Lesson 15 Lesson 15

ROUNDROUND

Lesson 15 Lesson 15

ROUNDROUND Objectives:Objectives: After doing though this lesson you After doing though this lesson you should be able to;should be able to;1. define round.1. define round.2. discuss some suggestion teaching 2. discuss some suggestion teaching round.round.3. develop pleasurable activity.3. develop pleasurable activity.

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1313 1414LessonLesson 1616 1717

INTRODUCTIONINTRODUCTIONINTRODUCTIONINTRODUCTIONAt one time or another you must have witnessed or At one time or another you must have witnessed or heard about the performance of the Vienna Boy’s heard about the performance of the Vienna Boy’s Choir. They sing so beautifully that often the Choir. They sing so beautifully that often the listener feels he is almost transported to heaven listener feels he is almost transported to heaven when watching them perform. Yet, their conductor when watching them perform. Yet, their conductor makes a minimum of movements. In fact, at times makes a minimum of movements. In fact, at times he does not oven conduct but accompanies them he does not oven conduct but accompanies them on the piano instead. As they perform the observer on the piano instead. As they perform the observer notices that each boy knows exactly what to do. notices that each boy knows exactly what to do. What is the secret of their success? It is, excellent What is the secret of their success? It is, excellent musicianship acquired through proper vocal and musicianship acquired through proper vocal and musical training under the guidance of their musical training under the guidance of their conductor and music teachers. conductor and music teachers.

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To be able to conduct with artistry To be able to conduct with artistry therefore, one must train his group therefore, one must train his group properly before the performance. The properly before the performance. The conductor must study the music very well conductor must study the music very well analyzing its form, style, phrasing, analyzing its form, style, phrasing, dynamics, tempo etc. and then train his dynamics, tempo etc. and then train his group vocally and musically to follow him group vocally and musically to follow him in interpreting the music. Conducting in interpreting the music. Conducting (therefore) is defined as the art of leading (therefore) is defined as the art of leading a group in the interpretation of a a group in the interpretation of a composition. This is done by using hand composition. This is done by using hand and other bodily movements with the and other bodily movements with the appropriate facial expression.appropriate facial expression.

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A conductor must first of all provide A conductor must first of all provide leadership, so that there will be unity of leadership, so that there will be unity of ensembles. He does this by indicating the ensembles. He does this by indicating the beats which is a point in time. The beats which is a point in time. The movements between beats. Except for movements between beats. Except for special purposes, he had never stops still special purposes, he had never stops still but keeps some movements going between but keeps some movements going between every beat. Let us take up the methods every beat. Let us take up the methods usually followed in indicating the beats. usually followed in indicating the beats.

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1. One in a measure. One straight 1. One in a measure. One straight down for each bar. This is used for down for each bar. This is used for or quick tempo. or quick tempo.

2. Two in a measure: Down, up. This is 2. Two in a measure: Down, up. This is used for or in quick tempo. used for or in quick tempo.

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3. Three in a measure. Down, right, 3. Three in a measure. Down, right, up. This is used for moderate of up. This is used for moderate of slow or fast. slow or fast.

4. Four in a measure: down, left, right 4. Four in a measure: down, left, right up. This is used for moderate or up. This is used for moderate or slow. slow.

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5. Six in a measure: Left, left, left, 5. Six in a measure: Left, left, left, right, right, right.right, right, right.

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STEPS IN CONDUCTINGSTEPS IN CONDUCTING STEPS IN CONDUCTINGSTEPS IN CONDUCTING1.1. Introduction Introduction – Play the introduction if there is any. If – Play the introduction if there is any. If

there is none, a gently rolled chord or the singing of there is none, a gently rolled chord or the singing of the motive will do. Before singing the motive, find the the motive will do. Before singing the motive, find the correct pitch of the first note with the help of the correct pitch of the first note with the help of the pitch pipe. pitch pipe.

2.2. Preparatory beatPreparatory beat – Raise the baton or the hands. This – Raise the baton or the hands. This is just like saying “Ready”. is just like saying “Ready”.

