional, mental, psychological, and spiritual maturity, and previous experiences with

settings of the same text by different composers. The combination of every individual’s background in the

ensemble creates a rich tapestry through which the text can be newly interpreted. In some instances, the text will

immediately resonate with life experiences; in others, the text may represent emotions or other states of being that

are very foreign to a singer. In the case of music of various cultures, some texts may at first seem completely

random, silly, or unapproachable. But choral singing, at its heart, is the art of communicating someone else’s

ideas as if they were our very own. This requires careful thought, time spent with the text, and sometimes some

creative imagination to place ourselves in the poet’s shoes.

I would encourage you to spend time with each text. If you must, write it out and reflect on it apart from the

music. Ask yourself, “What is the poet saying?” “What does this word mean in this context?” “What emotion

does this text convey?” “Is there a high/low point in the text?” “Where would I place stresses if I were setting this

to music?” “Why did the composer choose this text?” “Do some words convey shades of color or other

meaning?” Many, many other questions may be asked, but doing so will allow you to get to know the thoughts of

other human beings, and make the learning, rehearsing, and performing experience much more meaningful and

personal.

3. II – Choral Diction – IPA (International Phonetic Alphabet), Vowel Unification and Consonant Energy

Quite often, it was the text that inspired a composer to sit down and set the words to music. When we begin the

learning and rehearsal process, we are joining the chain of expressing the text with each other. But when we are in

performance, our listeners will not be able to participate in that process unless they, too, can understand the text.

It has been said (and to some point, I agree) that singers do not sing words—they sing the sounds of words. This

is a very important point. The sounds that make up words (phonemes) are the critical details that spell the success

or failure of a choral performance. Every word is a combination of phonemes, and how those phonemes are

produced by a group of singers determines their intelligibility, their emotive content, and their level of importance

within the overall musical phrase. It is the sounds of words that work together to create the meaning of the text

within the composer’s setting. In this sense, we sing the sounds of words, and not the words themselves. On the

other hand, if we completely remove ourselves from the meaning of the poetry and focus solely on phonemes, the

performance will become mechanical and unexpressive. The key is to balance phoneme with poetic meaning.

Part 3. I. (above) describes a process for becoming intimate with the poet and composer through a careful study of

the text. But simply having empathy for a text does not mean that it will be communicated to the listener. Diction

is the element that will balance empathy for a truly enriching experience for the singer and the listener. Below are

some of the symbols that I use in rehearsal for specific vowel and consonant sounds. These symbols have been

codified as the IPA or International Phonetic Alphabet. The IPA includes all the sounds of known human

languages so that any word can (theoretically at least) be pronounced by a non-native speaker. The chart that

follows contains the most commonly used vowel sounds in the English language. Many of them are also used in

singing the Romance languages. Beneath the chart are some simple English words that can be equated with the

IPA vowel symbols.

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[i] = beet

[e] = bait

[ɛ] = bet

[æ] = bat, back

[a] = very bright, as in “We hail thee now, O SAU”

[ä] = bought

[ɑ] = bother

[ɔ] = ball

[o] = boat

[u] = boot

[ʊ] = book

CONSONANTS

Written IPA Sound Written IPA Sound

b [b] boy p [p] pack

c [k] call ph [f] fine

c [s] cease qu [kw] quick

ch [ʧ] church r [ɹ] rear (never used in choral singing)

d [d] bad r [r] Ave Maria (flipped or trilled)

f [f] fine s [s] bass

g [ʤ] judge sh [ʃ] hush

g [g] good t [t] batter

h [h] hot th [ð] bother

j [ʤ] judge th [θ] bath

k [k] call v [v] above

l [l] learn w [w] walk, bow

m [m] boom x [ks] excellent

n [n] bean y [j] yellow

ng [ŋ] bang z [z] zoom

ni [ɲ] onion, senior z [ʒ] pleasure, Asia

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Part 4 – Studying the score

Consider that an average concert of 12-14 selections lasts around 50 minutes, and that the average duration of a

single choral work is approximately 3:30 minutes. Now consider the amount of time for rehearsal on a 3-day per

week rehearsal schedule for an average concert. About 32 rehearsals remain after things like the course

introduction, syllabus review, voicing and seating sessions have been completed. Even though on paper each

rehearsal is 50 minutes long, when activities such as warm-ups (7-10 minutes), announcements (3-5 minutes),

