power point choral conducting workshop

8/10/2019 Power Point Choral Conducting Workshop

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CHORALCONDUCTING

WORKSHOPProf. LESTER DELGADO

CENTRO ESCOLAR UNIVERISTY

CONSERVATORY OF MUSIC


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I. BODY ALLIGNMENT The conductor's body position is the ound!tion or !""

co##unic!ti$e #o$e#ent% Findin& !nd #!int!inin& !proper position hi"e st!ndin& is o ten di(cu"t since thehu#!n s)e"eton is und!#ent!""y unst!b"e in the upri&htposition !nd the eet pro$ide ! re"!ti$e"y s#!"" b!se osupport% Addition!""y* it is co##on or conductors to "ose! !reness o their body position hen en&!&ed in theri&ors o rehe!rs!" !nd per or#!nce% U"ti#!te"y*prob"e#s brou&ht on by poor body position c!n beso"$ed throu&h sy##etric!" st!bi"i+!tion% Thisst!bi"i+!tion i"" #ini#i+e ei&ht be!rin& or bodyseents* opti#i+e unctionin& o the intern!" or&!ns*!nd sust!in the conductor's continuous #o$e#ents

ithout undue !ti&ue%


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BODY POSITION,% -e&in ith the eet p"!ced no ider th!n the shou"ders%.% -oth eet shou"d be p!r!""e" to e!ch

/% Fro# this p!r!""e" position* !""o the eet to 0!ir outn!tur!""y%

1% 2eep "e&s re"!3ed !nd !$oid "oc)in& the )nees%

4% I#!&ine the point here the nec) #eets the cr!niu#%

5% Fro# this point* &ent"y "en&then the spine hich in turn%%%

6% A""o s the chest to rise to ! co# ort!b"y hi&h position*

7% A""o s the nec) to "en&then n!tur!""y* !nd

8% A""o s the he!d to #o$e to ! n!tur!" position ith the chin

neither too "o or hi&h


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ARM POSITION

,% A""o the !r#s to h!n& n!tur!""y to theside o the body%

.% R!ise the re"!3ed ri&ht !r# so th!t the

ore!r# is re"!ti$e"y p!r!""e" to the 0oor%

/% A$oid cre!tin& tension by r!isin& the e"botoo hi&h%

1% The h!nd shou"d be !"i&ned ith thecenter o the torso* p!"# !cin& do n !t !co# ort!b"e !n&"e%


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4% 9ith ! re"!3ed h!nd* s in& your !r# b!c) !ndorth unti" you ee" the b"ood rushin& to your

:n&ertips%5% On your "!st s in&* r!ise your !r# up !nd you

i"" disco$er your n!tur!" h!nd position%

6% The b!c) o the h!nd i"" h!$e ! s"i&ht n!tur!"cur$e !nd the :n&ers i"" be !"i&ned%

7% Fro# this position you c!n est!b"ish yourn!tur!" !rtistic 0!ir%


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Gestures

A% The ;irectorsopr!nos* !"tos* tenors* or b!sses?9hen you !nt to st!rt@end ! p!rticu"!rson&

9hen you !nt the# to interpret


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-% !nd si&n!"s c!n !"so re#ind the

choir o thin&s they !"re!dy "e!rnedin rehe!rs!"

9h!t ords !re co#in& up ne3t

The sh!pe o the #e"ody they


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BREATHING PROCESS

Preparat o!

!$in& ! &ood prep!r!tory be!t is $eryi#port!nt to identi y the te#po*dyn!#ics* e3pression* ch!r!cter !ndinterpret!tion o the piece to beper or#ed%


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W" #e Perfor$ !%

Continu!""y inh!"in& !nd e3h!"in& hi"econductin& the piece is ! $!"u!b"escore prep!r!tion techniBue% M!nyti#es conductin& &esture is not

direct"y re"!ted to both the ener&y othe body !nd the ener&y o the bre!th%

In rehe!rs!"* by inh!"in& !nd e3h!"in&

tsst or shhD c!n est!b"ish connectionbet een &estures* body !nd bre!th*


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E!& !% a S'ore

-re!thin& to&ether is $ery i#port!nt tore!ch ! &ood c"osure o the piece%

The h!nd &esture !nd proper bre!th#!r)s i"" "e!d to !n e ecti$e !nd $ery#usic!" endin&%


