implementing and building a show choir · implementing and building a show choir rico d. hamilton...
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Implementing andBuilding a Show Choir
Rico D. Hamilton
Where to Start?
Auditions Make it simple Add dance to regular choral audition Sing a pop, jazz or show tune Audition weights * 60% vocal, 40% dance * 70% vocal, 30% dance 1650 in group
Costumes Rivar's Inc. Southeastern Performance Apparel Dance Sophisticates Gail McInnis Productions Local Dress and Tux Shop
Accompaniment Performance CD's Piano, Bass and Drums (Comp.) High School Band Members (Comp.) Professional Horn Players (Comp.)
3 Song Set
Opener
Ballad
Closer
4 Song Set
Opener
Novelty
Ballad
Closer
6 Song Set
Opener
Novelty
Ballad
Guys Number
Girls Number
Closer
Competition Sets
More songs
Mash Ups
Change Order of Songs
Creating a Set
Where Do IFind Music?
Longer than 3 minutes is too long How many times does the chorus repeat? How many verses? How does this segue? Is there too much dead time?
Stock Music Hal Leonard, J.W. Pepper All types of music accepted Ask your students whats new! Custom Arrangements(Competition Level)Arrangers Avi Amon Steve Anderson Eric Van Cleave John Wenning Jeff Bowen Brock Keiper Rian Whitman Rico D Hamilton Encore Arrangements
Copyright Licensing Tresona Licensing Exchange
RehearsalsVocals & Choreo
Vocals Singing always comes first Rehearse as a traditional choir to begin Learn 6070% of song before adding choreography Make sure students know stylistic elements of song Learn words before adding choreo
Choreography Don't start singing and dancing together yet!!!! Learn choreo on numbers or words Add musical elements as you learn choreography Learn sections at a time
Combining Vocals and Choreo. Vocal quality will drop the first time you add choreography Combine in chunks * Stand and sing * Dance * Combine * Repeat to regain quality and then add more
Find Help??Choreographers / Show Designers
Low Cost / Money Saver
* Local Dance Instructor
* School Dance Instructor
* Students/Alumni
Pricier / Competition Level
* Dwight Jordan
* Tim Caster
* Jamie McMahon
* Brent Woody Holland
* Ryan Dawson
* Alex Hall
* Eric Hall
* Damon Brown
* Mike Weaver
* Ben Elkund
Groups to InspireHigh School
Findlay First Edition
Waubonsie Valley Sound Check
Franklin Central F.C. Singers
Ankeny Centennial Spectrum
Clinton Attache
Burbank In Sync
John Burroughs Powerhouse
North Central Counterpoints
Hastings Riverside Company
Carmel Ambassadors
College/University
Ball State: University Singers
Indiana University: Singing
Hoosiers
Performance QualityThe LookStaging "Get The Picture"BackdropsProps Flags Banners BalloonsPlantsSpecial Effects
The WardrobeAppropriateColor & Costume ChangeImageCleanHats Gloves Shoes HoseHair & EarringsMakeupCost
The BandA Part of the VisualTune UpBaffels
The ChoreographyAppropriate & In Good Taste
Innovate/VarietyCenter Stage Down Right
Balance & Off BalanceCan They Juggle?
PrecisionStrong Arms
Bows
The TechRehearse It
Mics Group & Hand HeldLighting Creates Mood/Color/Intensity
CurtainsMonitors
Tuned PianoSpotlights Oops
Non-Performance Quality
Ladies & Gentlemen (Traveling Manners)
Promotion & Publicity
The Printed Program
The Parking Lot
The Temperature
Carry The Theme... All the Way
Background Music/Curtain Warmer
Sights/Smells/Sound/Touch
Choreography and Singing Techniques
1. Music should always be of the utmost importance. Don't sacrifice sound
for movement.
2. Decide what is most important in each song. Steady beat, words, etc.
3. Choreography should reflect the importance of each song and have
continuity just as the song does. Don't be afraid to repeat movement.
4. Movements should aid the singer, not hinder them.
5. Keep choreography simple. LESS is MORE. Don't go beyond your
student's capabilities.
6. Your movements should have a purpose. Use them to enhance the music.
7. When making choreography, study the score. If everyone sings together,
make the movements match. If the section sing different rhythms, split the
choreography to match.
8. Not all pop and show music needs dancing or movement.
9. Let your musicianship work for you. A good imagination and common
sense should be all you need and can go a long way.
10. When teaching choreography, be concise and specific. Answer questions
when you are finished.
11. Make sure you know the choreography better than those you are
teaching it to.
12. Always write down the choreography in your music. You'll be glad you
did later.
13. Close your eyes and listen at least 50% of each rehearsal.
14. Try facing the students as you teach them and have them mirror you.
Qualities of a Great Show Choir
Strong Vocal Score
Range/Tessitura
Strengths of group
Appropriateness of Text
Texture
Quality in relationship to the style
Excellence in Singing
Basic choral techniques
Stylistic concepts
Natural projection
Appropriate Stage/Choreography
Visually attractive
Appropriate for the musical style
Flawless execution
Flexible for the role in
relationship to the music
Enhancement of the music
Solid Instrumental CoPartner
Use only what you can do well
Use live band where possible
Balance between singers and
band
Give equal recognition
as a copartner
Appropriate Performance Apparel
Age appropriate
Reflects positive, wholesome
image
Subordinate relationship to the
music
Stage Presence/Communication
Posture
Faces that match the music
Genuine Expressions
Body language that matches
music
Focus on the audience and other
performers
General Concepts
Discipline is the key to all areas
Focus beyond yourself "It's not
about me" attitude.
