1

Vocal and Choral Techniques "Powerful s ources of s piritual enrichment s pring from
mus ic... If the child is not filled at leas t once with the life-giving s tream of
mus ic...it will hardly be of us e to him later on. Often a s ingle experience will
open the young s oul to mus ic for a lifetime." Zoltan Kodaly "Mus ical training is a
more potent ins trument than any other, becaus e rhythm and melody find their way
into the inward places of the s oul." Plato"Mus ic is s erious fun!"Bobby McFerrin
GETTING STARTED Jus t Do It! We begin by s inging appropriate, quality repertoire -
the fines t folk and compos ed mus ic. This not only provides enjoyment, motivation
and material with which to practice, it es tablis hes our philos ophical foundation -
that through mus ic we learn many things , firs t and foremos t our divers e cultural
heritage. Great repertoire can then provide motivation for energetic s inging! Only
when the s inger is committed can we begin the development of vocal technique and
its application to the mus ic, which then leads the s inger toward mas tery and the
deeper joy that res ults from artis tic performance. Energy and pas s ion are key! An
important way to motivate and ins truct a group of s ingers is to provide models of
others performing with artis try. The teacher, other children, videos , CD's , tapes ,
live performances can ins pire the children to feel "I want to do that!" Mos t
children have the ability to perceive and imitate with a remarkable degree of
complexity s imply through modeling. Some refer to this as "beneath the s urface
knowledge" or "other than cons cious learning".2 The Components of Vocal Technique1 .
pos ture/alignment2 . res piration breathing motion and breath management3.
phonation and regis ters heavy mechanis m and light mechanis m4. res onance vowels
and the vocal tract5. diction articulation of vowels and cons onants 6. expres s ion
phras ing and dramatic communication of the text The foundation of vocal technique
for the very young s inger (Grades K 2 ) involves appropriate s inging pos ture, a
natural breathing motion, finding the "head voice" (a.k.a. vocal placement), and
s inging in tune ("on the bull's eye"). Pos ture/Alignment - Singing with good
pos ture mus t become habitual if vocal development is to be s ucces s ful. The key
elements of good pos ture are 1 ) s pine extended, 2 ) s houlders back and down, 3)
s ternum (or rib cage) lifted, 4) head level and held high, and 5) relaxation.
Stretching and moving exercis es can put the body in pos ition "as a mus ical
ins trument." Henry Leck of the Indianapolis Children's Choir plays an imitation
game for pos ture development. Why mus t we have good pos ture while s inging? In one
word - breathing. Breathing - There are two as pects of res piration which are
important to vocal development - breathing motion and breath management. Young
s ingers mus t be ins tructed not to rais e the s houlders or take in a s hallow breath.
Another key element is that the lower tors o expands during inhalation and contracts
during exhalation. The next s tep is breath management and an awarenes s of the
diaphragm and other abdominal mus cles for breathing. The "cool air s ip", long
s izzling "s s s " s ounds , s hort explos ive "s s s " and "ch" s ounds , a feather under the
nos e, panting "like a dog", blowing out candles , us ing pinwheels , etc. are s ome
ways to develop breath s upport and control. The "motorboat" and "lip buzz" is
excellent for connecting the breath to phonation.Phonation/Regis tration/Placement -
For the young s inger, finding the "head voice" is the next crucial s tep and one
which eludes s ome children for many years . In her book Lifeline for Children's
Choir Directors , Jean As hworth Bartle has a chapter titled "The Uncertain Singer"
which begins with the following quote from Henry Van Dyke: "Us e what talents you
pos s es s ; the woods would be very s ilent if no birds s ang there except thos e that
s ang bes t." The reas ons for an inability to match pitch generally fall into four
categories : 1 ) environment - inexperience, lack of expos ure to mus ic, cultural
differences 2 ) phys ical - vocal defects , maturation, nodules , illnes s 3) cognitive
- tonal aptitude, pitch memory, s elf-es teem, attitude, connecting ear to voice 4)
vocal coordination - lack of s upport/placement s kills 3For mos t uncertain s ingers
the problem is experience. They mus t learn to unders tand the difference between the
"s peaking voice" and the "s inging voice". Vocal exploration activities might
include s lides , s irens , ghos t s ounds , whimpering dogs , s lide whis tles , etc. The
"oo" vowel is the eas ies t to focus clearly. Humming allows pitch to be perceived
more eas ily. Other s ugges tions include:- provide many opportunities to s ing alone,
without accompaniment - s ing s oftly - work with tonal patterns rather than s ingle
pitches - match teacher's pitch to that of child - have other children model high
voice - remind s tudents to "lis ten in while s inging out" - as k s tudent to evaluate
pitch accuracyThe general rule is to begin with the "head voice" and bring it down
into the "ches t voice". Finally, have patience! Mos t of the children whom you think
will never "get it" will find their voice when they are ready. Continue to work for
that breakthrough. And remember, that child might one day be s itting on the Board
of Education!! Tone production (res onation) which is rich and res onant can be
addres s ed as opportunities occur in the repertoire (K 2 ). Important concepts
include:- vowels s us tain tone - pure and s teady like a **Las er Beam** - "s ing thru
the notes " - **Open The Spaces - rais ed s oft palate and low, relaxed larynx -
**Shape The Vowels unified; corners in; dropped jawIn the upper grades , vocal
training can take place in the warm-ups through the five bas ic vowels : ee eh ah
oh ooo. The vocal tract mus t be configured in the mos t open way s o as to
maximize the s hape and s pace required for each vowel at each s pecific pitch and
dynamic level. Formants are frequency regions of the vocal tract. Each vowel is
determined by its own arrangement of the vocal tract: the length (larynx and lip
pos ition); jaw, tongue and s oft palate pos itions ; and the expans ion or contraction
of the throat and mouth.Forward res onance is crucial. Humming, s inging "in the
mas k", feeling the vibrations "above the cheekbones ", imagining the s ound emanating
from a cone at the forehead thes e are all effective images to encourage forward
res onance. Diction is addres s ed primarily through attention to word meaning. (Ah
poor bird, take thy fly??) Pronunciation of words (word inflection), enunciation of
s yllables (s yllable inflection) and articulation of cons onants mus t be carefully
planned. Vowels carry the res onant tone and cons onants convey the language. Vowels
mus t be pure and focus ed. Diphthongs mus t be carefully executed, us ually s us taining
firs t vowel s ound and quickly releas ing the s econd. Cons onants are produced with
the articulators the lips , teeth and tongue (as well as the palate). The
International Phonetic Alphabet (IPA) identifies thirteen bas ic vowel colors , s ix
diphthongs and twenty-five cons onant s ounds that make the s tudy of diction eas ier
and more thorough. Give attention to initial cons onant (attack), s us tain (vowel)
and final cons onant (releas e). No two cons ecutive notes , s yllables or words s hould
receive equal emphas is ! Dramatic communication of the meaning of text is the goal.4
Embedded throughout the proces s of vocal development is attention to the expres s ive
elements of phras ing, dynamics , tempo, and s tyle. Range and agility can be
developed in many ways . One example is to take a s hort phras e or s ong and make it
into a vocalis e in as cending or des cending keys . Another challenge is melis matic
s inging.The Components of Choral Technique1 . choral tone2 . blend3. balance4.