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Beat !% a!&Co!&u't !%

HAND SIGNALS,% TO G put your h!nd to your he!d

.% LEA; SINHER G si&n!" usin& !n open p!"#

/% C ORUS G use "etter C

1% RE EAT C ORUS G circu"!r #otion ith :n&ercrossed

4% EN;INH c"ose :st

5% C OIR SILENT G c"oser h!nd to your chest


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6% C OIR LOU;ER G open h!nd ide

7% MO;ULATION G Inde3 Fin&ers up #otion

8% LOU;ER >one section? G inde3 in the e!r!nd open p!"#

,J% -IHHER SOUN; > bi& choir? G t o h!ndsopen !nd "i t


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Co!&u't !% Te'"! (ue

Introduce your entr!nces

2eep your te#po

E3p"!in your dyn!#icsContro" the $o"u#e

Endin& prep!r!tion

!use or so#e seconds be ore c"osin&


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II. REHEARSALTECHNI)UE

Re"earsa# is the #ost i#port!nt!spect o ! choir% ere* e "e!rn hoto contro" our sin&ers* e3p"!in h!t

they need to underst!nd* to &i$e the#det!i"s !bout the piece e i"" beper or#in&* e3peri#ent h!t soundyou !nt your choir to produce !ndenKoy e!ch others co#p!ny%


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*u!&a$e!ta# E#e$e!ts of To!ePro&u't o!

At"#et ' s$

-e ore ! sound c!n be re:ned* it #ust behe!rd% So#e students sin& ith so "itt"e

ener&y* or !th"eticis#* one c!n h!rd"y he!rthe#% 9hether their initi!" sounds !re ri&ht or

ron&* b!d or &ood* h!rsh or p"e!s!nt*students #ust use their $oices Once theysin& ith so#e #e!sure o ener&y !nd!th"eticis#* their e orts c!n then be directed!nd re:ned%


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Ba#a!'e

Once students !re usin& their $oices!th"etic!""y* introduce the# to the concepto b!"!nce* ! better ter# to use th!nposture bec!use the "!tter c!n i#p"y thestri)in& o ! sti * !"#ost intr!ct!b"ephysic!" position% 9hen body ei&ht isb!"!nced* sin&ers c!n bre!the #ore ree"y!nd e ecti$e"y% Unb!"!nced ei&htdistribution orces #usc"es th!t shou"d beused or proper inh!"!tion !nd bre!th#!n!&e#ent to be uti"i+ed or :&htin&&r!$ity inste!d


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Proper I!"a#at o!

roper inh!"!tion so"$es nu#erous $oc!"prob"e#s !nd pre$ents scores o others%Sin&ers #ust be t!u&ht ho to uti"i+e

bre!thin& hich !""o s the# to t!)e !irinto the "o er p!rt o their "un&s


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E+pa!&e& Ra!%e a!& B#e!&e&Re% sters

You c!n do this by $oc!"i+in& the

#e#bers o your choir% Let the#!ppreci!te chor!" pro&ressions by"istenin& !nd b!"!ncin& their $oices%


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To!a# Co!'ept

9ith the conductor


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Proper ,o-e#s

roper $o e" or#!tion is essenti!" tobe!uti u" chor!" tone% I#pure $o e"si"" distort !n other ise $i!b"e sound%

Chor!" educ!tors #ust resist the

te#pt!tion to i&nore !u"ty $o e"or#!tion bec!use o the e!r th!t

det!i"ed or) in this !re! i"" boretheir students%


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L ste! !% for Errors

9e !s conductors shou"d study thepieces e i"" te!ch the choir be ore!ttendin& the rehe!rs!"% IN this !y*

e i"" be !b"e to :&ure out the errorsin ter#s o #e"ody* h!r#ony*dyn!#ics* phr!ses !nd pro&ression%

$


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Pro #e$ So#/ !% !t"e Re"earsa#

