Sound Advice: Becoming a Better Children's Choir ConductorSound Advice is a valuable resource for college students, beginning teachers, and experienced conductors of children's choirs. It covers the vast array of skills needed by today's conductor and will benefit all choir directors who want their choirs to reach a higher level of artistry. This book will be useful on many levels: for the college student studying the child voice and elementary teaching methods; for the teacher beginning to direct choirs in schools, synagogues, churches and communities; for experienced children's choir directors who wish to know more about orchestral repertoire for treble voices, conducting an orchestra, and preparing a children's choir to sing a major work with a professional orchestra. The underlying educational philosophy is sound; the author sees development of musicianship through singing as the primary goal of a children's choir program. This philosophy differs dramatically from the traditional concept of the conductor as all-knowing and the singers as receptacles. An outstanding aspect of the book is how the author leads the reader to an understanding of how to teach musicianship. Developing literacy in the choral setting is a mysterious, amorphous process to many conductors, but the author clearly outlines this important process with practical suggestions, well-documented examples, and a clear reading style which will reach readers on many levels. The comprehensive repertoire, skill-building sheets, and programs for all types of children's choirs will provide teachers with immediate and highly valuable resources. |
From inside the book
Results 1-5 of 46
Page 6
... able to stand and do actions easily. If they are sitting too closely to one another, they are bound to become uncomfortable and restless. I always had the children sit on chairs for about eight minutes out of the thirty so they could ...
... able to stand and do actions easily. If they are sitting too closely to one another, they are bound to become uncomfortable and restless. I always had the children sit on chairs for about eight minutes out of the thirty so they could ...
Page 7
... able to match pitch and twenty-five would not. By June, however, twenty-five would be able to match pitch and five would not. Let us examine the reasons so many children at this age cannot match pitch. Most come under the categories of ...
... able to match pitch and twenty-five would not. By June, however, twenty-five would be able to match pitch and five would not. Let us examine the reasons so many children at this age cannot match pitch. Most come under the categories of ...
Page 8
... able to experience the sensation of engaging the breath and reproducing the sounds. 8. They are accustomed to using a raspy voice as they speak. The speaking voice and singing voice are closely related. Many children have allergies that ...
... able to experience the sensation of engaging the breath and reproducing the sounds. 8. They are accustomed to using a raspy voice as they speak. The speaking voice and singing voice are closely related. Many children have allergies that ...
Page 10
... able to make three in a half hour. It was well worth the investment of my time. By early December I had taught at least twelve songs by rote. I had the words of each song printed on twelve separate pages, and the children would actually ...
... able to make three in a half hour. It was well worth the investment of my time. By early December I had taught at least twelve songs by rote. I had the words of each song printed on twelve separate pages, and the children would actually ...
Page 11
... able to sing each line or phrase back to you, you must retrace your steps and sing the song again for them using a different approach. You could have them stand up and follow your actions as you describe the lines of the song through ...
... able to sing each line or phrase back to you, you must retrace your steps and sing the song again for them using a different approach. You could have them stand up and follow your actions as you describe the lines of the song through ...
Contents
3 | |
5 | |
15 | |
Checklist for Ideal Rehearsals and Preparation for Complete Artistic Performances | 33 |
Developing Literacy | 46 |
Discipline | 59 |
The Importance of Organization | 66 |
The Audition Process Know Your Children Your Parents and Your Community | 76 |
Criteria for Choosing Repertoire Appropriate for Children | 182 |
Repertoire Lists for Toronto Childrens Chorus | 188 |
Concepts to Be Learned by the End of Training Choir I Training Choir II and Training Choir III | 202 |
Memos for the the First Four Rehearsals | 204 |
SightSinging Curriculum Outline for the Toronto Childrens Chorus | 225 |
Rounds All Children Should Know | 229 |
Treble Choir Repertoire with Orchestral Accompaniment | 233 |
Repertoire Recommended List | 242 |
Things They Didnt Teach You at Music School | 86 |
Conducting an Orchestra | 97 |
Preparing the Children to Sing a Major Work with Orchestra | 105 |
Recording Commissioning and Touring | 132 |
From the Children | 145 |
Warmup Vocal Exercises | 151 |
Audition Form | 159 |
Sample Programs from Toronto Childrens Chorus | 162 |
Toronto Childrens Chorus Compact Discs | 249 |
The Seating Plan | 255 |
Examples of FourMeasure SightReading Passages | 257 |
Transposing and Nontransposing Instruments | 259 |
BIBLOGRAPHY | 261 |
INDEX | 265 |
Other editions - View all
Sound Advice: Becoming a Better Children's Choir Conductor Jean Ashworth Bartle Limited preview - 2003 |
Sound Advice: Becoming a Better Children's Choir Conductor Jean Ashworth Bartle Limited preview - 2003 |
Sound Advice: Becoming A Better Children's Choir Conductor Jean Ashworth Bartle No preview available - 2012 |
Common terms and phrases
able adult altos Apprentice Bartle beat beautiful begin Boosey & Hawkes breath Carol child choral choristers composer concert conducting conductor David develop effective experience feel figure file folder four full orchestra give GVT/Warner/Chappell hand hear Henderson Hinshaw important John Level listen major Mark measures meeting memo minutes movement never notes œ œ œ opportunity orchestra organization Oxford parents performance phrase piano piece pitch play players preparation problems recording rehearsal repertoire score seating sing singers skills soloist Song soprano sound stand strings sung sure tape taught teacher teaching things third Toronto Children’s Chorus tour Training Choir tune understand voice Watson week write written young