Conducting Choral Music by Robert Garretson

Jake Cannon 10/1/18

Review Questions from Ch. 4: Rehearsal Techniques

1. Describe five ways a conductor might address rhythmic responsiveness in rehearsal

a. Have singers process difficult rhythmic passages on their own, then chant the text in
rhythm as a group.

b. Clap the rhythm in various configurations - individually, as a quartet or octet, in sections,

or in small mixed groups to tighten rhythmic accuracy.

c. Isolate particularly challenging rhythmic passages and write them on the board. Analyze
and discuss the rhythms before responding to them through chanting or clapping.

d. To address unfamiliar time signatures, re-notate a well-known tune in a comparable

meter (a tune in 4/4 could be in 4/2, a tune in 6/8 could be in 6/4) and discuss the
differences in the way the notation “looks” on the page. Sing or chant the rhythm to
clarify specific issues

e. Write a phrase from a familiar tune on the board and intentionally alter the rhythmic
structure after the first sing thru. Continue to change the rhythmic properties of the
phrase so it becomes increasingly difficult. Using a familiar melody will allow students to
focus on the rhythmic, rather than tonal, properties of the phrase.

2. What factors influence precision of entrances (attacks) and releases?

a. The general attentiveness (awareness) of the group

b. The rhythmic response of the group

c. The basic technique of the conductor

3. What are two possible causes of blend problems within a choir?

a. Singers with unusual or very distinct tone qualities, who “stand out” vocally from the rest
of the ensemble

b. Non-uniform vowel production, where individual voices can be heard due to the incorrect
shaping or execution of vowel sound

4. What are two possible causes of balance problems within a choir?

 a. Individuals singing so loudly so they cannot hear the other parts around them

b. Individuals relying on particular “leader voices” in their section to learn their parts,
singing loudly when they are confident and quietly when they are less confident in their
parts

What are feasible ways to solve these problems?

For blend problems, make the appropriate singers aware (in a private setting) that they are not
blending with the group, and give them advice for adjusting their vocal performance, such as
singing with a lighter tone and listening to the other voices in their section. To solve vowel
issues, have the choir repeat the desired vowel sound back after a demonstration from the
conductor. Additionally, have the choir sing warm-ups which use the five Latin vowels in
succession,, focusing on the shape of their mouth and the vowel sound they make comparative
to their neighbor.

For balance problems, ask the singers to “listen across the ensemble” and actively hear the
other parts which work in tandem to theirs. Having the voice part with the melody hum their
part while the others sing out can help to establish a clearer concept of balance. Seating the
choir in quartet or octet combinations (or a randomized “scrambled” configuration) can aid in
reinforcing individual responsibility for knowing one’s part and help with achieving a uniform
balance to the voices. This seating also makes students more aware of the other parts
happening around them, allowing them to listen more closely, resulting in better balance.