diction5. intonation6. rhythmic accuracy7. interpretation8. s tage
pres ence/deportmentImportant is s ues Energy, beauty, placement/res onanceThe choral
warm-upExercis es for flexibility and controlStaggered breathingForward
motion/phras ingDramatic communication of the text1 . unders tandability2 . depth of
meaning3. color4. s yllable inflection5. word inflectionFrom Donald Neuen: "Energy
mus t be the foundation of vocal production. We might go s o far as to s ay that
energy is 80 percent of great s inging, and everything els e is contained within the
remaining 2 0 percent."5Choral Sequence - Holland Hill Fifth Grade Chorus - An
article entitled "Voice" from the children's magazine "Contact Kids ." The focus is
on how the voice produces s ound and on energy, pas s ion and motivation.- The "Four
Bas ics of Singing" pos ture, breath, tone and diction; the 5 vowels - Video: ACDA
"On Location" with Doreen Rao and the Glen Ellyn CC- Video: "Vocal Techniques for
the Young Singer" by Henry Leck and the Indianapolis CC.- Audiotape of middle
s chool adjudication fes tival. Students are the judge.- **Vocal exercis es s tandard
warm-up from We Will Sing. (D. Rao)- More detailed focus on "Four Bas ics " (Phillips
book)- Grade Five Vocal Competence Criteria- Ens emble s kills - choral adjudication
form (revis it audiotape)- Attack, s us tain, releas e (following conductor)- Heavy
mechanis m vs . light mechanis m (regis tration)- Application of technique to
repertoire!!! (Energy, s kill & concentration) ongoing- The choral s core: page,
s ys tem & meas ure- Stage pres ence and deportmentEar Training- Echo tonal and
rhythmic patterns with s yllables - Decode and improvis e tonal and rhythmic patterns -
Major and minor s cales ; res ting tone; determine major and minor by ear- Songs in
s olfa: s ing by ear; play on recorder and piano much inner hearing (audiation)-
follow & echo 1 & 2 part hand s igns - Read and write mus ic: flas hcards , books ,
handouts on board and on paper6The Development of Part Singing Singing in harmony
is interes ting, motivating and rewarding for children (and adults !). It
is a s kill which s hould be developed s equentially by means of appropriate
activities and materials . This s ection pres ents one pos s ible s equence, with
examples , for the development of part s inging.As mus ic is a multifaceted
phenomenon, it is neces s ary, to varying degrees , to 's eparate the parts from the
whole' in the proces s of teaching and learning. A comprehens ive choral curriculum
includes not only the performance of great repertoire and vocal/choral techniques ;
it mus t als o addres s all as pects of mus icians hip (i.e. CPR: create, perform &
res pond via the national s tandards ). It is s elf-evident that teaching our
choris ters to read mus ic will greatly as s is t them to s ing independently in parts .
The main focus here, however, will be the development of aural and kines thetic
s kills relating to melody, rhythm and harmony.From the firs t grade s tudent who
s ings independently in a round to the adult who s ings in clos e and dis s onant
harmony in many parts , the principles and techniques pres ented here may be adapted
to any level to help our s ingers fos ter the s kills neces s ary to put the mus ical
'parts ' together into a wonderful whole that phenomenon we refer to as "the
choral art."Prerequis ite s kills and principles - the ability to s ing in tune, alone
and unaccompanied (with correct vocal placement)- the ability to keep a s teady beat
and perform rhythmic patterns - the ability to audiate - tonally and rhythmically-
us e movable 'do' s olfege for melody and a rhythmic s yllable s ys tem- s ing at a s oft
dynamic- provide models (recordings , videos , live performances )- develop the s kill
of "lis tening in while s inging out" to ones elf and others !- perform both parts of
two part mus ic- audiation and attention to intonation mus t take place at every
level- the goal is to build independence!!Sequential Activities to Develop Part
Singing 1 . Sing/chant familiar s ongs /rhymes with bas ic beat & os tinati- keep the
beat in various locations by rote (pats chen, clap, s nap, head, s houlders , palms
up/down, etc.)- s ee Feierabend - Firs t Steps in Clas s ical Mus ic: Keeping the Beat-
varied meters - chants , raps (One, Two Buckle My Shoe; Humpty Dumpty; Engine #9;Eeny
Meeny Miny Mo)- all s ongs 72 . Perform dialogue, call & res pons e, ques tion & ans wer,
echo and res pons orial s ongs - Cuckoo; Who's That Tapping?; Hole in the Bucket; Swing
Low, Sweet Chariot; Michael, Row the Boat; Hey Lolly; Charlie Over the Ocean;
Quaker, Quaker; Who Killed Cock Robin?; Sail Away, Ladies - "circle s inging" a.k.a.
"relay game"3. Differentiate beat and rhythm- "the beat is always s teady"- "the
rhythm is the s ound of the words and s yllables , (and res ts )"- "a res t is a beat of
s ilence"- Clap Your Hands - I s ay: "s ing and clap anything", then I s how them what
they've done.- all s ongs : clas s /teacher; clas s & ; two s mall groups ; individuals
- s tep beat while clapping rhythm- s witch between beat and rhythm at a s ignal- tap
beat with one hand, rhythm with the other4. Hand clapping games with os tinati
Mary Mack; My Landlord; Long Legged Sailor; Four White Hors es ; Clap Your Hands ;
Mis s Lucy; Dutch Girl- als o s inging, ball bouncing and jump rope games (s ee Kenney,
M.)5. Perform rhythmic os tinati patterns to known s ongs (extens ion of beat
os tinati)- perform Skip to My Lou, etc. while clapping: | or | or | | |-
perform many other s ongs and patterns , including res ts - us e rhythms that occur in
the s ongs , or that contras t with the s ong- s ing and conduct beat patterns in 2 , 3 &
4 beats /meas ure- play os tinati on ins truments (unpitched rhythmic patterns )6.
Perform melodic os tinati patterns to known s ongs - drones (pedal points )- eas y 2 /3
note melodic patterns - chord roots - Frere Jacques with do s o, do (als o Mahler Sym.
