Choral Intonation Exercises
Dr. Albert Pinsonneault Assistant Professor of Music Edgewood College 1000 Edgewood College Drive Madison, WI 53711
1
Choral Intonation Exercises Table of Contents 3
A Note to the Director
6
Exercise #1: Audiation, Onsets, Blend
7
Exercise #2: Unisons of Pitch and Vowel
9
Exercise #3: Perfect Pentachords
11
Exercise #4: Tuning the Major Mode
14
Exercise #5: Tuning the Minor Mode
17
Exercise #6: Tuning Mi and Me
19
Exercise #7: Tuning Non-Chord Tones Within the Modes
22
Notes on Exercises #8-18
23
Exercise #8: Chromatic Intervals Within the 5th
24
Exercise #9: Tuning Within Changing Harmonies
25
Exercise #10: Expanding and Contracting into Consonance
26
Exercise #11: Fifths in Audiation
27
Exercise #12: Controlled Diphthongs
28
Exercise #13: Fourths in Audiation
29
Exercise #14: Finding Balance in Harmony
30
Exercise #15: Suspensions as Accented Dissonance
31
Exercise #16a: Sharpening the Bass, Tempering the Soprano Exercise #16b: Sharpening the Alto, Tempering the Tenor
32
Exercise #17: The Omnibus Progression
33
Exercise #18: Rhythmic Arpeggiations
37
Bibliography
38
Biography
39
Questions for Consideration
2
Choral Intonation Exercises A note to the director
Purpose Contained within this pamphlet are exercises designed to strengthen the intonation and listening skills of a choral ensemble and its members. Contents The exercises are organized in a graduated progression, moving from easier to more difficult. Various exercises concentrate on unison in a section or the entire ensemble, tuning consonant and dissonant intervals, tuning within functional harmony, alignment of vowels, and placement and intonation of various difficult intervals within a tonality. Utilization It is intended that one or a small number of these exercises be utilized at the end of vocal warmups, before moving on to the rehearsal of repertoire. The concentration and listening required to execute these exercises also brings a high level of focus to the ensemble prior to the rehearsal. Pedagogy Many choirs contain both individuals with advanced musicianship skills, and those who struggle to hear and replicate pitch with accuracy. Top choirs contain a higher percentage of advanced students while training choirs possess a lower percentage. Choirs at small institutions may contain an equal mix of both types. These exercises seek to strengthen listening and intonation skills of students of all abilities simultaneously. In addition, they strengthen one vital skill that cannot be practiced individually, fitting oneself into the texture of an ensemble. This methodology is based on Edwin E. Gordon’s audiation theory. A musician must be able to first hear musical material in their mind before being able to produce that musical material with accuracy. These exercises seek to strengthen the ability of singers to anticipate their next sound, not only in pitch, but also vowel, dynamic, and timbre. These exercises also seek to strengthen each singer’s understanding of tuning at an aural level. Too often blanket chords are used for intonation purposes and they are ultimately of limited usefulness. Perhaps the basses will become experts at tuning major triads when they are the root of the chord, but what about when we move beyond triads in root position? The exercises in this booklet understand that all members of the choir should be able to experience the pristine intonation of all intervals. Only after experiencing, hearing, understanding good intonation can singers be expected to replicate it within repertoire.
3
Many of these exercises can be repeated throughout the course of the year, the exercises increasing in difficulty as the choir strengthens. A typical learning progression on a single exercise over the course of the year might follow this formula: Level 1: 1) The first several repetitions (weeks) with an exercise it is sung without any sense of meter or tempo, resting on every note for several seconds and allowing for the singers to adjust their sound until a desired intonation is achieved. The pedagogy here is that the singer must first know what it sounds like to sing in tune before they can be expected to anticipate that sound. Conductors can use verbal feedback to adjust (e.g. tenors: you’re flat there), but also the singers should be encouraged to listen for the moment when the tuning “locks,” and conductors should not move forward until that is achieved. Level 2: 2) The exercise may then be repeated with silence between each note or chord. The silence provides time for singers to anticipate internally (audiate) the next sound, rather than relying on muscle memory. The silence should be long enough (3-4 seconds) so that all singers are encouraged to audiate, otherwise only the best “leaders” will audiate and the remainder will try to enter behind and/or quickly adjust without premeditation. 3) The exercise may then be set to a slow but steady tempo, forcing singers to quickly anticipate the next sound, and to enter in rhythm. Level 3: 4) The exercise may then be set to a steady rhythm with the insertion of silence between pitches (e.g. changing a sequence of half notes into quarter note-quarter rest) forcing singers to quickly audiate without the help of muscle memory. 5) The exercise then may be adjusted for the inclusion of a. dynamic transitions: successive contrasting dynamics, adding a new element that singers will audiate b. new or exotic vowel sounds: e.g. inserting the Russian vowels that flummox the choir on our Bogoroditse Devo c. or more advanced intonation systems: e.g. practicing just intonation for the Machaut piece Blend Vowels, placement of production, dynamic uniformity, vibrato rate, and timbral uniformity can all effect intonation, the separation between intonation and blend can become grey. These exercises will result in the creation of choral blend, however, they do not specify that blend. Throughout the execution of these exercises, conductors are encouraged to adjust pitch, vowel, dynamic uniformity, placement of production, and balance of sections or chords to their own taste. I can not specify exactly the quality of vowels, nor can I specify exactly when a minor third is in “tune,” for numerous variations exist on both counts. Each conductor will have their own sense for vowels and intonation, as well as their own tolerance to ensemble uniformity, some desiring a highly homogenous “pristine” sound while others desire a more heterogeneous “colorful” sound.