time allotted for changing from one score to the next (1-2 minutes), time allotted for changing from one

seating/standing arrangement to another (3-4 minutes), time taken for the my instructions/comments (4-6 minutes)

are accounted for, the actual amount of time an ensemble spend singing is actually about 30 minutes. When the

number of rehearsals (32) is multiplied by the number of actual rehearsal minutes (30) there are 960 minutes of

rehearsal to prepare a 50-minute concert. Seems easy. But when five of the selections are difficult, three are easy,

and the remaining six are moderately difficult, the time given to rehearse each selection cannot be divided evenly

across all the rehearsals. The easier pieces require less time, the difficult pieces require more. Not only that, it is

impossible to rehearse every piece, every rehearsal. If the above information were an actual concert, the following

rehearsal formula would be used:

960 minutes divided by 14 selections = approx. 68 minutes per piece

The six moderately difficult pieces would each receive 68 minutes of rehearsal spread over the 32 rehearsals using

up 408 total minutes of rehearsal.

The easier pieces would likely not require 68 minutes each, and the difficult repertoire would likely demand more

time. To calculate this, the figure 68 is divided in thirds (i.e., difficult, moderate, easy) to determine the amount of

minutes to take away from rehearsal of the easy repertoire and add to the rehearsal time of the difficult selections.

Since 68 divided by 3 equals about 22, 22 minutes will be taken from each of the three easy pieces (leaving each

easy piece with 46 total minutes of rehearsal time) and the 66 minutes drawn from the easy pieces would have to

be divided between the five difficult selections—about 11 minutes each. For each difficult piece then, there would

only be 79 minutes of rehearsal time allotted. Taking into consideration the time between rehearsals (especially

weekends) and the time spent reviewing previous rehearsals, it becomes clear that a full concert of repertoire

cannot be learned, rehearsed, and polished within the time confines of the rehearsal. Each singer must spend time

outside of the rehearsal both learning and practicing the scores if the music is to be prepared for the level of

musicianship that is expected at the concert level.

That was a lot of words to say one thing: each singer must study the scores outside of rehearsal. The amount of

time spent is purely an individual thing. You know your individual weaknesses and strengths—and how they

affect the ensemble—better than anyone. I can tell you this: that the more time you spend studying your voice

part, the less time we will have to spend tediously working out parts in rehearsal. Rehearsal is for rehearsing, not

part-learning. Music knowledge and skills are both additive and cumulative. So study. “But study what?” you

might ask. The remainder of this section seeks to answer this question.

4. I – Revisiting the Tuning Fork

It is my hope that every singer in Heritage Singers and Chamber Singers will gain experience as a music reader.

Please notice that I did not say that “singer in Heritage Singers and Chamber Singers will become an expert music

reader.” You will not be tested individually. Our success as an ensemble of intelligent musicians (not a category

reserved for music majors, by the way) will be displayed in the only forum that matters: the concert performance.

One way that you can study your music is by using your tuning fork to establish the key of a given piece, or to

help you find the starting note of a passage that is particularly challenging for you. You will find that as you use

the tuning fork in combination with solfege syllables , you will begin to hear more quickly the sound of your part,

but be patient. Like anything else, learning how to use a new tool will take time, and your progress may even be

slow. Don’t give up!

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4. II – Identifying Reference Pitch Cues

One of the most helpful tools available to every singer in the ensemble is already notated in the score. During

rehearsal, mark any section in which you are having difficulty finding your entry pitch. Then, during your study

time, identify the name of the pitch (see 1. I. above) that you have difficulty finding. Examine the other voice

parts (and the accompaniment, if the piece is accompanied); see if that same pitch name is sung by another voice

either before you or at the same time. Sometimes, if you can find a pitch that is a whole- or half-step away from

where you will be singing, that is helpful, too. Even if the nearest reference pitch occurs one or two beats before

your entrance, which may be enough to help. Circle that pitch and draw a line to your entrance. Use the tuning

fork and practice hearing both parts. Music knowledge is cumulative. Even simple activities such as this will be

transferred to other choral pieces, and the length of time it takes you to learn a piece will become smaller and

smaller.

4. III – Audiation/Tonal Imagery

The infinitive form, to audiate, was coined by the music educator and researcher, Dr. Edwin E. Gordon. In short,

the term describes the process by which our brains can hear sound when no sound is physically present. Try this:

think of one of your favorite songs and listen to it in your memory. That’s audiating.