#1 , mvmt. 3)- Hanerot Hallelu- Bicinia Hungarica- play os tinati on ins truments
(pitched melodic patterns , bordun)- Summer Is a Coming In- mos t Orff arrangements 7.
Sing a known s ong while reading a rhythm from notation, or:- read a melody while
tapping another part- tap a two part s core, one hand each- s ee Hindemith,
Elementary Training for Mus icians 88. Partner s ongs s ongs that have the s ame chord
progres s ions - s ing in groups and individually- Skip Lou, Bow Belinda, Paw Paw Patch
- Swing Low, Sweet Chariot & All Night, All Day- How Can I Keep From Singing, arr.
Hugh9. Des cants /Countermelodies - Drunken Sailor; Go Tell It on the Mountain; Hand
Me Down My Silver Trumpet; America the Beautiful; The Battle Hymn; Yonder Come Day;
Sing Alleluia, Allelu; Blow Ye Winds ; Al Shlos ha; Ca the Yowes ; Ges u Bambino; Do Di
Li; A Zing a Za;It's a Small World; Silent Night- compos e your own to s ongs with
repeated chord patterns s uch as rounds 1 0. Rounds /Canons - s imple to difficult- all
s imple pentatonic s ongs may be performed in canonex. Rain Rain; Lucy Locket; Texas
Cowboy- s ee Ride With Me, A Journey from Unis on to Part-Singing by John Barron-
eas y compos ed melodic canons - contras ting s ections (polyphony) are the eas ies t:
Frere Jacques - Body canon; lead to rhythmic canons - Ram Sam Sam, Haida & Kookaburra
develop 3rds - s cale exercis es in canon 3rds , 2 nds , etc.- canon with different
coda Panis Angelicus C. Franck- for a challenge: s ing melody and tap in canon;
part 2 with one hand; 3 parts - have s tudents count off, by the number of parts , in
each row - have all the ones s tart the canon, two's enter next, etc.- canon at the
fifth/fourth: Non Nobis Domine-Byrd;Da Pacem Domine-M. Frank-
augmentation/diminution Old Abram Brown Britten- canons where the entrances
change each time: Hotaru Koi; Old Abram Brown- There are three bas ic ways to end a
round: s imply let each part finis h in turn; have each part hold its las t note until
all parts have caught up to finis h in a unis on; each part s tops at the s ame time at
a cadence point.- choral repertoire: I'm Goin' Up A Yonder; The Water is Wide;
fugues 1 1 . Singing from hand s igns - follow s imultaneous ly- echo patterns (great for
audiation!)- from two hand s igns , begin with one part as a drone- focus on
intervals and INTONATION- parallel 3rds - dis s onances - **bi- and tri-tonality
exercis es s ongs in parallel keys 91 2 . Unders tanding harmonic functions - root
s inging - define/dis cus s "melody & harmony"; "chord" - define and analyze chord
changes begin with tonic/dominant s ongs : Skip to My Lou; Go Tell Aunt Rhody;Long,
Long Ago; London Bridge; Frere Jacques ; Jos hua; Haida;Ram Sam Sam; Hus h Little Baby
tonic/dominant/s ub-dominant: Oh Sus anna; The Saints ; Swing Low; blues - define
"roots " & "bas s lines "- children s ing melody, teacher s ings bas s line; clas s & -
s ing bas s lines to known s ongs ; Pachelbel Canon - s ing melody while hand s igning
bas s line - partner s ongs or rounds & bas s line- add chordal background to s ongs -
add a bas s line and des cant to a known s ong- Heart & Soul; 50's s ongs with I VI IV
V chord patterns ;The Lion Sleeps Tonight- Boogie Woogie Bugle Boy1 3. Two part
s inging- imitative, partner s tyle or contrary motion- parallel 3rds & 6ths :
Schubert Maying Song; Arruru; Nis ka Banja;Hine Ma Tov- independent polyphony-
homophony- Angels We Have Heard; The Water is Wide (Zanninelli)- Kodaly, Let Us
Sing Correctly; other compos ed exercis es 1 4. Three/four part s inging- imitative,
partner s tyle or contrary motion;- parallel 3rds & 6ths : Siyahamba; Freedom Is
Coming- independent polyphony- homophony: The Lion Sleeps Tonight; Feel Good-
Kodaly Ladybird; Carol of the Bells ; With A Voice Of Singing; I'm Goin' Up A
Yonder1 5. Improvis ation harmonizing by ear- voice leading/chordal s inging to two
chord s ongs - Amazing Grace; This Is the Day; Kum Ba Yah; The Ros e1 0Sugges ted lis t
of rounds /canons (als o s ee bibliography and repertoire lis t) Frere Jacques ; Ah Poor
Bird; Scotland's Burning; White Sand & Gray Sand; Make New Friends ; The Canoe Song
(My Paddles ); The Ghos t of Tom; Oh How Lovely; Joan Glover; Charlottetown;
Has hivenu; O Mus ic Sweet Mus ic; Ris e Up O Flame; Ah Ri Rang; Viva La Mus ica; Mus ic
& Joy Shall Live; Moja Numba; The Duches s ; The Greenwood Tree; Sing & Rejoice; The
Friends hip Song; White Coral Bells ; Early As I Was Walking; Haida; Shalom Chaverim;
This Pretty Planet; A Ram Sam Sam; Kookaburra; Dona Nobis Pacem; Jubilate Deo; Non
Nobis Domine; Da Pacem Domine; Boyce - Alleluia; The Tallis Canon; Summer Is A
Coming InCONCERT PREPARATION INFO (pres ented 1 /2 weeks prior to concerts ) - Dres s
code ....... - Pos ture - relating both to s tage pres ence & s inging technique (arms
at s ides ; weight equal on both feet) - * Eyes on conductor at all times (video) -
for following conductor & vis ual effect - *Facial expres s ions & body movement -
match the mus ic - *Do not "telegraph" mis takes - go on as if nothing happened - If
you feel feint, s it down as dis creetly as pos s ible; bend knees - s hift feet- Eat
well prior to the concert! - Standing arrangement - line up by height; move calmly
& efficiently; make way for s olois ts - Practice a group bow - Backs tage/Audience
Expectations - concert etiquette; dis cus s res trooms Choral Repertoire Hine Ma Tov
Allan Naplan SA Boos ey & Hawkes OCTB6782 Didn't My Lord Deliver Daniel arr. Roger
Emers on SA Jens on 4032 62 09 Maying Song Schubert SA Boos ey & Hawkes OCTB6578 Boogie
Woogie Bugle Boy Raye/Prince arr. Frank Metis SSA Hal Leonard 001 2 0657The Turtle
Dove arr. Spevacek SAB Jens on 437-2 0070 Ges u Bambino Pietro Yon SA J. Fis cher &
Bro. 4656-8 I Wonder As I Wander arr. J.J. Niles /Horton Two part w/ s olo G.