4
Just as each conductor has their own ideal choral sound, the adjustments the conductor makes and encourages while working on these exercises with their ensemble will help steer the choir towards the conductor’s idea of blend and intonation. Execution 1) These exercises should be sung a cappella. Allow the singers to make mistakes and adjustments themselves. This will help train them to listen to themselves and their ensemble instead of focusing their ear on the piano. 2) The exercises should be performed either very slowly, or out of time with the conductor directing every change of pitch. Slowness in execution allows for the singer to listen and make adjustments continuously, rather than simply relying on muscle memory. 3) Conductors should adjust pitch, vowel, dynamic uniformity, unity of motion, and the quality of unisons and intonation to fit their tastes. 4) Many of these exercises are in the major and minor keys of B, C-sharp, and F-sharp. The sharp keys add a brightness that aids hearing intonation. The conductor should feel free to transpose any exercise to additional keys as they see fit. The Drone Many existing ensemble intonation guides invite the chorister to tune intervals with the piano, or to hone the ear through singing exercises in unison. In contrast, the method in this pamphlet often employs an exercise performed over a choral drone, allowing for two outcomes: 1) Singers on moving parts are training their ears to tune to other singers and not an outside instrument. 2) Singers intoning the drone naturally open their ears to listen to the moving lines, thus strengthening their ability to hear outside their own part. Memorization and Rote Learning A singer is best able to listen when not looking at a score. Many of the following exercises may be taught or explained without the singers needing to see notation. More complicated exercises may be memorized in order to achieve the best results.
© Albert Pinsonneault, 2011
5
1: Audiation, Onsets, Blend
Trebles
& 42 w . Ah
Lower Voices
? 42 w .
-
-
-
#w.
Ae -
#w.
-
w. - Ee
w.
-
-
w. w.
- Oh
-
-
The choir does not need music to sing this exercise. Level 1: 1) Singers learn to audiate pitch and vowel. Allow several seconds between pitches for all members of the choir to anticipate the next sound, (not just the leaders). 2) Singers listen and arrive at a desired uniformity of pitch and vowel. Do not move on from one pitch until a clean unison is achieved. 3) Singers practice clean vocal onsets. Encourage good entrances, encourage choir to breathe and enter together, and at pitch. A clean onset will indicate the singers are able to audiate the successive pitch/vowel accurately. Level 2: 1) The conductor may instruct each successive entrance to have its own dynamic. This increases the complexity of the exercise in that the singers will audiate for pitch, vowel, and dynamics. 2) The conductor may add other vowel sounds as desired or as needed by repertoire demands. 3) The conductor may conduct this exercise in a steady tempo, making the singers audiate more quickly, and in time.
6
-
#w.
#w.
Oo
2: Unisons of Pitch and Vowel The choir does not need music to sing this exercise. Level 1: 1) In turn, each section departs and returns to consonance by a prescribed interval (e.g. whole step, shown below). In departing they learn to tune their interval of departure (e.g. whole step). In returning to the choral unison their awareness of the unison increases. 2) For non-moving sections, their ears will naturally be drawn to the moving notes providing two outcomes. One, their ears will be strengthened by listening to their own and another part simultaneously, and they will learn to discern for themselves when moving parts successfully tune departure intervals, and when they successfully rejoin the unison. 3) This exercise should first be conducted without a tempo, pausing to tune each passing pitch or interval.
