Group Voice: Classification and Seating Arrangements...
Transcript of Group Voice: Classification and Seating Arrangements...
Group Voice: Classification and Seating Arrangements, Individual
Voice Classification, Unison Singing
By Valerie Straus and Ahdia Bavari
Classification
• Listen for boys singing an octave below
• Whole group and smaller groups sing well-known song in different keys to hear different voice qualities, registers, ranges, tones, etc.
For Girls
• Listen for • Clarity and strength of sound in lower and upper
ranges
• Location of vocal tessiturae
• Voice quality
Seating Arrangement
• Do not mix junior high with high school singers - Could create competition and vocal problems
• Chart A:
Girls I All Baritones Midvoice IIA Midvoice II Unchanged Midvoice I Girls 2
Seating Arrangement
• Chart B
High School Sopranos
High School Basses
High School Tenor I, II
High School Altos
Middle School Girls 1, Some Unchanged Boys
Middle School New/Settling Baritones
Middle School Midvoice II, IIA
Middle School Girls 2, Midvoice I, Some Unchanged Boys
Seating Arrangement
• Chart C
High School Sopranos
High School Altos
High School Tenors
High School Basses
Middle School Girls I, Unchanged Boys
Middle School Girls 2, Midvoice I
Middle School Midvoice II, IIA
Middle School New/Settling Baritones
Individual Audition
• What to listen for: • Tessitura
• Voice quality (breathiness, constriction, resonance)
• Register development (when and where falsetto begins)
• Speaking Fundamental Frequency (SFF)
• Posture and breath control
• Volume capabilities
• Dynamic-rhythmic agility characteristics
• Vocal strengths and weaknesses
What to include in audition
• Listen to speaking voice (good starting pitches p. 31)
• Match pitch
• Determine voice classification and range
• Tessitura, diction, vocal problems, breath control, volume, intonation
• Flexibility exercises – moving melodies
• Tonal memory test
• Rhythmic memory, sense of tempo
Unison Singing
• Aid in: • Pitch-matching exercises
• Developing proper tone, energy, and breath support for singing
• Teaching concepts of phrasing and dynamics
• Conductor quickly establishing rapport, “conducting” technique control of new choir
• Teaching concepts of expressive singing, elements of control and refinement in tone