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CONDUCTING
WORKSHOP
Prof. LESTER DELGADO
CENTRO ESCOLAR UNIVERISTY
CONSERVATORY OF MUSIC
I. BODY ALLIGNMENT
BODY POSITION
1. Begin with the feet placed no wider than the shoulders.
2. Both feet should be parallel to each
3. From this parallel position, allow the feet to flair out
naturally.
4. Keep legs relaxed and avoid locking the knees.
5. Imagine the point where the neck meets the cranium.
6. From this point, gently lengthen the spine which in turn...
7. Allows the chest to rise to a comfortably high position,
8. Allows the neck to lengthen naturally, and
9. Allows the head to move to a natural position with the chin
neither too low or high
ARM POSITION
1. Allow the arms to hang naturally to the
side of the body.
2. Raise the relaxed right arm so that the
forearm is relatively parallel to the floor.
3. Avoid creating tension by raising the elbow
too high.
4. The hand should be aligned with the
center of the torso, palm facing down at a
comfortable angle.
Gestures
A. The Directors hand signals are
important for telling:
Which passage in the song the choir is
song
When you want them to interpret
BREATHING PROCESS
Preparation
Having a good preparatory beat is very
important to identify the tempo,
dynamics, expression, character and
interpretation of the piece to be
performed.
While Performing
Continually inhaling and exhaling while
conducting the piece is a valuable
score preparation technique. Many
times conducting gesture is not
directly related to both the energy of
the body and the energy of the breath.
In rehearsal, by inhaling and exhaling
tsst or shh can establish connection
between gestures, body and breath,
Ending a Score
Breathing together is very important to
reach a good closure of the piece.
The hand gesture and proper breath
marks will lead to an effective and very
musical ending.
Beating and
Conducting
HAND SIGNALS
crossed
5. ENDING- close fist
6. CHOIR SILENT closer hand to your chest
Conducting Technique
II. REHEARSAL
TECHNIQUE
Rehearsal is the most important
aspect of a choir. Here, we learn how
to control our singers, explain what
they need to understand, to give them
details about the piece we will be
performing, experiment what sound
you want your choir to produce and
enjoy each others company.
Balance
Once students are using their voices
athletically, introduce them to the concept
of balance, a better term to use than
posture because the latter can imply the
striking of a stiff, almost intractable
physical position. When body weight is
balanced, singers can breathe more freely
and effectively. Unbalanced weight
distribution forces muscles that should be
used for proper inhalation and breath
management to be utilized for fighting
gravity instead
Proper Inhalation
Proper inhalation solves numerous vocal
problems and prevents scores of others.
Singers must be taught how to utilize
breathing which allows them to take air
into the lower part of their lungs
Tonal Concept
With the conductors guidance,
students in choirs must strive to find
the best possible sound, one that is
developmentally appropriate and
produced in a healthy manner.
Proper Vowels
Proper vowel formation is essential to
beautiful choral tone. Impure vowels
will distort an otherwise viable sound.
Choral educators must resist the
temptation to ignore faulty vowel
formation because of the fear that
detailed work in this area will bore
their students.
Problem Solving in
the Rehearsal
Choir members attitude;
Rehearsal Time Schedule
Focus on the pieces
Attitude in studying the piece
Sectional Rehearsals
Choirs musical needs;
Solving the Intonation
Solving the Harmony
Solving the Interpretation
III. MUSICAL
INTERPRETATION
1. The conductor should study and
IV. PERFORMANCE
Leadership
Conductor should stand as the leader
of the ship. The members should follow
what the conductor want to achieve by
singing correctly their parts. There is
no other leader but the conductor
when performing most especially while
in the stage.
Conducting Etiquette
The Conductor should always perform in
perfection. He is the leader of the team and
he should perfect every part of the score.
Eye contact is very important while
conducting, do not leave your members while
the choir is in the act of singing.
The Conductor should be the most musical
person in the stage to produce real musical
performance
LITURGICAL
COMPOSITION
SEMINAR
Prof. LESTER DELGADO
CENTRO ESCOLAR UNIVERISTY
CONSERVATORY OF MUSIC
I. TEXT
The heart of the composition;
The message of each song;
The inspiration of every composer
The melody will come from the story of the Text
BIBLICAL PASSAGE
Psalms
Examples: Psalm 23
The Lord is my shepherd, I lack nothing.
He makes me lie down in green pastures,he leads me beside quiet
waters,
he refreshes my soul.He guides me along the right pathsfor his
names sake.
Even though I walkthrough the darkest valley,I will fear no evil,
for you are with me;your rod and your staff,they comfort me.
You prepare a table before mein the presence of my enemies.You
anoint my head with oil;my cup overflows.
Surely your goodness and love will follow meall the days of my
life,and I will dwell in the house of the Lordforever.
Meaning and
Purpose of the text
Base your melodies to the purpose
of the text, example;
II. MELODY
1. Line and Phrase choose a good melodic line with
an exact phrase
2. Voice Ranges consider the singers ( SATB, SSAA,
prayerful
III. ARRANGEMENT
1. Solo or Duet use good melodies for solo or
IV. Interpretation
1. Liturgical understand and follow the nature of
improvising