& 62 # ˙
(Sing with a pure and uniform vowel)
Soprano
Alto
Tenor
Bass
& 62 # W V 62 # W ? 6 #W 2
#˙
˙
˙
˙
#W
˙
#˙
˙
#W
˙
7
#W
#˙
˙
˙
˙
˙
˙
˙
Level 2: 1) The conductor may add other vowel sounds as desired or as needed by repertoire demands. 2) The conductor may conduct this exercise in a steady tempo, making the singers audiate more quickly, and in time. Level 3: 1) Other intervals may be used, or patterns of intervals or scales. For example, departing up two whole steps and returning, down two whole steps and returning, or up and down a minor pentachord, modes, etc…
S
& #W
˙
#W
˙
A
& #W
˙
#W
˙
T
V #˙
˙
#W
˙
3
B
? #W
#˙
˙
˙
˙
#˙
8
#˙
˙
˙
˙
3: Perfect Pentachords The choir may need music. Memorization encouraged. Level 1: 1) In turn, each section departs and returns to a perfect fifth consonance by a prescribed pentachord (major or minor, but modal pentachords may be introduced as a more advanced technique). Singers learn to tune their scale degree interval within the context of the perfect fifth. 2) For non-moving sections, their ears will naturally be drawn to the moving lines, strengthening their listening skills. 3) This exercise should first be conducted without a tempo, pausing to tune each passing pitch or interval. 4) This exercise can be sung using solfege, numbers, text from repertoire, or a neutral vowel. Take particular notice of the major (and minor) third scale degree (Mi/me). Compared to these intervals on the equal-tempered piano, the just minor third should be a bit wider (higher) and the major third shorter (lower). Both major and minor thirds are often sung flat. Use this exercise to encourage a strong sense of in-tune thirds, utilizing the context of the perfect fifth.
Level 2: 1) The conductor may add other vowel sounds as desired or as needed by repertoire demands. 2) The conductor may conduct this exercise in a steady tempo, making the singers audiate more quickly, and in time. Level 3: 1) Other modal pentachords may be used, e.g. Lydian (#4) and Phrygian (b2, b3)
9
3a: Perfect Pentachords (major)
& 62 œ œ # œ œ w
œœœœ W .
(Sing with a pure and uniform vowel or solfege)
Soprano
& 62 W .
Alto
V 62 w
Tenor
? 62 W .
Bass
œ œ #œ œ
w
œ œ #œ œ
W
w
œ œ #œ œ
W. œ œ #œ œ
W
W.
w
œ œ #œ œ w
W œ œ #œ œ w
3b: Perfect Pentachords (minor) (Sing with a pure and uniform vowel or solfege)
S
&œœœ œw
A
& W.
T
Vw
B
? W.
œœœœ W .
W.
W œœœœ w œœœœ
w
œœœœ W
œœœœ w
W.
w œœœœ
W 10
œœœœ w
4: Tuning the Major Mode The choir does not need music to sing this exercise. There are two exercises here. Begin with the drone and the scale in unison (or octaves). Once mastered add in the contrary motion of the scale Level 1: 1) This exercise should first be conducted without a tempo, pausing to tune each passing pitch or interval. 2) Pay special attention to the quality of each interval in relation to the tonic drone. Look out especially for thirds, fifths, and sevenths. 3) Solfege, or a neutral syllable may be used. Level 2: 1) The conductor may add other vowel sounds as desired or as needed by repertoire demands. 2) The conductor may conduct this exercise in a steady tempo, making the singers audiate more quickly, and in time. Level 3: 1) Insert silence in the moving (scale) line, thus requiring the fresh audiation of each note in relation to the drone. 2) In order to try this with mixed parts, simply count off (“1-2-3”) down the line, assign “1s” to drone, “2s” to perform the scale from high do descending, and “3s” to perform the scale from low do ascending, then rotate through twice so everyone performs every part.