Schirmer 9498 Jes u, Joy Of Man's Des iring Bach arr. Lefebvre SA Galaxy Mus Corp
1 .1 2 2 3 A New Year Carol B. Britten Unis on Boos ey & Hawkes OCTB561 51 1 Bring A Torch,
Jeanette, Is abella arr.Schultz Two part treble Boos ey & Hawkes OCTB6565 With A
Voice Of Singing Martin Shaw SA G. Schirmer, Inc. 1 02 2 7 How Can I Keep From Singing
Lowry arr. Hugh 3 part treble Boos ey & Hawkes OCTB6859 God Bles s America
Irving Berlin 2 part treble Jens on 402 -0701 2 It Don't Mean A Thing If It Ain't Got
That Swing Ellington arr. Huff SSA Mills Mus ic 66841 C2 X Have You Seen But A White
Lily Grow anon. Unis on Plymouth Mus ic HL-508The Water Is Wide arr. Zaninelli two-
part Shawnee Pres s E-83 The Raggle Taggle Gyps ies arr. Hugh two-part Boos ey &
Hawkes OCTB6747Feel Good Tys on/Scott three-part Boos ey & Hawkes OCTB671 1 I'm Goin'
Up A Yonder Hawkins /arr. Sirvatka SSAA Boos ey & Hawkes OCTB6451 To The Ploughboy R.
Vaughn Williams Unis on with 2 part Oxford Univers ity Pres s No. 54.2 64A Zing-A Za
arr. Goetze SSAA Boos ey & Hawkes OC4B62 76 Long, Long Ago Carlis le Floyd SA Boos ey &
Hawkes OC2 B5648 Velvet Shoes Randall Thomps on Unis on E.C. Schirmer 2 52 6 Art Thou
Troubled? G.F. Handel ed. Bartle Unis on Hins haw Mus ic HMC1 431 Al Shlos ha D'varim
Allan Naplan 2 part treble Boos ey & Hawkes OCTB6783 Yonder Come Day arr. Tucker 3
part World Mus ic Pres s (1 0)Carol of the Bells Leontovich arr. Wilhous ky SSA Carl
Fis cher C.M. 52 76 Freedom Is Coming ed. Nyberg/Leck 3 part treble Walton Mus ic
Corp. WW 1 1 491 2 Haida arr. Leck Unis on/Two-part Plymouth Mus ic Co. HL-51 6 Arruru
arr. Dwyer/Gerber Two-part Treble Plymouth Mus ic Co. HL-51 9 Go Tell It On The
Mountain arr. Dwyer/Waller Two-part Treble Plymouth Mus ic Co. HLMayim, Mayim E.
Amiran arr. Shields Two-part Treble Earths ongs W-2 5 Go Where I Send Thee! arr.
Caldwell/Ivory SSA Earths ongs S'vivon arr. Shields Two-part Treble Earths ongs W-1 6
Hanerot Halalu Baruch J. Cohon arr. Chas s Two-part Mark Fos ter Mus ic MF 877 Angels '
Carol John Rutter Two-part choir Hins haw Mus ic HMC-986 For The Beauty of the Earth
John Rutter Two-part choir Hins haw Mus ic HMC-469 Carol of the Children John Rutter
Unis on Hins haw Mus ic HMC-605 All Things Bright And Beautiful John Rutter Two-part
choir Hins haw Mus ic HMC-663 Jingle Bell Swing David Elliott Two-part Boos ey &
Hawkes OCTB6684 Appalachian Suite II arr. Jordanoff SSAA Boos ey & Hawkes OC4B 652 3
Sing Alleluia, Allelu Mary Goetze 3 part Boos ey & Hawkes OCTB61 2 6 At The River arr.
Copland SA Boos ey OCTB551 1 Sleep My Baby arr. Rowley unis on Boos ey OCUB5449 The
Drunken Sailor arr. Crocker 2 part Jens on 42 30401 2 Linden Lea Vaughan Williams
unis on Boos ey OCTB66351 3Five Songs by Charles Ives Charles E. Ives , ed. Tagg
(Circus Band) choral part Peer International Corp. 02 -093576-1 01 This Little Light
Of Mine arr. Harris 2 part Boos ey OCTB692 1 Bed In Summer Larry Alan Smith unis on
Plymouth HL-51 3 Evening Song Zoltan Kodaly SSA Boos ey 5771 Bye Bye, Love Bryant
arr. Bes ig SAB Shawnee Pres s D-304 Dodi Li Nira Chen arr. Raotwo-part treble Boos ey
& Hawkes OCTB6679O Sifuni Mungu Maddux, et. al.Hal Leonard 4032 6303 SABBis t Du Bei
Mir J.S. BachBoos ey & Hawkes OCTB671 6 unis onLonging For Spring W.A. Mozart, arr.
SnyderHal Leonard 08551 384 2 -partLa Paloma Se Fue arr. Alejandro JimenezWorld Mus ic
Pres s 1 1 unis on or two-partBibliographyChoks y, L. (1 981 ) The Kodaly Context
Englewood Cliffs , N.J.: Prentice Hall, Inc.Eilers , J. and Crocker, E. Sight-Singing
for SSA Milwaukee, WI: Hal Leonard.Feierabend, J. Firs t Steps in Clas s ical Mus ic:
Keeping the Beat!: Chicago, IL: GIA Publications Grout, D. J. (1 980) A His tory of
Wes tern Mus ic New York, NY: W.W. Norton & Company.Kodaly, Z. (1 941 ) Bicinia
Hungarica New York, NY: Boos ey & Hawkes .Kodaly, Z. (1 952 ) Let Us Sing Correctly New
York, NY: Boos ey & Hawkes .Kenney, M. (1 975) Circle Round the Zero St. Louis , MO:
Magnamus ic-Baton, Inc.Hindemith, P. (1 946) Elementary Training for Mus icians New
York, NY: Belwin-Mills Barron, J. (2 004) Ride With Me Kitchener, Ontario, Canada:
Kelman Hall Publis hing1 4(call Mus ic Plus Corp. 1 -800-608-52 05)Junda, M.E. "Part
Singing Revis ited," Mus ic Educators Journal Vol. 83 #6, May 1 997Rounds /Canons
Nels on, E. (1 985) The Great Rounds Songbook New York, NY: Sterling Publis hing.
Blood-Patters on, P. (1 988) Ris e Up Singing Bethlehem, PA: Sing Out Corp.