Now think of this: Brains sing; vocal folds produce sound. That is the truth. If you are able to audiate your voice

part, even in a short passage of music, you will be participating in one of the best practice techniques you can

use. You might begin by sounding your tuning fork and finding a specific pitch by audiating. From there, you

might audiate a scale. Sound your tuning fork, establish the key for one of our selections, or even just a passage,

and audiate. The vocal folds only respond to the impulses sent to the larynx by the brain. It is the brain that

produces pitch, not the voice. Individual mastery of this activity will improve an ensemble’s music reading

ability and intonation. You can practice your repertoire anywhere, and no one will ever hear you!

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4. IV – Learning vs. Rehearsing

As we prepare music for upcoming events there are two stages of the process, and they should not be confused

one for the other. During the first stage of preparation singers are to be learning the technical aspects of the score

(e.g., pitch, rhythm, articulation, dynamics, diction, etc.). The goal during this stage is to allow for and correct

departures from the composer’s notation. We will often use solfege to learn pitches, countsinging to learn

rhythms, and speaking through texts to learn diction. Our purpose in this stage is not to gauge the “how much” in

terms of accent, dynamic contrast, or articulation; instead, we are only doing our best to learn all of the technical

aspects of a particular section, movement, passage, or selection so that once rehearsing the music begins, we can

then begin to work to pool together our individual efforts into an ensemble approach to the repertoire—THAT is

the beginning of the rehearsal stage. To “rehearse” music is just that: to hear again; and again, and again, and

again. Every aspect should be refined so that there is no point during the performance in which the listener’s

awareness is drawn away from the whole.

Pencils with erasers are a must during both stages of preparation. It is an important discipline to learn to listen

to instructions to other voice sections when I have signaled for the singers to stop singing. Often, many of the

comments I give pertain to other voice sections in the ensemble. Always mark your score lightly, but not so

lightly that you are unable to read your notes. These marks and notations will eliminate the need to repeatedly

address issues that have been corrected or attended to in earlier rehearsals.

A word about attendance seems fitting here. Absence from ensemble meetings means that the singer will either 1)

not have learned the repertoire as has the rest of the ensemble, and/or 2) not have rehearsed subtleties that lead to

superior ensemble sound and performance. Either way, an absent singer needlessly delays the progress of the

entire group.

4. V – Memorizing

The memorization of a choral score by the performing ensemble should never be a goal in and of itself. I have

witnessed too many fine choirs perform with moving expressivity while singing with score in hand. Conversely, I

have survived many performances by choirs whose repertoire was memorized, but the sound was as lifeless as the

faces of the singers’ voices that produced it. The belief that choirs that memorize repertoire are more expressive

than those which do not is unfounded. While memorization can lead to greater communication between the

conductor and the ensemble (as long as the conductor’s face isn’t glued to the score), it is not a guarantee.

So what is my goal for Heritage Singers and Chamber Singers with regard to score memorization, and why? If we

have learned and rehearsed well, there is no reason for eyes to be glued to music in a folder. The attention to

details in each rehearsal are often too numerous to rely on memory alone. Penciled-in markings provide additional

information for the successful performance. My goal is for each singer to be so thoroughly versed through the

learning and rehearsal process that the score in hand serves only as an occasional reminder during the

performance event. This is necessary for one very important reason: Communication between human beings is so

much more intimate when there is eye contact. If my eyes meet yours, I know that we are making music together.

While a score in hand does not necessarily mean that we cannot look each other in the eye, it does present one

obstacle. The more we can communicate with each other and our audience, the more enriching will be the

experience for all.

Whether we are learning or rehearsing repertoire, get into the habit of getting out of the score as soon as possible.

As a general rule, if we have been working a passage for several minutes, or for the third or fourth time in a single

session, train yourself to look up from the score during the repetitions. The more this becomes habit for the

ensemble, the more easily and quickly our repertoire will be committed to memory. Two things we will not do:

we will not use valuable rehearsal time to memorize simply for the sake of memorizing, and we will not

memorize a performance. The performance of music must be dynamic, vital, and flexible. To memorize a

performance suggests that we are inflexible and incapable of joining with the music to take us wherever it wants

us to go at any one time.