3.3. Preliminary beatPreliminary beat – before singing, the singers must be – before singing, the singers must be given time to take a breath. This is indicated by the given time to take a breath. This is indicated by the preliminary beat which is generally the beat the preliminary beat which is generally the beat the attack. attack.

4.4. Attack beatAttack beat – This is the count on which the singers – This is the count on which the singers start singing or doing the next phrase after breathing start singing or doing the next phrase after breathing or pausing. or pausing.

5.5. Release beatRelease beat – at the end of a phrase or section a – at the end of a phrase or section a release beat is given which means or pause. release beat is given which means or pause.

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INTERPRETATION IN INTERPRETATION IN CONDUCTINGCONDUCTING

INTERPRETATION IN INTERPRETATION IN CONDUCTINGCONDUCTING

Helen Quach, the internationally famous Helen Quach, the internationally famous woman conductor she won the administration woman conductor she won the administration of the Filipinos by her performances with the of the Filipinos by her performances with the Manila Symphony Orchestra to her, Manila Symphony Orchestra to her, conducting is providing the psychological conducting is providing the psychological leadership in bringing about the desred leadership in bringing about the desred interpretation. She has the music in her mind, interpretation. She has the music in her mind, when she conducts and interprets this with when she conducts and interprets this with clear artistically dynamic and dramatic clear artistically dynamic and dramatic movements. Her manner of considering has in movements. Her manner of considering has in most instances a hypnotic effect upon the most instances a hypnotic effect upon the orchestra and the audience. orchestra and the audience.

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What are some interpretative movements in What are some interpretative movements in conducting? Here are few suggestions. conducting? Here are few suggestions.

1. Long, broad, sweeping beats mean strong, 1. Long, broad, sweeping beats mean strong, full tones conveying confidence, dramatic full tones conveying confidence, dramatic moments, majesty, etc. moments, majesty, etc.

2. Slight and short beats means soft and light 2. Slight and short beats means soft and light tones denote playfulness, joy, etc. tones denote playfulness, joy, etc.

3. Heavy beats indicate determination, passion. 3. Heavy beats indicate determination, passion.

4. Beats with hands near the body means care, 4. Beats with hands near the body means care, caution, restrain. caution, restrain.

5. Palms downward has a subduing influence 5. Palms downward has a subduing influence

6. Palms upward with lifting movements mean 6. Palms upward with lifting movements mean power. power.

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VOICE CLASSIFICATIONVOICE CLASSIFICATION

VOICE CLASSIFICATIONVOICE CLASSIFICATION

In teaching choruses, it is In teaching choruses, it is important for one to know how to important for one to know how to classify voices, so that each singer classify voices, so that each singer may be properly assigned. There may be properly assigned. There are two things to consider in are two things to consider in classifying voice. They are: classifying voice. They are:

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A.A. TIMBRE – What is the general tonal character? TIMBRE – What is the general tonal character? Two voices may be able to sing the same high Two voices may be able to sing the same high or low tones but still be differently classified or low tones but still be differently classified because they differ greatly in quality or timbre. because they differ greatly in quality or timbre.

The kinds of women’s voices from the highest to The kinds of women’s voices from the highest to the lowest are: the lowest are:

1. Soprano – The tone is lighter in character, 1. Soprano – The tone is lighter in character, less somber and frequently more flexible. less somber and frequently more flexible.

ColoraturaColoratura Mezzo soprano Mezzo soprano Lyric Lyric

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2. Alto or Contralto – The tone is richer 2. Alto or Contralto – The tone is richer and fuller. and fuller.

The kinds of men’s voices from the The kinds of men’s voices from the higher to the lowest ARE: higher to the lowest ARE:

Tenor Tenor Baritone Baritone

BassBass

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B. RANGE – The following are the B. RANGE – The following are the practical ranges that may be practical ranges that may be expected from high school and expected from high school and college choirs. college choirs.

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1. Soprano 1. Soprano

2. Alto 2. Alto

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3. Tenor 3. Tenor

4. Bass4. Bass

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