Feierabend, J. (1 996) The Book of Canons Sims bury, CT: Firs t Steps in Mus ic, Inc. -
1 01 Rounds for Singing Burns ville, NC: World Around Songs , Inc.1 Vocal and Choral
Techniques "Powerful s ources of s piritual enrichment s pring from mus ic... If the
child is not filled at leas t once with the life-giving s tream of mus ic...it will
hardly be of us e to him later on. Often a s ingle experience will open the young
s oul to mus ic for a lifetime." Zoltan Kodaly "Mus ical training is a more potent
ins trument than any other, becaus e rhythm and melody find their way into the inward
places of the s oul." Plato"Mus ic is s erious fun!"Bobby McFerrinGETTING STARTED
Jus t Do It! We begin by s inging appropriate, quality repertoire - the fines t folk
and compos ed mus ic. This not only provides enjoyment, motivation and material with
which to practice, it es tablis hes our philos ophical foundation - that through mus ic
we learn many things , firs t and foremos t our divers e cultural heritage. Great
repertoire can then provide motivation for energetic s inging! Only when the s inger
is committed can we begin the development of vocal technique and its application to
the mus ic, which then leads the s inger toward mas tery and the deeper joy that
res ults from artis tic performance. Energy and pas s ion are key! An important way to
motivate and ins truct a group of s ingers is to provide models of others performing
with artis try. The teacher, other children, videos , CD's , tapes , live performances
can ins pire the children to feel "I want to do that!" Mos t children have the
ability to perceive and imitate with a remarkable degree of complexity s imply
through modeling. Some refer to this as "beneath the s urface knowledge" or "other
than cons cious learning".2 The Components of Vocal Technique1 . pos ture/alignment2 .
res piration breathing motion and breath management3. phonation and regis ters
heavy mechanis m and light mechanis m4. res onance vowels and the vocal tract5.
diction articulation of vowels and cons onants 6. expres s ion phras ing and
dramatic communication of the text The foundation of vocal technique for the very
young s inger (Grades K 2 ) involves appropriate s inging pos ture, a natural
breathing motion, finding the "head voice" (a.k.a. vocal placement), and s inging in
tune ("on the bull's eye"). Pos ture/Alignment - Singing with good pos ture mus t
become habitual if vocal development is to be s ucces s ful. The key elements of good
pos ture are 1 ) s pine extended, 2 ) s houlders back and down, 3) s ternum (or rib cage)
lifted, 4) head level and held high, and 5) relaxation. Stretching and moving
exercis es can put the body in pos ition "as a mus ical ins trument." Henry Leck of the
Indianapolis Children's Choir plays an imitation game for pos ture development. Why
mus t we have good pos ture while s inging? In one word - breathing. Breathing - There
are two as pects of res piration which are important to vocal development - breathing
motion and breath management. Young s ingers mus t be ins tructed not to rais e the
s houlders or take in a s hallow breath. Another key element is that the lower tors o
expands during inhalation and contracts during exhalation. The next s tep is breath
management and an awarenes s of the diaphragm and other abdominal mus cles for
breathing. The "cool air s ip", long s izzling "s s s " s ounds , s hort explos ive "s s s "
and "ch" s ounds , a feather under the nos e, panting "like a dog", blowing out
candles , us ing pinwheels , etc. are s ome ways to develop breath s upport and control.
The "motorboat" and "lip buzz" is excellent for connecting the breath to phonation.
Phonation/Regis tration/Placement - For the young s inger, finding the "head voice"
is the next crucial s tep and one which eludes s ome children for many years . In her
book Lifeline for Children's Choir Directors , Jean As hworth Bartle has a chapter
titled "The Uncertain Singer" which begins with the following quote from Henry Van
Dyke: "Us e what talents you pos s es s ; the woods would be very s ilent if no birds
s ang there except thos e that s ang bes t." The reas ons for an inability to match
pitch generally fall into four categories : 1 ) environment - inexperience, lack of
expos ure to mus ic, cultural differences 2 ) phys ical - vocal defects , maturation,
nodules , illnes s 3) cognitive - tonal aptitude, pitch memory, s elf-es teem,
attitude, connecting ear to voice 4) vocal coordination - lack of s upport/placement
s kills 3For mos t uncertain s ingers the problem is experience. They mus t learn to
unders tand the difference between the "s peaking voice" and the "s inging voice".
Vocal exploration activities might include s lides , s irens , ghos t s ounds , whimpering
dogs , s lide whis tles , etc. The "oo" vowel is the eas ies t to focus clearly. Humming
allows pitch to be perceived more eas ily. Other s ugges tions include:- provide many
opportunities to s ing alone, without accompaniment - s ing s oftly - work with tonal
patterns rather than s ingle pitches - match teacher's pitch to that of child - have
other children model high voice - remind s tudents to "lis ten in while s inging out"
- as k s tudent to evaluate pitch accuracyThe general rule is to begin with the "head
voice" and bring it down into the "ches t voice". Finally, have patience! Mos t of
the children whom you think will never "get it" will find their voice when they are
ready. Continue to work for that breakthrough. And remember, that child might one
day be s itting on the Board of Education!! Tone production (res onation) which is
rich and res onant can be addres s ed as opportunities occur in the repertoire (K
2 ). Important concepts include:- vowels s us tain tone - pure and s teady like a
**Las er Beam** - "s ing thru the notes " - **Open The Spaces - rais ed s oft palate and
low, relaxed larynx - **Shape The Vowels unified; corners in; dropped jawIn the
upper grades , vocal training can take place in the warm-ups through the five bas ic
vowels : ee eh ah oh ooo. The vocal tract mus t be configured in the mos t
open way s o as to
maximize the s hape and s pace required for each vowel at each s pecific pitch and
dynamic level. Formants are frequency regions of the vocal tract. Each vowel is
determined by its own arrangement of the vocal tract: the length (larynx and lip
pos ition); jaw, tongue and s oft palate pos itions ; and the expans ion or contraction
of the throat and mouth.Forward res onance is crucial. Humming, s inging "in the
mas k", feeling the vibrations "above the cheekbones ", imagining the s ound emanating
from a cone at the forehead thes e are all effective images to encourage forward
res onance. Diction is addres s ed primarily through attention to word meaning. (Ah
poor bird, take thy fly??) Pronunciation of words (word inflection), enunciation of
s yllables (s yllable inflection) and articulation of cons onants mus t be carefully
planned. Vowels carry the res onant tone and cons onants convey the language. Vowels
mus t be pure and focus ed. Diphthongs mus t be carefully executed, us ually s us taining
firs t vowel s ound and quickly releas ing the s econd. Cons onants are produced with
the articulators the lips , teeth and tongue (as well as the palate). The
International Phonetic Alphabet (IPA) identifies thirteen bas ic vowel colors , s ix
diphthongs and twenty-five cons onant s ounds that make the s tudy of diction eas ier
and more thorough. Give attention to initial cons onant (attack), s us tain (vowel)
and final cons onant (releas e). No two cons ecutive notes , s yllables or words s hould
receive equal emphas is ! Dramatic communication of the meaning of text is the goal.4
Embedded throughout the proces s of vocal development is attention to the expres s ive
elements of phras ing, dynamics , tempo, and s tyle. Range and agility can be
developed in many ways . One example is to take a s hort phras e or s ong and make it
into a vocalis e in as cending or des cending keys . Another challenge is melis matic
s inging.The Components of Choral Technique1 . choral tone2 . blend3. balance4.