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SECTION VII – REPERTOIRE

Learning your part

Human beings participate in ensemble singing for a variety of reasons. Some enjoy the pleasure of the social

experience, some appreciate fine literary prose and poetry set to music, some take enrichment solely from the act

of singing, and others may sing in choirs for all of these reasons and many more. Whatever the case may be, it

should be obvious that the final product of the performance—often lasting only 45-50 minutes—is the result of

many more hours spent learning and rehearsing the repertoire. The distinction between the two (learning vs.

rehearsing) is an important element in the process that leads to a successful performance.

Conductors often expect their ensembles to learn the repertoire within the rehearsal setting. By learning I am

referring to the process of perceiving and accurately rendering pitches, rhythms, dynamics and expressive

markings, articulations, and diction. Unfortunately, the background necessary for learning music “at sight” is not

often taught prior to the college experience. Singers become frustrated during rehearsals, voices tighten at the

thought of “getting it wrong,” and conductors wonder why the repertoire is still not learned two weeks before a

concert is to take place, making it necessary for several extra rehearsals to get the program in shape for public

consumption. Consequently, “rehearsal” time is spent “learning” and very little actual rehearsing for performance

takes place.

To deal with these concerns, it is imperative that singers attend each rehearsal. During the first few weeks of the

semester, the bulk of the teaching/learning process will take place within the rehearsal setting. Even so, singers in

the ensembles are required to study, review, and practice the repertoire outside of the rehearsal hour. If you

prefer to use some other means (e.g., piano, solfege, or some other way to learn the repertoire), you are certainly

invited to do so. By reviewing and practicing the repertoire outside of the rehearsal hall, more time may be spent

in rehearsal—REHEARSING.

The second means to address the learning vs. rehearsing situation is to utilize rehearsal time to teach basic vocal

music reading techniques and fundamental elements that are necessary for outstanding ensemble rehearsals and

performances. Please note that Heritage Singers and Chamber Singers are not music theory courses. Instead, the

concepts presented will focus solely on those that are essential to the vocal ensemble experience such as how to

navigate a choral score, how to read the music notation, how to apply solfege, efficient use of the body and voice

during the rehearsal/performance, how to mark a score, and many other related subjects.

Much of what has been described above will make use of our current repertoire as a point of reference and

departure. Therefore it is required that singers arrive at each rehearsal with their folder and the entire repertoire

for the semester. As noted in the syllabus section above, an absent folder counts as a tardy. While not required, it

is highly recommended that each singer bring blank notebook paper for purposes of taking notes. Should music

manuscript paper be necessary, it will be provided for you.

The aim of these teaching rehearsal periods is to create an ensemble that can learn repertoire without the aid of a

piano or practice CD. College level ensembles should be expected to read repertoire at sight; however, if the

singers have little or no experience doing so, such an expectation is futile. By committing a few semesters to

learning basic choral singing skills I hope to graduate both ensembles to a level at which repertoire may be

quickly learned during the rehearsal hour allowing more time spent rehearsing for performance. Both the learning

and rehearsing of choral repertoire can be deeply rewarding activities. It is my hope that your participation in the

choral program at SAU will be a first step that leads you to a more fulfilling choral experience while you are here

and in the future.

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SECTION VIII – VOICE CARE IN THE ENSEMBLE SETTING

Here are the major considerations of using your voice in a healthful and efficient manner throughout the choral

rehearsal:

Keep your brain, body, and voice focused during the warm-up period

o Your brain produces pitch; keep it “tuned in” during warm-ups

o Your body provides energy for phonation; keep it active during warm-ups

o Your vocal folds are merely the soft outer edges of the two thyroarytenoid (vocalis) muscles;

keep phonating (even gently) during warm-ups so the muscle(s) warm to an optimum operating

temperature

Never sing more loudly than is beautiful

Never sing so loudly that you cannot hear the singers around you

Consider contributing your voice to the ensemble sound; after all, we create our sound together—it

doesn’t exist anywhere else on earth

Keep your body well hydrated. A general rule of thumb: aim for your urine to be nearly as clear as the

water you drink (just don’t confuse the two). For every caffeinated or alcoholic beverage you consume, be

sure to equalize that with the same amount of pure water

Avoid environments that require you to speak loudly (buses, airplanes, motorcycles, concerts, etc.)

Resist the temptation to yell or scream at athletic events; learn how to whistle!