11
4a: Tuning the Major Mode
Soprano
Alto
Tenor
Bass
& & V
#### #### ####
? ####
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
#
Do
#
re
S
A
T
B
& & V
#### #### ####
? ####
fa
sol
la
ti
do
,
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
do
ti
la
sol
fa
mi
re
W
Do
-
-
-
W
-
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
#
,
-
W
-
-
W
-
-
-
# #
,
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
Do
re
mi
fa
sol
la
ti
do
,
do
ti
la
sol
fa
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
# W
W
-
Do
re
Do
,
do
W
-
-
-
-
-
,
W
-
mi
re
-
-
W
-
-
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ W
Do
-
Do
re
mi
fa
sol
W
la
ti
do
˙ ˙ ˙ ˙ ˙ ˙ ˙ # ˙ -
mi
-
fa
sol
-
-
la
-
ti
12
do
, , ,
W
-
W -
-
-
-
-
-
,
-
-
-
W
-
fa
mi
W
-
fa
mi
-
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
do
W
ti
la
sol
re
do
-
ti
-
la
-
sol
-
re
do
, ,
do
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
-
,
do
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
#
,
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
Do
3
mi
,
-
,
4b: Tuning the Major Mode 2 5
S
& &
A
V
T
#### #### ####
? ####
B
# W Do
S
A
T
& & V
#### #### ####
W -
-
-
-
-
,
-
# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Do
#
Do
# W #
la
sol
fa
mi
re
do
re
mi
fa
sol
la
ti
do
W -
-
-
-
-
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Do
#
ti
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Do
7
,
re
mi
fa
W
sol
la
ti
W
Do
# W
, ,
,
do
,
W
,
W -
,
W -
-
-
-
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
do
re
mi
fa
sol
la
ti
ti
la
sol
fa
W -
mi
re
W -
-
-
-
-
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
do
,
do
ti
la
sol
W
fa
mi
re
do
W
W
,
, ,
W
, , ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? #### ˙ ˙ ˙ ˙ ˙ ˙ # Do
B
,
do
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
do
,
-
Do
ti
la
sol
fa
mi
re
13
do
do
re
mi
fa
sol
la
ti
do
5: Tuning the Minor Mode The choir does not need music to sing this exercise. There are two exercises here. Begin with the drone and the scale in unison (or octaves). Once mastered add in the contrary motion of the scale Level 1: 1) Very infrequently is a choir presented with a warm-up in minor. The natural minor scale presents some unique challenges, with its whole steps surrounding tonic. In 5b, the second-to-last set of pitches creates a sound with two adjacent whole steps, great preparation for the added-note harmonies of Lauridsen or Whitacre. 2) This exercise is just like the major scale and should be executed as such. Level 2: 1) This exercise can be repeated utilizing any mode. It is especially useful with chromatic and wholetone scales.
14
5a: Tuning the Minor Mode &
Soprano
## ##
Do
? ##
Do
V
Tenor
Bass
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Do
&
Alto
##
re
S
A
T
B
&
##
W
## ##
Do
? ##
Do
V
sol
le
te
do
,
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
do
te
le
sol
fa
me
re
do
W
-
-
-
W
-
,
-
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
re
me
fa
sol
le
te
do
,
W
-
-
-
-
-
,
-
-
W
-
-
-
te
le
sol
fa
W
-
me
re
do
W -
-
-
-
-
˙
˙
W
re
-
-
-
W
˙
˙
˙
me
-
-
fa
sol
-
W
˙
˙
˙
˙
Do
re
me
fa
˙
-
sol
-
-
˙
˙
˙
le
te
do
˙ le
-
˙
-
te
˙ do
15
,
-
, ,-
W
-
-
-
˙
˙
˙
do
te
le
W ˙
do
-
˙ te
-
˙
,
-
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
do
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
W
W
,
-
W
-
-
˙
˙
,
-
,
re
-
-
˙
˙
sol
fa
me
˙
-
˙
W
-
˙
-
˙
˙
˙
le
sol
fa
me
re
do
,
-
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
Do
&
fa
,
[Or use a single vowel for unification: ah, ae, ee, oh, oo]
Do 3
me
,
,
do
-
,
5b: Tuning the Minor Mode 2 5
S
& &
A
V
T
## ## ##
? ##
B
W Do
7
S
A
& &
## ##
W -
˙ ˙
Do
-
-
˙
˙
te
le
sol
˙
˙
˙
re
me
˙
fa
W Do
˙
Do
-
˙
re
-
-
˙
˙
me
fa
W
˙
-
-
fa
me
˙
re
do
˙
˙
˙
˙
le
te
do
sol
-
˙
sol
-
,
˙
-
, ,
˙
˙
le
te
do
,
,
˙
˙
˙
˙
˙
˙
˙
Do
te
le
sol
fa
me
re
do
16
-
-
-
˙
do
˙
re
˙
me
fa
˙
˙
˙
do
te
le
˙
˙
sol
W
,
-
-
˙
˙
˙
sol
le
te
do
˙
˙
˙
re
do
-
-
-
˙
˙
˙
fa
me
-
-
-
˙
˙
˙
do
te
le
˙
sol
fa
me
˙
re
W
W
,
-
,
˙
,
W
W
,
? ## ˙
W -
-
˙
W
W
-
˙
W
## W V Do
B
-
W
Do
T
,
,
-
˙
,
,
do
,
W
˙
˙
˙
˙
˙
˙
do
re
me
fa
sol
le
˙
˙ ,
te
do
6: Tuning Mi and Me The choir may need music initially to sing this exercise.