diction5. intonation6. rhythmic accuracy7. interpretation8. s tage
pres ence/deportmentImportant is s ues Energy, beauty, placement/res onanceThe choral
warm-upExercis es for flexibility and controlStaggered breathingForward
motion/phras ingDramatic communication of the text1 . unders tandability2 . depth of
meaning3. color4. s yllable inflection5. word inflectionFrom Donald Neuen: "Energy
mus t be the foundation of vocal production. We might go s o far as to s ay that
energy is 80 percent of great s inging, and everything els e is contained within the
remaining 2 0 percent."5Choral Sequence - Holland Hill Fifth Grade Chorus - An
article entitled "Voice" from the children's magazine "Contact Kids ." The focus is
on how the voice produces s ound and on energy, pas s ion and motivation.- The "Four
Bas ics of Singing" pos ture, breath, tone and diction; the 5 vowels - Video: ACDA
"On Location" with Doreen Rao and the Glen Ellyn CC- Video: "Vocal Techniques for
the Young Singer" by Henry Leck and the Indianapolis CC.- Audiotape of middle
s chool adjudication fes tival. Students are the judge.- **Vocal exercis es s tandard
warm-up from We Will Sing. (D. Rao)- More detailed focus on "Four Bas ics " (Phillips
book)- Grade Five Vocal Competence Criteria- Ens emble s kills - choral adjudication
form (revis it audiotape)- Attack, s us tain, releas e (following conductor)- Heavy
mechanis m vs . light mechanis m (regis tration)- Application of technique to
repertoire!!! (Energy, s kill & concentration) ongoing- The choral s core: page,
s ys tem & meas ure- Stage pres ence and deportmentEar Training- Echo tonal and
rhythmic patterns with s yllables - Decode and improvis e tonal and rhythmic patterns -
Major and minor s cales ; res ting tone; determine major and minor by ear- Songs in
s olfa: s ing by ear; play on recorder and piano much inner hearing (audiation)-
follow & echo 1 & 2 part hand s igns - Read and write mus ic: flas hcards , books ,
handouts on board and on paper6The Development of Part Singing Singing in harmony
is interes ting, motivating and rewarding for children (and adults !). It is a s kill
which s hould be developed s equentially by means of appropriate activities and
materials . This s ection pres ents one pos s ible s equence, with examples , for the
development of part s inging.As mus ic is a multifaceted phenomenon, it is neces s ary,
to varying degrees , to 's eparate the parts from the whole' in the proces s of
teaching and learning. A comprehens ive choral curriculum includes not only the
performance of great repertoire and vocal/choral techniques ; it mus t als o addres s
all as pects of mus icians hip (i.e. CPR: create, perform & res pond via the national
s tandards ). It is s elf-evident that teaching our choris ters to read mus ic will
greatly as s is t them to s ing independently in parts . The main focus here, however,
will be the development of aural and kines thetic s kills relating to melody, rhythm
and harmony.From the firs t grade s tudent who s ings independently in a round to the
adult who s ings in clos e and dis s onant harmony in many parts , the principles and
techniques pres ented here may be adapted to any level to help our s ingers fos ter
the s kills neces s ary to put the mus ical 'parts ' together into a wonderful whole
that phenomenon we refer to as "the choral art."Prerequis ite s kills and principles -
the ability to s ing in tune, alone and unaccompanied (with correct vocal placement)
- the ability to keep a s teady beat and perform rhythmic patterns - the ability to
audiate - tonally and rhythmically- us e movable 'do' s olfege for melody and a
rhythmic s yllable s ys tem- s ing at a s oft dynamic- provide models (recordings ,
videos , live performances )- develop the s kill of "lis tening in while s inging out"
to ones elf and others !- perform both parts of two part mus ic- audiation and
attention to intonation mus t take place at every level- the goal is to build
independence!!Sequential Activities to Develop Part Singing 1 . Sing/chant familiar
s ongs /rhymes with bas ic beat & os tinati- keep the beat in various locations by rote
(pats chen, clap, s nap, head, s houlders , palms up/down, etc.)- s ee Feierabend -
Firs t Steps in Clas s ical Mus ic: Keeping the Beat- varied meters - chants , raps (One,
Two Buckle My Shoe; Humpty Dumpty; Engine #9;Eeny Meeny Miny Mo)- all s ongs 72 .
Perform dialogue, call & res pons e, ques tion & ans wer, echo and res pons orial s ongs -
Cuckoo; Who's That Tapping?; Hole in the Bucket; Swing Low, Sweet Chariot; Michael,
Row the Boat; Hey Lolly; Charlie Over the Ocean; Quaker, Quaker; Who Killed Cock
Robin?; Sail Away, Ladies - "circle s inging" a.k.a. "relay game"3. Differentiate
beat and rhythm- "the beat is always s teady"- "the rhythm is the s ound of the words
and s yllables , (and res ts )"- "a res t is a beat of s ilence"- Clap Your Hands - I
s ay: "s ing and clap anything", then I s how them what they've done.- all s ongs :
clas s /teacher; clas s & ; two s mall groups ; individuals - s tep beat while clapping
rhythm- s witch between beat and rhythm at a s ignal- tap beat with one hand, rhythm
with the other4. Hand clapping games with os tinati Mary Mack; My Landlord; Long
Legged Sailor; Four White Hors es ; Clap Your Hands ; Mis s Lucy; Dutch Girl- als o
s inging, ball bouncing and jump rope games (s ee Kenney, M.)5. Perform rhythmic
os tinati patterns to known s ongs (extens ion of beat os tinati)- perform Skip to My
Lou, etc. while clapping: | or | or | | |- perform many other s ongs and
patterns , including res ts - us e rhythms that occur in the s ongs , or that contras t
with the s ong- s ing and conduct beat patterns in 2 , 3 & 4 beats /meas ure- play
os tinati on ins truments (unpitched rhythmic patterns )6. Perform melodic os tinati
patterns to known s ongs - drones (pedal points )- eas y 2 /3 note melodic patterns -
chord roots - Frere Jacques with do s o, do (als o Mahler Sym. #1 , mvmt. 3)- Hanerot
Hallelu- Bicinia Hungarica- play os tinati on ins truments (pitched melodic patterns ,
bordun)- Summer Is a Coming In- mos t Orff arrangements 7. Sing a known s ong while
reading a rhythm from notation, or:- read a melody while tapping another part- tap
a two part s core, one hand each- s ee Hindemith, Elementary Training for Mus icians 8
8. Partner s ongs s ongs that have the s ame chord progres s ions - s ing in groups and
individually- Skip Lou, Bow Belinda, Paw Paw Patch- Swing Low, Sweet Chariot & All
Night, All Day- How Can I Keep From Singing, arr. Hugh9. Des cants /Countermelodies -
Drunken Sailor; Go Tell It on the Mountain; Hand Me Down My Silver Trumpet; America
the Beautiful; The Battle Hymn; Yonder Come Day; Sing Alleluia, Allelu; Blow Ye
Winds ; Al Shlos ha; Ca the Yowes ; Ges u Bambino; Do Di Li; A Zing a Za;It's a Small
World; Silent Night- compos e your own to s ongs with repeated chord patterns s uch as
rounds 1 0. Rounds /Canons - s imple to difficult- all s imple pentatonic s ongs may be
performed in canonex. Rain Rain; Lucy Locket; Texas Cowboy- s ee Ride With Me, A
Journey from Unis on to Part-Singing by John Barron- eas y compos ed melodic canons -
contras ting s ections (polyphony) are the eas ies t: Frere Jacques - Body canon; lead
to rhythmic canons - Ram Sam Sam, Haida & Kookaburra develop 3rds - s cale exercis es
in canon 3rds , 2 nds , etc.- canon with different coda Panis Angelicus C.
