By Walter Lamble
"This publication comes from a really high quality track educator with extraordinary event, who has good judgment and a true knowing of what a starting instructor should still recognize. The e-book places into print matters which are extensively mentioned at conventions and at meetings, and which are universal wisdom for the skilled instructor, yet that aren't lined in a tune schooling category. it's a undeniable and straightforward booklet, written in a language that's effortless for an individual going into the occupation to appreciate. It makes beneficial feedback in exactly approximately each point of the function of a choral track teacher." -- Michael Schwartzkopf, Professor of song schooling, Indiana collage institution of tune
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Additional resources for A Handbook for Beginning Choral Educators
First, will there be a text for each day’s sight-singing lesson, and will it provide the structure for these lessons? Second, how much time will be devoted to introducing concepts (key signatures, time signatures, note values, and the like), and how much will be spent drilling? Finally, how will different levels be delineated? What will be different from one level to the next? In the structure provided by a method that I have used, sightsinging is studied daily in class. Students’ concept-learning, as well as their drill time, is divided into three levels, according to the level 38 The Academics of the Rehearsal 39 of the choir they are in.
The result of this combining of sounds is called a diphthong. The vowel sound that is sung for the longer amount of time is called the primary sound, and the shorter of the two is called the vanished or secondary sound. In most cases, the primary vowel is ﬁrst, while the vanished vowel is added at the end of the diphthong, but there are exceptions. The long a sound is produced using a primary eh vowel and a vanished ee or ih sound; for example, meh . . eek will produce the word make; heh . . eet produces the word hate; bleh .
Since these two elements were introduced previously, this step will probably go very quickly. Present the rest of the example, and the students have sightsung. It’s a start. In successive lessons, examples should be taught using the method outlined above. If the teacher chooses, only examples in the key of C will be introduced until the concept of key signatures has been learned. I personally prefer to present examples in several keys so that the students learn immediately that “do” is movable to any pitch of the scale.