Be a team player to other choirs,
music groups, school activities.
Be encouraging to others.
Focus on being your best.
Bringing ContemporaryA cappella to your program
Def: Music from any genre translated into an a cappella format. Usually, in thisstyle, there are soloists leading the song and other singers in the group providerhythmic, harmonic and stylistic elements. Often incorporates the use of Vocal
Percussion or "beatboxing".
Vocal Percussion...I Wasn't Trained in ThatListen... a lot.
Ask your students, you might be surprisedhow little help they need to get started
Online ResourcesYouTube: James Wallace (Transit Vocal Band) Gavin Tyte (Beatbox Jam) fattonybbx
Website: humanbeatbox.com
Starting OutAuditions Solo singing and ensemble components Vocal Percussion, Yes or No 1118 singers
Literature Give students SOME input Start Simple
Clinicians Reach out to anyone and everyone Clinicians can help you too
Wes Davis
Publishers: Hal Leonard
Arrangers:Deke Sharon Anne RaughMark Brymer Ben BramJ. D. Frizzell Alex PhanBryan Sharpe Brandy RihaRobert Dietz Andy BeckChris Peterson Kirby Shaw
Custom Arrangements:acasongs.comdekesharon.comrandomnotes.com
Your students are a greatresource too!
Where Do IFind Music?
Microphones/EQing
Build an inventory of wirelessmicrophones. Sennheiser EW 135 G3
EQ most important for Bass & VP. Bass: No High Pass Filter (HPF) Boost 70 Hz and below
VP: Boost Low for Kick Drum Find a good Snare Boost Find a good Cymbal Boost Cut inbetween
Test each singer on the mic to findthe right Gain Level. Set the slider to 0 and use gain to find a nice sound.
Have non soloists sing together and adjust again.
Don't overpower soloists and rhythm section.
Organizationsof Interest
The A cappella EducationAssociationacapellaeducators.com
The Contemporary A cappellaSocietycasa.org
Sing! Texassingtexas.org
Women's A Cappella Associationwomensacappella.org
Varsity Vocalsvarsityvocals.com
Groups to InspireYou & Your Students
High School GroupsFalconizeForteFusionHighlands VoicesKey of SheMadison AvenueOneVoicePFCVocal Rush
College GroupsDivisiFaux PazsThe GMenThe LoreleisThe Nor'eastersNoteworthyPenn MasalaSoCal VoCalsVassar DevilsVoices in Your HeadVocal Point
Pro GroupsMusaeVoctaveVoicePlay
TextsA cappella Arrangingby Deke Sharon and Dylan Bell
A cappella Popby Brody McDonald
A Cappellaby Deke Sharon, Ben Spalding andBrody McDonald
Helpful Tips in Developing aHigh School Jazz Choir
Identifying the Singer and understanding the jazzvocal instrument.In choral singing the instrument is asked to have a soft palate raised,tall vowel shape and forward breath. However, in a vocal jazz settingthe singer is asked not to raise the palate, minimize vibrato, but still tokeep the breath supported and moving forward. The "smart" singer, haslearned to produce and control both instruments properly.
Ensemble Set Up
I recommend a max of 20 singers in your ensemble, 5 per voice part. Withineach set of five, there is a "pivot" singer. Example 5 sopranos = 2 on soprano 1, 2 on soprano 2 and 1 singer who can switch from soprano 12, depending on the literature needs. This will set you up to perform multipart literature.
Feeling the beat 2 & 4 are your friends :) ! Encourage the singer to relax into the beat. Step out of their comfort zone of choral music and expand their vision.
Derrick D. Brookins-It Works for Me-
Rehearsals Arrange singers in a full circle with you and the keyboard in the center.
Allow the singer to hear an example of the style of singing needed. This will not only strengthen the ear, but also make your ensemble stronger. See the list of ensembles listed on next page.
Literature
Beginning EnsemblesDoctor Jazz arr. ShawAll the Cats Join In arr. ShawCity of Jazz Peter BlairKilling Me Softly With His Song arr. Paris RutherfordThe Boy from New York City arr. Greg Jasperse
Advanced EnsemblesModina arr. Darmon MeaderThat Old Black Magic Kirby ShawIf I Were a Bell arr. Paris RutherfordIn a Mellow Tone New York VoicesOh Lady Be Good New York Voices
Educational Resource CHOPMONSTER, Shelly Berg. Start with level 1 for beginning choirs. Alfred Publications. This is "CallResponse" tool. It trains the singer for the style of singing required. This should serve as your vocal warmup.
Vocal JazzGroups
New York Voices
Clare Fisher and 2 + 2
Take Six
MPact
The Real Group
The Double Six of Paris
The Manhattan Transfer
The HilLo's
Voice Trek
The Swingle Singers
The Singers Unlimited
The Four Freshmen
Beachfront Property
The Idea of North
Phil Mattson and the PM Singers
Publishers ofVocal Jazz
ArrangementsPrimarily A Cappellawww.singers.com
Mainley A Cappellawww.acappella.com
Jamey Abersold Catalogwww.jazzbooks.com
Alfred Publishingwww.alfred.com
Advance Musicwww.advance.com
Hal Leonardwww.halleonard.com
UNC Jazz Presshttp://usonia.unco.edu
Warner Brothers www.warnerbrospublications.com
Sound Music Publicationswww.smpjazz.com
Shawnee Presswww.shawneepress.com