Franck- for a challenge: s ing melody and tap in canon; part 2 with one hand; 3
parts - have s tudents count off, by the number of parts , in each row - have all the
ones s tart the canon, two's enter next, etc.- canon at the fifth/fourth: Non Nobis
Domine-Byrd;Da Pacem Domine-M. Frank- augmentation/diminution Old Abram Brown
Britten- canons where the entrances change each time: Hotaru Koi; Old Abram Brown-
There are three bas ic ways to end a round: s imply let each part finis h in turn;
have each part hold its las t note until all parts have caught up to finis h in a
unis on; each part s tops at the s ame time at a cadence point.-
choral repertoire: I'm Goin' Up A Yonder; The Water is Wide; fugues 1 1 . Singing
from hand s igns - follow s imultaneous ly- echo patterns (great for audiation!)- from
two hand s igns , begin with one part as a drone- focus on intervals and INTONATION-
parallel 3rds - dis s onances - **bi- and tri-tonality exercis es s ongs in parallel
keys 91 2 . Unders tanding harmonic functions - root s inging - define/dis cus s "melody &
harmony"; "chord" - define and analyze chord changes begin with tonic/dominant
s ongs : Skip to My Lou; Go Tell Aunt Rhody;Long, Long Ago; London Bridge; Frere
Jacques ; Jos hua; Haida;Ram Sam Sam; Hus h Little Babytonic/dominant/s ub-dominant: Oh
Sus anna; The Saints ; Swing Low; blues - define "roots " & "bas s lines "- children s ing
melody, teacher s ings bas s line; clas s & - s ing bas s lines to known s ongs ;
Pachelbel Canon - s ing melody while hand s igning bas s line - partner s ongs or
rounds & bas s line- add chordal background to s ongs - add a bas s line and des cant to
a known s ong- Heart & Soul; 50's s ongs with I VI IV V chord patterns ;The Lion
Sleeps Tonight- Boogie Woogie Bugle Boy1 3. Two part s inging- imitative, partner
s tyle or contrary motion- parallel 3rds & 6ths : Schubert Maying Song; Arruru;
Nis ka Banja;Hine Ma Tov- independent polyphony- homophony- Angels We Have Heard;
The Water is Wide (Zanninelli)- Kodaly, Let Us Sing Correctly; other compos ed
exercis es 1 4. Three/four part s inging- imitative, partner s tyle or contrary motion;-
parallel 3rds & 6ths : Siyahamba; Freedom Is Coming- independent polyphony-
homophony: The Lion Sleeps Tonight; Feel Good- Kodaly Ladybird; Carol of the
Bells ; With A Voice Of Singing; I'm Goin' Up A Yonder1 5. Improvis ation
harmonizing by ear- voice leading/chordal s inging to two chord s ongs - Amazing
Grace; This Is the Day; Kum Ba Yah; The Ros e1 0Sugges ted lis t of rounds /canons (als o
s ee bibliography and repertoire lis t) Frere Jacques ; Ah Poor Bird; Scotland's
Burning; White Sand & Gray Sand; Make New Friends ; The Canoe Song (My Paddles ); The
Ghos t of Tom; Oh How Lovely; Joan Glover; Charlottetown; Has hivenu; O Mus ic Sweet
Mus ic; Ris e Up O Flame; Ah Ri Rang; Viva La Mus ica; Mus ic & Joy Shall Live; Moja
Numba; The Duches s ; The Greenwood Tree; Sing & Rejoice; The Friends hip Song; White
Coral Bells ; Early As I Was Walking; Haida; Shalom Chaverim; This Pretty Planet; A
Ram Sam Sam; Kookaburra; Dona Nobis Pacem; Jubilate Deo; Non Nobis Domine; Da Pacem
Domine; Boyce - Alleluia; The Tallis Canon; Summer Is A Coming InCONCERT
PREPARATION INFO (pres ented 1 /2 weeks prior to concerts ) - Dres s code ....... -
Pos ture - relating both to s tage pres ence & s inging technique (arms at s ides ;
weight equal on both feet) - * Eyes on conductor at all times (video) - for
following conductor & vis ual effect - *Facial expres s ions & body movement - match
the mus ic - *Do not "telegraph" mis takes - go on as if nothing happened - If you
feel feint, s it down as dis creetly as pos s ible; bend knees - s hift feet- Eat well
prior to the concert! - Standing arrangement - line up by height; move calmly &
efficiently; make way for s olois ts - Practice a group bow - Backs tage/Audience
Expectations - concert etiquette; dis cus s res trooms Choral Repertoire Hine Ma Tov
Allan Naplan SA Boos ey & Hawkes OCTB6782 Didn't My Lord Deliver Daniel arr. Roger
Emers on SA Jens on 4032 62 09 Maying Song Schubert SA Boos ey & Hawkes OCTB6578 Boogie
Woogie Bugle Boy Raye/Prince arr. Frank Metis SSA Hal Leonard 001 2 0657The Turtle
Dove arr. Spevacek SAB Jens on 437-2 0070 Ges u Bambino Pietro Yon SA J. Fis cher &
Bro. 4656-8 I Wonder As I Wander arr. J.J. Niles /Horton Two part w/ s olo G.