Sit or stand with your body well-aligned for both breath energy and vocal freedom when singing

Avoid chewing gum or food immediately before rehearsal. This engages the chewing muscles, some of

the strongest muscles in the body, and they must be relaxed for free singing

Keep the breath energy low in the body

If you sense your voice becoming tight, irritated, or fatigued during rehearsal, REST IT

Do not feel as if you must sing each and every note of each and every piece during the learning and early

rehearsals

If the range of a particular piece is too demanding, or if you feel you’ve been assigned the wrong voice

part, please bring this to my attention!

Love your voice

Love your neighbor’s voice

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SECTION IX – CURRENT REPERTOIRE AND COURSE SCHEDULE*

HERITAGE SINGERS

& CHAMBER SINGERS

FALL 2017

DATE EVENT/LOCATION/

CALL TIME

Saturday, September 9

Family Day Football Game

Wilkins Field Concession

Stand

5:15 p.m.

Thursday, September 14

Freshman Steak Dinner

Story Arena

5:45 p.m.

Friday-Sunday, September 22-24 Choral Fall Retreat

Lake D’Arbonne, LA

3:15 p.m.

Saturday, October 21 Homecoming Football Game

Wilkins Field Concession

Stand

1:45 p.m.

Wednesday, November 1 Dress Rehearsal

Central Baptist Church

7:00 p.m.

Thursday, November 2 Fall Choral Concert

Central Baptist Church

6:30 p.m.

Fall Concert Dress Rehearsal

Central Baptist Church

(HS/CS)

Fall Choral Concert Program

Thursday, October 26, 2017

Soon-ah Will Be Done (HS/CS) William L. Dawson

Sometimes I Feel Like a Motherless Child

(HS/CS)

arr. Rosephanye

Powell

Precious Lord, Take My Hand (HS/CS) arr. Roy Ringwald

I’ve Been in the Storm So Long (HS/CS) arr. Jeffery Ames

The Storm Is Passing Over (HS/CS) arr. Barbara Baker

Selah (CS) Dan Forrest

In pace (CS) John Sheppard

To Everything There Is A Season (CS) Stephen Caracciolo

Give Me Jesus (CS) arr. Hal Hopson

The Lord Is My Shepherd (HS/CS) John Rutter

Drop Thy Still Dews of Quietness

(HS/CS)

Paul Carey

How Can I Keep from Singing? (HS/CS) arr. Rollo Dilworth

A Gaelic Blessing (HS/CS)

John Rutter

HS = Heritage Singers

CS = Chamber Singers

HS/CS = Combined Ensembles

*In the event of schedule revision(s), adequate notice will be provided to alert employers, check calendars, etc.

35

Translations and Pronunciation of Foreign Texts

In pace In pa-ce , in i- di- psum dor- mi- am et re qui- e- scam.

[in pɑ ʧɛ in i di psum dɔr mi ɑm ɛt rɛ kwi ɛ skɑm]

In peace, (in) together I sleep and I rest

Si de- de- ro so- mnum o-cu- lis me- is:

[si dɛ dɛ rɔ sɔ mnum ɔ ku lis mɛ is]

(if) I have sleep eyes my

et pal- pe-bris me- is dor-mi-ta- ti- o- nem.

[ɛt pɑl pɛ bris mɛ is dɔr mi tɑ tsi ɔ nɛm]

and eyelids my drowsiness

Selah Se-lah

[sɛ lɑ]

Pause

36

APPENDIX

TUNING FORK PITCH REFERENCE Using the tuning fork to sound A=440, all of the pitches of the chromatic scale can be referenced using one of the two methods given below:

I. TRIADIC OUTLINING a. Requires the reinterpretation of A and its upper neighbor B as either do, mi, or sol of a major

quality triad.

B = do B = sol

A = sol

B = mi

A = mi

A = do

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II. SCALE REFERENCE a. Using A=440 as tonic of the A Major scale, all of the chromatic pitches may be located as upper

or lower neighbors (at the interval of a half step from the scale pitch). Scale pitches are designated by their syllable names, and enharmonic pitches (pitches with the same sound but different note names) appear in parenthesis.