Level 1: 1) This exercise moves straight into the troublesome major and minor third within the perfect fifth. Conduct initially without a tempo, allowing singers to adjust into clean intonation for the major third and minor third. Level 2: 1) Have the drone voices hold, but add breaths or separation between the pitches of the moving parts so they must audiate their subsequent entrance into Mi, Me, or Do. Level 3: 1) Give a steady tempo for the exercise, with separation between the pitches within the moving line. Do not sacrifice intonation in order to have steadiness of rhythm. If intonation suffers, slow the tempo or return to note-by-note conducting.
17
6: Tuning Mi and Me
Soprano
Alto
Tenor
Bass
6
S
A
T
B
& & V
# # # # 3 (Sing with a pure and uniform vowel or solfege) & # 2 ˙ n˙ #˙ w. w. w.
w
w.
#### 3 & # 2
w.
#### 3 V # 2 w.
˙ n˙ #˙
? # # # # 32 w . # #### #### ####
# ˙ #
w.
# w.
? #### w . #
˙ n˙
w.
w.
w.
˙
˙
˙ n˙
w.
w.
w.
18
˙ n˙ #˙
w.
w
w.
w.
w
w
˙ n˙ #˙
w.
w.
˙ n˙
w.
w.
w.
w.
w.
w.
˙
˙ n˙
w.
7: Tuning Non-Chord Tones Within the Modes The choir may need music to sing this exercise. Memorization Encouraged
Level 1: 1) The moving parts sing ascending and descending diatonic triads within the context of a tonicdominant drone. The moving line will leap into diatonic pitches not part of the tonic triad. The singers will learn to tune all intervals in relation to the harmonic context. 2) Solfege is provided for the choir, but a neutral syllable may be used as desired. 3) Unlike earlier exercises, this one is best at a steady tempo. Begin quite slowly, and stop to fix out-of-tune intervals. Level 2: 1) Have the drone voices hold, but add breaths or separation between the pitches of the moving parts so they must audiate their subsequent entrance.
19
7a: Tuning Non-Chord Tones Within the Major Mode
b & b 62
Soprano
b 6 b & 2
Alto
˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Do mi sol la fa re
mi sol ti do la fa
sol ti re mi do la
sol ti re do
Do mi sol la fa re
mi sol ti do la fa
sol ti re mi do la
sol ti re do
w.
w.
-
w.
w.
w.
˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
b V b 62 w .
Tenor
Sol
? b b 62 w .
Bass
Do
5
S
b & b w.
-
-
w. -
w. -
-
-
w.
w.
-
-
w.
-
-
-
-
w.
-
-
-
-
-
-
w. -
T
B
b & b w. b
Sol
-
-
w -
w.
w.
w.
w.
w.
w.
w
w.
w.
w.
w.
w.
w.
w
mi sol ti
do la
Do
A
-
w
˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Do mi sol la fa re mi sol ti do la fa sol ti re mi do la sol ti re do ˙ ? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ Vb
Do mi sol la
fa re
20
fa
sol ti
re mi do la
sol ti
re do
7b: Tuning Non-Chord Tones Within the Minor Mode
Soprano
Alto
Tenor
b & b b b b 62 bbb 6 b & b 2
˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙
Do me sol le fa re
me sol te do le fa
sol te re me do le
sol te re do
Do me sol le fa re
me sol le do le fa
sol te re me do le
sol te re do
w.
w.
w.
˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙
b V b b b b 62 w . Sol
Bass
? b b 6 w. bbb 2 Do
5
S
b & b bbb w .
-
-
w. -
w. -
-
-
w.
-
-
w.
-
w.
-
-
-
-
-
w.
-
-
w. w.
-
-
-
w. -
T
B
b & b bbb w . b V b bbb
Sol
-
-
w -
w.
w.
w.
w.
w.
w.
w
w.
w.
w.
w.
w.
w.
w
Do
A
-
w
˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Do me sol le fa re me sol te do le fa sol te re me do le sol te re do ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ bbb ˙ ˙ Do me sol le fa re
me sol te do le fa
21
sol te re me do le
sol te re do
Notes on Exercises 8-18 The Remaining exercises address various other ensemble and intonation difficulties, as noted by their title and brief notes. All of the techniques from the previous exercises may be utilized to strengthen the subsequent exercises, including 1) The substitution of text 2) Adding or changing dynamics 3) Adding rests or breaks in moving lines to force audiation 4) Adding a steady tempo 5) Altering the mode of the exercise, or transposing to a new key Exercise # 8 explores chromatic pitches within the perfect fifth. Exercises #9, #16, and #17 present common intonation problems within moving harmonies, specifically the tuning of the third and seventh scale degree (#9) and chromatic ascending lines in harmony (#16 and #17). Exercise #10 strengthens intonation of pure intervals without a drone, i.e. when both parts are moving into each dyad. Exercises #11 and #13 work the audition of perfect fifths and fourths. Exercise #12 helps navigate diphthongs in a controlled manner. Exercise #14 moves in eight-part harmony derived from only four parts. The singers must learn to balance each harmony. Exercise #15 teaches the aural understanding of suspensions as dissonant tension resolving into consonance. Exercise #18 provides the choir a rhythmic warm-up with simple harmonies.
