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University of Illinois at Chicago, Wind Ensemble Dr. José Oliver Riojas, director Adopt, Adapt, Improve: Utilizing Choral Techniques in the Wind Band Rehearsal ALYSSA J. COSSEY & RICKEY H. BADUA DOWNLOAD PRESENTATION SLIDES Visit: www.alyssacossey.com WARMING UP Phonate Vocalize Exhale/ Inhale CHORAL WORKS FOR WIND BAND Text • Text stress (micro/macro) • Translation and affect • Punctuation/phrasing (difference between a comma and a period) Look at the original choral score • “Arranged by” • Tempo markings • Slurs Listen to “good” choral recordings • More than one A CHORAL APPROACH
Transcript of DOWNLOAD PRESENTATION SLIDES
University of Illinois at Chicago, Wind Ensemble Dr. José Oliver Riojas, director
Adopt, Adapt, Improve: Utilizing Choral Techniques in
the Wind Band Rehearsal
ALYSSA J. COSSEY & RICKEY H. BADUADOWNLOAD PRESENTATION SLIDES
Visit: www.alyssacossey.com
WARMING UP
Phonate
Vocalize
Exhale/Inhale
CHORAL WORKS FOR WIND BANDText
• Text stress (micro/macro) • Translation and affect • Punctuation/phrasing (difference between a comma and a period)
Look at the original choral score • “Arranged by” • Tempo markings • Slurs
Listen to “good” choral recordings • More than one
A CHORAL APPROACH
OLA GJEILO’S SANCTUS
Sanctus, Sanctus, Sanctus, Dominus Deus Saboath. Pleni sunt coeli et terra gloria tua. Hosanna in excess.
Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest.
Latin English
“The Sanctus is the fourth part of the Mass Ordinary, the culmination of the celebrant’s Preface which is recited
or sung by the people (or choir).”
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Translation: Holy, Holy, Holy, Lord God of Hosts.
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Source material: •Chant •Performed as a solo or in unison (tenor) •Rhythmic freedom •Phrasing and shape should follow text •Vibrato-less
A CLOSER LOOK
SATB
B2 B1 T2 T1 S1 S2 A1 A2
MIXED
SATBSATB BSATBSAT
SSDDSS DDSSDD
CHORAL FORMATIONS
SKILL
When working on chorales or arrangements with SATB-like instrumentation consider using a similar formation.
VOICING
Intonation
Timbre
Rhythmic Clarity
WHAT TO LISTEN FOR
VOICING
Repertoire
Chorales
Long Tones
WHAT TO USE
VOICING CONSIDERATIONS• Voice for extremes* • Use different musical material for different “sections” depending on your preference or need
Different Voicing Philosophies: (Timbre) • Like by like • Bright by Dark • Ideal sound • Intuition/Knowing your players
• DOMINANT EAR!!
Note: Voiced seating can be used for rehearsal, performance, can change depending on the space you are in, etc.; there is no right way.
Keep experimenting until you find
what works best for your ensemble.
ADDITIONAL REHEARSAL TECHNIQUES• Warm-ups = Skill building • Body = Instrument • Project Full Score • Change formations • Change articulations • Memorize • Move
Alyssa J. Cossey University of Arizona
Email: [email protected] Website: alyssacossey.com
Email: [email protected] Website: cppbands.com
AC R RBRickey H. Badua Cal Poly Pomona University
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