Schirmer 9498 Jes u, Joy Of Man's Des iring Bach arr. Lefebvre SA Galaxy Mus Corp
1 .1 2 2 3 A New Year Carol B. Britten Unis on Boos ey & Hawkes OCTB561 51 1 Bring A Torch,
Jeanette, Is abella arr.Schultz Two part treble Boos ey & Hawkes OCTB6565 With A
Voice Of Singing Martin Shaw SA G. Schirmer, Inc. 1 02 2 7 How Can I Keep From Singing
Lowry arr. Hugh 3 part treble Boos ey & Hawkes OCTB6859 God Bles s America Irving
Berlin 2 part treble Jens on 402 -0701 2 It Don't Mean A Thing If It Ain't Got That
Swing Ellington arr. Huff SSA Mills Mus ic 66841 C2 X Have You Seen But A White Lily
Grow anon. Unis on Plymouth Mus ic HL-508The Water Is Wide arr. Zaninelli two-part
Shawnee Pres s E-83 The Raggle Taggle Gyps ies arr. Hugh two-part Boos ey & Hawkes
OCTB6747Feel Good Tys on/Scott three-part Boos ey & Hawkes OCTB671 1 I'm Goin' Up A
Yonder Hawkins /arr. Sirvatka SSAA Boos ey & Hawkes OCTB6451 To The Ploughboy R.
Vaughn Williams Unis on with 2 part Oxford Univers ity Pres s No. 54.2 64A Zing-A Za
arr. Goetze SSAA Boos ey & Hawkes OC4B62 76 Long, Long Ago Carlis le Floyd SA Boos ey &
Hawkes OC2 B5648 Velvet Shoes Randall Thomps on Unis on E.C. Schirmer 2 52 6 Art Thou
Troubled? G.F. Handel ed. Bartle Unis on Hins haw Mus ic HMC1 431 Al Shlos ha D'varim
Allan Naplan 2 part treble Boos ey & Hawkes OCTB6783 Yonder Come Day arr. Tucker 3
part World Mus ic Pres s (1 0)Carol of the Bells Leontovich arr. Wilhous ky SSA Carl
Fis cher C.M. 52 76 Freedom Is Coming ed. Nyberg/Leck 3 part treble Walton Mus ic
Corp. WW 1 1 491 2 Haida arr. Leck Unis on/Two-part Plymouth Mus ic Co. HL-51 6 Arruru
arr. Dwyer/Gerber Two-part Treble Plymouth Mus ic Co. HL-51 9 Go Tell It On The
Mountain arr. Dwyer/Waller Two-part Treble Plymouth Mus ic Co. HLMayim, Mayim E.
Amiran arr. Shields Two-part Treble Earths ongs W-2 5 Go Where I Send Thee! arr.
Caldwell/Ivory SSA Earths ongs S'vivon arr. Shields Two-part Treble Earths ongs W-1 6
Hanerot Halalu Baruch J. Cohon arr. Chas s Two-part Mark Fos ter Mus ic MF 877 Angels '
Carol John Rutter Two-part choir Hins haw Mus ic HMC-986 For The Beauty of the Earth
John Rutter Two-part choir Hins haw Mus ic HMC-469 Carol of the Children John Rutter
Unis on Hins haw Mus ic HMC-605 All Things Bright And Beautiful John Rutter Two-part
choir Hins haw Mus ic HMC-663 Jingle Bell Swing David Elliott Two-part Boos ey &
Hawkes OCTB6684 Appalachian Suite II arr. Jordanoff SSAA Boos ey & Hawkes OC4B 652 3
Sing Alleluia, Allelu Mary Goetze 3 part Boos ey & Hawkes OCTB61 2 6 At The River arr.
Copland SA Boos ey OCTB551 1 Sleep My Baby arr. Rowley unis on Boos ey OCUB5449 The
Drunken Sailor arr. Crocker 2 part Jens on 42 30401 2 Linden Lea Vaughan Williams
unis on Boos ey OCTB66351 3Five Songs by Charles Ives Charles E. Ives , ed. Tagg
(Circus Band) choral part Peer International Corp. 02 -093576-1 01 This Little Light
Of Mine arr. Harris 2 part Boos ey OCTB692 1 Bed In Summer Larry Alan Smith unis on
Plymouth HL-51 3 Evening Song Zoltan Kodaly SSA Boos ey 5771 Bye Bye, Love Bryant
arr. Bes ig SAB Shawnee Pres s D-304 Dodi Li Nira Chen arr. Raotwo-part treble Boos ey
& Hawkes OCTB6679O Sifuni Mungu Maddux, et. al.Hal Leonard 4032 6303 SABBis t Du Bei
Mir J.S. BachBoos ey & Hawkes OCTB671 6 unis onLonging For Spring W.A. Mozart, arr.
SnyderHal Leonard 08551 384 2 -partLa Paloma Se Fue arr. Alejandro JimenezWorld Mus ic
Pres s 1 1 unis on or two-partBibliographyChoks y, L. (1 981 ) The Kodaly Context
Englewood Cliffs , N.J.: Prentice Hall, Inc.Eilers , J. and Crocker, E. Sight-Singing
for SSA Milwaukee, WI: Hal Leonard.Feierabend, J. Firs t Steps in Clas s ical Mus ic:
Keeping the Beat!: Chicago, IL: GIA Publications Grout, D. J. (1 980) A His tory of
Wes tern Mus ic New York, NY: W.W. Norton & Company.Kodaly, Z. (1 941 ) Bicinia
Hungarica New York, NY: Boos ey & Hawkes .Kodaly, Z. (1 952 ) Let Us Sing Correctly New
York, NY: Boos ey & Hawkes .Kenney, M. (1 975) Circle Round the Zero St. Louis , MO:
Magnamus ic-Baton, Inc.Hindemith, P. (1 946) Elementary Training for Mus icians New
York, NY: Belwin-Mills Barron, J. (2 004) Ride With Me Kitchener, Ontario, Canada:
Kelman Hall Publis hing1 4(call Mus ic Plus Corp. 1 -800-608-52 05)Junda, M.E. "Part
Singing Revis ited," Mus ic Educators Journal Vol. 83 #6, May 1 997Rounds /Canons
Nels on, E. (1 985) The Great Rounds Songbook New York, NY: Sterling Publis hing.
Blood-Patters on, P. (1 988) Ris e Up Singing Bethlehem, PA: Sing Out Corp.
Feierabend, J. (1 996) The Book of Canons Sims bury, CT: Firs t Steps in Mus ic, Inc. -
1 01 Rounds for Singing Burns ville, NC: World Around Songs , Inc.