High+School+Choir+Review+and+Comments

Review/Comments by Alicia Conrad**
 * Original Lesson by Adam Motz

This lesson was developed for use with the Freshman choir I am working with, but what it teaches can be used with any choir. The lesson builds a lot upon things we've already been discussing and then uses those as it continues teaching new material. It's a good way to keep the students engaged and keeps them learning while solidifying previous knowledge.
 * I think it's great that this builds on the concepts they are already using, Adam!**

Concepts/Skills/Values: Dynamics, Breath Support

National Standards: 1 Singing

Behavioral Leraning Objective: Using markings in the score as a general guide, the students will be able to demonstrate dynamic contrast throughout the piece, especially with a crescendo on whole notes before key changes.

Materials: "Down to the River to Pray" arr. Sheldon Curry

Sequence: 1. Review the breath release exercise (all air out, hold, release to take breath in) 2. Do this breath release exercise 3-4 times, explain that it will be used during quick rests. **Is this directly related to what you are teaching in the piece today? I have found that it might be more beneficial to do some kind of breathing exercise as it relates to what you are discussing--in your case for this lesson, dynamics. Maybe you could try doing a breathing exercise that relates to the dynamic level at which they are singing at certain points in the piece. For instance, practice taking a good breath and letting the air out at what would be a "soft" dynamic level. Explain that this level still needs to support the sound, but that their air might sustain for a longer period of time. Likewise, practice letting air out at a forte dynamic level. They might need to breathe more often in this case. It would be good for them to think about the differences in breathing and how breath connects to dynamic changes.** 3. 54321 "yah yah yah yah yah" and then switch to just vowels. Keep jaw relaxed and vowels tall. **I like to give students something to do with their hands to help them sing tall vowels. Some kind of motion, like the hand vertically placed in front of the face, can help. Likewise, having them sing the vowels incorrectly can be of benefit too, so they know what it should NOT feel like!** 4. Bumblebee with dynamics. Watch conductor for dynamic to sing. Change initial consonants.

6. Take out down to the river to pray. 7. Review the 4 concepts we've discussed (breathing, vowels, initial consonants, dynamics) 8. Review what happens on sustained notes, especially on whole notes and how to use breath to make it happen. (movement, crescendo, etc.)**Good job connecting the breath and the dynamics! That's an important connection for them to make! Something that has been successful in the choir program where I am student teaching is to give students a "goal point" within the music for which to be the loudest. If you want them to crescendo through a whole note to beat one of the next measure, maybe suggest that beat one will be their loudest point, so they're always growing TOWARD that count, without dying away.** 9. Students should follow dynamic markings on the page and also crescendo into the key changes.**Could you do some sort of exercise where they do more watching you and less following the page? Sometimes that can get boring to just read what's written, and there's more connection if they're all simply focused on you and your gesture. You could follow what's on the page, and they follow you and what you are communicating to them.** 10. Use the image of starting at the top of a distant hill, and as the song progresses, coming down the hill, getting louder/stronger.**I really like this imagery!** 11. Sing through the piece, following the dynamics. Review specific markings in the song (hushed intensity, etc.)**Again, instead of following the page, get away from the notation, and simply have them think about those certain markings. Could you say, "Sing it this way, and only think, "Hushed Intensity." This has been a successful technique that I've seen used.** 12. Make sure the students are producing a good "H" on the hums at the end to get the breath activated and moving.**Perhaps give them a physical place on their face where they can feel the vibrations and resonance. This will help the breath and energy STAY activated!** 13. Assessment: Discuss with students what they had to do to make the dynamics happen. Discuss why the "H" might be a good tool to use to increase the sound while the students are humming.**Great job connecting this again.**

13. Finish up the solo auditions. Students wishing to audition come to the front and form a line and sing the solo together and then individually. the content of your page here.

Alicia**
 * Good job on the lesson, Adam! I'm sure you are doing a great job with your students! :)