C"o r $e$ er0s att tu&e1Rehe!rs!" Ti#e Schedu"eFocus on the pieces

Attitude in studyin& the pieceSection!" Rehe!rs!"s

C"o rs $us 'a# !ee&s1So"$in& the Inton!tionSo"$in& the !r#onySo"$in& the Interpret!tion


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III. MUSICALINTERPRETATION

,% The conductor shou"d study !nd#!r) the score* !n!"y+e !nd #!r)the i#port!nt p!rts o the #usic

.% ;iction is i#port!nt* "e!rnin&"!n&u!&es !nd ri&ht pronunci!tion isreBuired%

/% Te3t is eBu!""y i#port!nt tounderst!nd the #e!nin& o e$eryson& you i"" per or#%


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I,. PER*ORMANCE

Lea&ers" p

Conductor shou"d st!nd !s the "e!dero the ship% The #e#bers shou"d o""o

h!t the conductor !nt to !chie$e bysin&in& correct"y their p!rts% There isno other "e!der but the conductor

hen per or#in& #ost especi!""y hi"ein the st!&e%


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Bo&2 Mo/e$e!t -" #eCo!&u't !%

The Conductor shou"d be !b"e toe3p"!in throu&h his@her #o$e#ent theinterpret!tion he@she !nts to producedurin& per or#!nce%

C"e!r represent!tion o the dyn!#ics!nd #usic!" interpret!tion shou"d be

obser$ed by e$ery #o$e#ent o theconductor%


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Co!&u't !% Et (uette

The Conductor shou"d !" !ys per or# inper ection% e is the "e!der o the te!# !ndhe shou"d per ect e$ery p!rt o the score%

Eye cont!ct is $ery i#port!nt hi"econductin&* do not "e!$e your #e#bers hi"ethe choir is in the !ct o sin&in&%

The Conductor shou"d be the #ost #usic!"person in the st!&e to produce re!" #usic!"per or#!nce


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LITURGICALCOMPOSITIONSEMINAR

Prof. LESTER DELGADOCENTRO ESCOLAR UNIVERISTY

CONSERVATORY OF MUSIC


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I. TE3T

The he!rt o the co#position

The #ess!&e o e!ch son&

The inspir!tion o e$ery co#poser

The #e"ody i"" co#e ro# the story o the Te3t


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BIBLICAL PASSAGE

Psa#$s

It is ! s!cred son& or hy#n* in

p!rticu"!r !ny o those cont!inedin the bib"ic!" -oo) o s!"#s !ndused in Christi!n !nd e ish

orship


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E+a$p#es4 Psa#$ 56 The Lord is #y shepherd* I "!c) nothin&%

e #!)es #e "ie do n in &reen p!stures*he "e!ds #e beside Buiet!ters*

he re reshes #y sou"% e &uides #e !"on& the ri&ht p!ths or hisn!#e


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COMPOSE YOUR OWN TE3T

Co$pose ase& o! 2our # tur% 'a#respo!ses.

T" !7 a out t"e !ature of t"e part of

t"e L tur%2Tr2 to rea& !sp rat o!a# oo7s8 #eor so$et" !% t"at - ## pus" 2ou to-r te 2our o-! #2r 's

Pra2 for t"e %u &a!'e of t"e Ho#2Sp r t


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Mea! !% a!&

Purpose of t"e te+tBase 2our $e#o& es to t"e purposeof t"e te+t8 e+a$p#e1

La$ of Go& 9 S"ou#& e pra2erfu#

a!& a # tt#e s#o- for $e& tat /epurposes: et';


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II. MELODY

. Eas2 L ste! !% G Sin& !b"e* si#p"e* touchin& !ndpr!yer u"


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III. ARRANGEMENT

SAT-*

SSAA* TT--* Adu"t choir !nd Chi"dren. I!stru$e!ta# G consider the p"!yers ho i"" useyour #usic* thus* si#p"i y the !rr!n&e#ent o theinstru#ents


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I,. I!terpretat o!

interpret the sound you!nted to produce b!sed on your $oice p"!ce#ent?

>. Des'a!t G !ddition!" #e"ody to he"p bui"t the son&*

co#pose !ccordin& to its h!r#onic desi&n%?. I$pro/ sat o! G option!" i sin&ers !re c!p!b"e o

i#pro$isin&

power point choral conducting workshop

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