22
8: Chromatic Intervals Within the 5th Align vowel. Once the choir can sing succesfully, add breaths between the half notes of the moving part to force singers to audiate each succesive pitch and vowel.
1
&W
W
2
& ˙ #˙
˙ n˙
2
& &
˙ b˙ W
˙ n˙
˙
˙ b˙
W ˙ b˙
˙
˙ n˙
W
˙ ˙ W
23
w ˙ ˙
˙ b˙ ˙ #˙
˙ ˙ w
w w
9: Tuning Within Changing Harmonies Common intonation challenges are presented within each voice part: Tendency tones (3rds and 7ths of tetrachord), and non-chord tones.
Soprano/Alto
Tenor/Bass
& c ww
# ww
? c #w w
w w
# w˙ ˙ # w˙ # ˙ ww
w w
24
˙˙ ˙˙ w˙ # ˙ w w #w
# ww
# ww
˙w ˙ ˙ ˙ w w #w
ww
10: Expanding and Contracting into Consonance Chromatic motion in two parts toward diatonic intervals.
& #w ? #w
n ww ww
n ww
ww
# # ww
# # ww
n ww n ww
25
bw w bw w
w w ww
# # ww
# # ww
n ww n ww
ww # w
ww
#w
11a: Fifths in Audiation
Trebles
Lower Voices
& 42
Encourage singers to quickly align both vowel and pitch. Examine the quality of the quality of the onset. Singers will learn to mentally anticipate interval and vowel. Encourage uniformity and purity of vowel throughout (no dipthongs).
˙
#˙
#˙ #˙ ˙ #˙ #˙ W ˙ # ˙ #˙
#˙ ˙ ˙ # ˙ # ˙ # ˙ #˙ #˙ ˙
Ah,
? 42
Ah,
Ae,
Ae,
Ee,
Ee,
Oh,
Oh,
Oo,
#˙
Oo,
W
Ah!
11b: Fifths in Audiation Encourage singers to quickly align both vowel and pitch. Examine the quality of the quality of the onset. Singers will learn to mentally anticipate interval and vowel. Encourage uniformity and purity of vowel throughout (no dipthongs).
Trebles
& ˙ ˙ #˙ #˙ #˙ #˙ ˙ #˙ ˙ W #˙ ? ˙ ˙ #˙ #˙ #˙ #˙ #˙ ˙ ˙ W #˙ Ah,
Lower Voices
Ah,
Ae,
Ae,
Ee,
26
Ee,
Oh,
Oh,
Oo,
Oo,
Ah!
12: Controlled Diphthongs Encourage singers to quickly align both vowel and pitch. Encourage smooth transition between vowels without a break in sound. Conduct each transition and breath, singers must change vowels together. Add your own dipthongs or tripthongs as fits your needs.
Trebles
&
˙
œ
Ah - ee
Lower Voices
?˙
Œ
#˙
Ae - ee
œ Œ #˙
Ah - ee
œ
Œ
#˙
Œ
˙
œ Œ #˙
œ Œ w
Ah - oh
Ee - oh
Oo - Ae
Ah!
Ah - oh
Ee - oh
Oo - Ae
Ah!
œ Œ #˙
Ae - ee
œ
27
œ Œ ˙
œ Œ #˙
œ Œ w
13a: Fourths in Audiation Encourage singers to quickly align both vowel and pitch. Examine the quality of the quality of the onset. Singers will learn to mentally anticipate interval and vowel. Encourage uniformity and purity of vowel throughout (no dipthongs). Portamento on "Oh" vowel.
& ˙ ˙ w #˙ #˙ #˙ ˙ #w #˙ #˙ #˙ #˙ #w #˙ w ˙
Trebles
#w #˙ w # w # ˙ w ˙ ˙ # ˙ # ˙ ? ˙ ˙ #˙ #˙ #˙ #˙
Lower Voices
Ah,
Ae, Ee,
Oh - ,
Ah,
Ae, Ee,
Oh - ,
Ah,
Ae,
Ee,
Oh - ,
Oo.
