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FA ’18: MUED 376

A.S.C.A.M. Rehearsal Guide Template
Suggested BEST ORDER: I. IV. II. V. III. & then Final Questions

A.S.C.A.M =
Audiation Decisions
Singing Decisions
Conducting Decisions
Analysis Decisions
Marked Score Decisions

I. Audiation Decisions:
Discography: Summary of important recordings and
performances, with notable comparisons:
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Title of Version Version Versio Versio
Piece 1: 2: n 3: n 4:
Mormon Eclipse conduc conduc
Taberna 6 tor and tor and
cle ensem ensem
Choir ble ble
Tempo 47, 67
then
60
Key EG G
Style So light,
women
A
enter cappe
first, add
new lla
harmonie group
s in
second
phrase,
orchestral
, then
men then
all
Type of n/a Each
soloist
memb
er
sings
a
My sectio Favorite
n of Sound is:
Rich, the full tone
melod
I will y achieve it
with Type of Full A tall, clear
instrumen
orche cappe vowels
ts
stra lla
“back-
up”
Solo n/a Impro
ornamenta
tion
v on
caden
ces
Choral Bright
Style
er,
more
feathe
ry
sound
Golden
Mean
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I will achieve it with high soft palate, forward placements

I will achieve it with firm, effective rules

I will achieve it with traditional choral style

Other notes…
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II. Singing Decisions

Sound: Breathing – low, full breath

Placement – lots of backspace and ugly
arpeggios for trebles, noo-ahhs for tenors
Vowels and modifications – All roads lead to AH
as we climb the staff; vowels must be tall, open, and
clear of tension.
Consonants – crisp, clear English consonants; no
chewed R’s
Type of blend – darker blend to adjust for the
nature of singing in English
Preferred balance – basses, sopranos, altos,
tenors
Vibrato – little to none, if using, BACKSPACE!

Interpretative IPA
Decisions: Translations – poetic meaning as translation
Word Stress – word stress is easily understood
from composer’s downbeats
Phrasing and Breathing – No “church choir”
breathing if at all possible; breathe low after every half
note; add in an eighth rest if necessary.

Emotional: Buzz words – community, grace, faith in

something more
Coloration: Placement: Backspace with lots of
resonators and formants

Soloists: N/A

Kodaly Considerations:

Tone set:
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Tone set defined: Diatonic
(Soprano: s- f- m; m- s- r; m – s – l; s – l – t- d1)
(Alto: d – t--1 – d; d – d- f - m- s; f – f – m -- d )
(Tenor: s – f- m- ; s – s- s – s- ; s – d1- f -m -s; d1 – t – s)
(Bass: d – s1- d; d – m1 – s1; d – m- f- d; d – m- f – s- d )

Rhythmic set:
Rhythmic set defined: [ta-di, ta, ta];[ta, ta, ta-di, ta----
(half note)]
3/4 with a pick up beat
Counting system: Takadimi

Developmental strategy:

Prepare – ASCAM/lesson plan with direct script;

include rehearsal threads/goals; tone sets/rhythmic
sets
Present – sing prepared tone sets to choir
Practice – continue teacher/student
presentation/performance of tone sets
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III. Conducting Decisions: big/small, in/out,
up/down

Level 1: What does my Level 1 look like in this piece?

(My kinesthetic set-up, my Laban dimensions [time,
weight & space], effort actions & feelings, marked in
the score)

My kinesthetic set-up is to be tall, relaxed, and strong.

Laban dimensions:
¯ Time: sustained throughout; use
sudden/quick for consonants
¯ Weight: Strong and Heavy/Weight Sensing
¯ Space: Direct

My improvement goal for Level 1 Kinesthetic is: to

continue relaxing into my conducting and roll
shoulders back into place.

Level 2: What does my Level 2 look like in this piece?

(My somatic facial affect, my emotional connection to
the piece and my facial affect, my mouth shape and
my vowel shaping, my Laban dimensions [time, weight
& space], effort actions & feelings, marked in the
score)

My somatic facial affect: happy and reverent,

connecting to choir
Emotional connection to the piece: Everyone needs
grace; a second chance
Mouth/vowel shaping: model vowel for sopranos as
they ascend the staff

My improvement goal for Level 2 Somatic is: to

more frequently change facial affect and properly
model breaths and vowels

Level 3: What does my Level 3 look like in this piece?

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(What are my beat patterns, my cues, my levels, my
word stress, my releases, my size of gesture, my
entrances, my melded gestures, my eye tracking, etc.,
and how do I execute them, my Laban dimensions
[time, weight & space], effort actions & feelings,
marked in the score)
and what do my Rainbow Lady drawings look like?)

Beat patterns: ¾
Cues: low breathing cues, high placement cues for
upper range
Sudden cut offs, melded gesture at the end

My improvement goal for Level 3 Technical is:  

To improve all cues and melded gestures

Level 4: What does my Level 4 look like in this piece?

(When do I move out of the “patterns” and how, and
WHY, my Laban dimensions [time, weight & space],
effort actions & feelings, marked in the score) and
what do my Rainbow Lady drawings look like?)

I move out of my pattern at the end, holding and giving

a push in order for singers to crescendo and be
supported

My improvement goal for Level 4 Informed is:  to

use more levels of the Rainbow Lady

IV. Analysis Decisions

Everything you study in order construct and develop an

aural image of the piece and to build a fluid, transparent,
informed interpretation of the piece.

Historical Aspects:
Composer – history and
considerations
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¯ Written by Robert Robinson
at 22 (How old I am when I’m
writing this! How
synchronous!)
¯ Influential Baptist

History of the Piece, date

¯ Robert Robinson writes the
lyrics, hymn is sung to
“Nettleton” tune
¯ Wyeth’s edition includes a
revival chorus

Performance Practice elements

¯ Reverent performance,
acknowledging religious
history
¯ Focus on the meaning of the
words; second chance,
needing to find a guide,
grace, etc,

Theoretical Aspects:
Analysis – Structural/Phrasal – (see
Template)
¯ A: a – a – b – a’
¯ Strophic

Analysis – Chordal – (see Template)

¯ I – IV – V – I

Kinesthetic Aspects:

DRAWINGS on Rainbow Lady

Template
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V. Marked Score Decisions

Score Preparation: Prepared Edition – Do I make a

prepared edition for the choir?
Yes, with verse 2 removed

Study Score – What is included in my

study score?
Study score has marks with chordal
analysis and general music theory
analysis, as well as important chord
tones marked

Conductors Score – What is included

in my concert score?
Important chord tones marked, breath
cues marked, melded gestures
marked

~FINAL QUESTIONS~

Do I see my A.S.C.A.M. decisions in my gesture?

Yes, I seem intentional with most of my gestures.

Do I hear my A.S.C.A.M. decisions in the sound

and
performance of my choir?
Yes! Using melded gestures and supported low breath cues
really helps the choir blend and sing easily.