By Patrice Madura Ward-Steinman
This textbook prepares song schooling and Choral carrying out majors to be potent center college and highschool choral tune lecturers. It totally integrates the choral box event for hands-on studying and mirrored image and permits the scholar to watch and educate the book’s rules. It covers the necessities of vocal improvement, auditions, literature, rehearsals, lecture room administration, and useful issues.
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Additional info for Becoming a Choral Music Teacher: A Field Experience Workbook
3. When those steps have been achieved, practice three to four parts at the piano, with a steady metronomic tempo. Begin very slowly if necessary, but push yourself to increase the metronome setting incrementally. Remember to play expressively and breathe! THE CHOIR TEACHER AS COMPREHENSIVE MUSICIAN 9 4. Practice steps 1 to 3 every day with different pieces of choral music. 5. If you are unable to achieve the goal of playing multiple voice parts on the piano, it is important to stress that you will need to be able to sing all vocal parts for all pieces, on solfege or scale degrees, with pitch and rhythmic accuracy.
For 15 to 30 minutes every day (starting today), practice playing at least two parts of a choral score at the piano; then try singing one line and playing one other and then two others; and always use a metronome set at any tempo at which you can keep from missing the beat. Slow tempos are perfectly acceptable if the beat is kept steady, but pausing between beats is not. Keep your eyes on the score, not the keys; and cover the keys if you must, because much time is wasted by looking back and forth from the music to the keys.
THE CHOIR TEACHER AS COMPREHENSIVE MUSICIAN 9 4. Practice steps 1 to 3 every day with different pieces of choral music. 5. If you are unable to achieve the goal of playing multiple voice parts on the piano, it is important to stress that you will need to be able to sing all vocal parts for all pieces, on solfege or scale degrees, with pitch and rhythmic accuracy. While it may seem preferable for the choristers to hear the pitches modeled by the voice rather than the piano, they need to hear the way two or more parts sound together.