Ah,
Ae, Ee,
Oh - ,
Ah,
Ae, Ee,
Oh - ,
Ah,
Ae,
Ee,
Oh - ,
Oo.
13b: Fourths in Audiation Encourage singers to quickly align both vowel and pitch. Examine the quality of the quality of the onset. Singers will learn to mentally anticipate interval and vowel. Encourage uniformity and purity of vowel throughout (no dipthongs). Portamento on "Oh" vowel. 5
Trebles
Lower Voices
& ˙ ˙ ˙ w ˙ ˙ ˙ ˙ #w #˙ ˙ #˙ #˙ ˙ ˙ #˙ w w ˙ ? ˙ ˙ w ˙ ˙ ˙ ˙ #w #˙ ˙ #˙ #˙ ˙ ˙ #˙ w w Ah,
Ae, Ee, Oh - ,
Ah,
Ae, Ee,
Oh - ,
Ah,
Ae,
Ee, Oh -,
Oo - ,
Oo - , Oo!
Ah,
Ae, Ee,
Ah, Ae, Ee,
Oh - ,
Ah,
Ae,
Ee, Oh -,
Oo - ,
Oo - , Oo!
Oh - ,
28
14: Finding Balance in Harmony
Soprano
Alto
Tenor
Bass
A
T
B
A
T
B
# # ww
& #w w #w V w ? # ww
#w w # ww
? #w w &
# ww
& # ww # ww V ? # ww
#w w # # ww #w # w # # ww
#w # w
# ww
# ˙w # ˙
# ww
#U ww
# # ww # ww
# # ww
ww
# ww # ww
# # ww
# # ww
# w˙ # ˙
# ww
#w #w # # ww
ww
# ww
ww
# w˙ # ˙
#U ww
# ww
# ww
# ww
# # ww
# ww
# ww
ww
# # ww
& #w w V # ww
&
# ww
# ww
# ww
15
S
& # ww
# ww
8
S
Beginning 8-Part Singing with only 4 Parts. (S1 = T1, S2 = T2, A1 = B1, A2 = B2) Second Altos may move to First Alto when too low.
# ww
#w #w
U
#U ww #U ww
U
#U ww
# # ww
# ww
# # ww
# ˙w # ˙ # ww
# # ww
ww
# ww
# ww
# w˙ # ˙
# ww
w #w # ww
# ww
# # ww # w˙ # ˙
# ww
#w #˙ #˙ ww #w #˙ #˙
# ww # ww 29
w #w
# # ww
U
# # ww U U U
# ww
U
# ww
15: Suspensions as Accented Dissonance The musical material repeats in the second stanza with added suspensions. Encourage the singers to listen to the way their dissonance resolves into consonance.
Soprano
Alto
Tenor
Bass
& 22 # w & 22 # w V 22 w ? 22
w
w
w
#w
#w
w
w
w
w
w
w
#w
#w
w
w
w
#w
w
w
n˙ #˙ #w
w
w
n˙ n˙ #w
w
#w
w
#w
#w
#w w
S
& #˙ ˙ ˙ ˙
w
A
& #w
w
w
T
V w
w
˙ ˙
B
? w
w
11
#w
#w
#˙ ˙
˙ nœ #œ #w
˙ ˙ #w #w
w
w
w
˙ #˙ #w
30
#w
#w
w
#w
w
#w
#w
w
w
#w
˙ ˙ n˙ n˙ #w
˙ ˙ w
w
#w
w
#w
#w
#w
16a: Sharpening the Bass, Tempering the Soprano The Bass voice rises chromatically while the Soprano navigates tendency tones (3rds and 7ths of the tetrachord).
& C ˙˙
b˙ ˙
? C ˙˙ 6
&# ˙˙ ?# ˙ ˙
˙˙
œ˙ œ # ˙˙
# ˙˙ ˙ ˙
# ˙˙
# ˙˙
# ˙˙
# ˙˙
# œ˙ # œ ‹ ˙˙
b ˙˙ ˙ ˙
# ˙˙
n ˙˙ ˙˙
n # ˙˙
˙ #˙
˙˙
˙˙
˙ #˙ # ˙˙
#˙ # ˙
b ˙˙ ˙ ˙
# ˙˙ # ˙˙
n ˙˙ ˙ ˙
# ˙˙
# # ˙˙
U
˙ ˙ ˙ ˙
u
U
˙ #˙ ˙ ˙
u
16b: Sharpening the Alto, Tempering the Tenor The Alto voice rises chromatically while the Tenor navigates tendency tones (3rds and 7ths of the tetrachord).