38

ENSEMBLE LEADERSHIP

Participation in the SAU Choral Program provides ample opportunity involvement and the development

leadership skills. Since those elected serve the entire choral program, officers may be elected from both ensembles

(Heritage and Chamber Singers). Officers for the 2017-2018 year are:

President – Jaymee King

Vice-president – Rachel Faulkner-Edge

Social Chairs – Kayla Ashbrooks, Clint Kesterson, Courtney Taylor

Secretary/Librarian (work study) – Jaymee King

Historian/Webmaster – Leanna Allen (FB); Emilee Nolte (Twitter); Brianna Peachey (Instagram)

Fundraising – Meagan Gahr, Sean Hall, Autumn Knighton, Sophia McKinney

ENSEMBLE OFFICERS

1. Ensemble student governance

a. Purpose

i. Create an environment of self-governance, self-responsibility, and self-discipline

b. General responsibilities

i. Extra-musical concerns/activities of the Heritage Singers and Chamber Singers

c. At least two (2) of the officers must be held by singers enrolled in both ensembles (concurrent)

d. Music does not have to be the major area of study to hold an office

2. Officers

a. President

i. Qualifications

1. Cumulative 3.0 GPA

2. Must be rising junior or senior in classification

3. Must have participated in Heritage and/or Chamber Singers for two (2) semesters

4. Must exhibit commitment in attendance, possess potential for leadership, and be

willing to serve in the capacity of the office

5. Must commit to the office of president for the duration of the academic year to

which s/he has been elected

ii. Responsibilities

1. Oversee activities of the officers

2. Delegate responsibility

3. Must hold twice-monthly meetings with officers

b. Vice-President

i. Qualifications

1. Cumulative 3.0 GPA

2. Must be rising junior or senior in classification

3. Must have participated in Heritage and/or Chamber Singers for two (2) semesters

4. Must exhibit commitment in attendance, possess potential for leadership, and be

willing to serve in the capacity of the office

5. Must commit to the office of president for the duration of the academic year to

which s/he has been elected

ii. Responsibilities

1. Assumes responsibilities of president in the president’s absence

2. Oversee activities of the officers

3. Delegate responsibility

4. Must hold twice-monthly meetings with officers

39

c. Social Chairs (3 persons)

i. Activities that welcome new members

ii. Planning of social gatherings

iii. Assist director in retreat planning

iv. Assist with tour/off-campus activities, performances, etc

d. Secretary/Librarian- work study position filled by director by interview

i. Maintains member contact information

ii. Responsible for Choral Library and folder contents

iii. Concert attire

1. Formal

2. Casual

iv. Madrigal Feast

1. Costumes

2. Props

e. Historian/Webmaster

i. Maintains video/photographic record/archive of choral activities

1. Must post to website or archive resource regularly

ii. Creates written record of yearly choral activities

iii. Maintains Choral Activities display boards

iv. Assists Web Administrator

v. Designs and maintains SAU Choral Website under supervision of Director of Choral

Activities

vi. Updates website with news, upcoming events under supervision of Director of Choral

Activities

vii. Develops social networks for SAU Choral Activities through Facebook, Twitter,

Instagram, etc.

f. Fundraising Chairs (3-4 persons)

i. Develop, propose, and implement fundraising strategies to meet goals established by the

Director of Choral Activities

ii. Actively involve singers in fundraising activities

iii. Create a feedback system for

1. Communicating goals and attainment of goals to the ensemble members

2. Analyzing data to determine the fundraising strategies that work best for choral

activities

40

HERITAGE SINGERS/CHAMBER SINGERS

REHEARSAL REVIEW FORM

(to be completed by singers with Academic Lab and/or course scheduling conflicts)

Name: _________________________________________ Date of missed rehearsal: ___________________

Title of 1st piece

Measures Elements rehearsed

Questions/Comments:

Title of 2nd piece

Measures Elements rehearsed

Questions/Comments:

Title of 3rd piece

Measures Elements rehearsed

Questions/Comments:

Title of 4th piece

Measures Elements rehearsed

Questions/Comments:

41

HERITAGE SINGERS/CHAMBER SINGERS

SYLLABUS, POLICIES, SCHEDULE/CALENDAR

ACKNOWLEDGEMENT & AGREEMENT

FALL 2017

Your signature on this form indicates that you have read the syllabus information, are aware of all policies

governing attendance and grading, and that you agree to abide by the policies set forth in this document.

Additionally, your signature indicates that you have been made aware of all scheduled rehearsals and

performances, you have notified employers, family members, and any/all other parties with whom potential

conflicts may arise of your schedule commitment to Heritage Singers and/or Chamber Singers, and by your

signature your confirm that you understand the consequences of absence from scheduled rehearsals, dress

rehearsals, and performances.

_________________________________________________ ___________________________

_________________________________________________

Please submit your acknowledgement form by Friday, September 8, 2017.

Name (please print) Date

Your Signature