& ˙˙ ? ˙˙ &# ˙ ˙ ?# ˙˙
# ˙˙ b ˙˙
# ˙˙ ˙˙
œ˙ œ # ˙˙ ˙˙
# ˙˙
#œ ˙ # œ˙ ‹˙ # ˙˙
# ˙˙
˙ ˙
b ˙˙ ˙ #˙ # ˙˙ 31
˙˙
n ˙˙ ˙ ˙
n # ˙˙
˙ #˙ ˙˙
#˙ # ˙ # ˙˙
˙˙
b ˙˙ # ˙˙ # ˙˙
˙˙
n ˙˙ # # ˙˙ # ˙˙
U
˙ ˙ ˙ ˙
u
U
˙ ˙ ˙ #˙
u
17: Omnibus Progression Encouraging a long and steady crescendo, utilize whatever syllable, vowel, and/or accent desired.
1
2
&˙ > ∏
cresc.
Soprano
&˙ > ∏ > cresc. V˙ ∏ cresc. ? >˙ cresc.
Alto
Tenor
Bass
8 S
A
T
B
& b˙ > & ˙ >
9
3
˙ > π
#˙ > ˙ > > ˙
>˙ n V
˙ > F b >˙
? ˙ >
b˙ >
F
b˙ > ˙ >
> b˙
n˙ f>
P > b˙
> n˙
U
13
14
˙
ƒ
n >˙
˙ > >˙
˙ > ƒ >œ
b˙ >
˙ >
b˙ >
˙ >
32
˙ > P b >˙
> n˙
˙ >f >˙ f
b˙ P>
˙ > > ˙
p > #˙ 12
7
#˙ >
#˙ p> > ˙
>˙ 11
6
#˙ p>
˙ > > ˙
π n >˙
# >˙
5
#˙ >
˙ > π > ˙
10
b˙ F>
4
ƒ
U
˙
œ
U
˙
U
˙
33
B
T
A
S
? #### # # œ. .
#### # & # œœ œœ œœ . . . # # # # # œ. . V #
4
dee
œœ. œœ dee
∑
‰
Da
.. œ. .
Doot - doot - doot - doot - doot
1.
.œ - doot œ. œ.
da - da - da
doot
-
1.
-
œœ .
da
2.
.. ˙˙
(etc)
j œ.
2.
‰ .. œœ œœ œœ . . . 2. .œ œ. œ œ. œ. .. œ. .
‰
da - da
.œ(etc). . œ œ œ ‰
œ. œ œ ‰ . 2. œ. œ. . œ. . œ. ‰ j . . œ œ œ œ. . œ .
œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . .
œ œ. œ. œ. œ œ. œ. . .
œ ‰ # œ.
1. .œ . œ. . œ. j œ. œ œ œ ‰ # œ œ. . .
œ. œ œ ‰ .
œœ œœ œœ œœ œœ œœ . . . . .
1.
-
-
‰ nœ œ. cha (etc) .œ œ. œ œ. n œ.
‰
dee dee dee dee dee dee dee
œ. œ
œ. œ.
œ.
œ.
‰
œœ .
j œ.
‰
Doot - doot doot doot
. œ. œ. œ œ. œ
œ. œ. œ œ. ‰
œœ œœ œœ œœ œœ œœ . . . . .
‰
œœ œœ œœ ≈ ≈œœ œœ œœ œœ œœ œœ œœ . . >
j ‰ j‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . . . œ. . œ. œ œ. œ. œ œ. œ. ‰ œ. œ. œ. œ. œ. œ œ. .œ . œ. ‰ œj .
(etc)
œœ ≈ ≈ œœ œœ œœ œœ œœ œœ œœ œœ .. . . >
œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . . Cha cha cha cha cha cha cha cha . . . . œ. œ œ. ‰ œ. œ. œ œ œ .. œ ‰
..
∑
Dee
.. œœ . ..
∑
œœ œœ œœ ≈ ≈ œœ œœ œœ œœ œœ œœ œœ ˙˙ . . >
? # # # # # 44 #
#### # 4 V # 4
#### # 4 & # 4
#### # 4 & # 4
#### # & # œœ. ..
Bass
Tenor
Alto
Soprano
18: Rhythmic Arpeggiations
34
B
T
A
S
B
T
A
S
(etc)
‰ nœ ‰ œ.
(etc)
1.
1.
? # # # # # œ. . #
1.
Œ n œœ
Œ
1. œ. œ. . œ. . œ. ‰ j . . œ. œ. . œ œ œ œ œ. . œ . œ
œ
Doot - doot doot - doot
œ. .
doot (etc)
œ. œ œ ‰ .
Da (etc)
Dee
n œœ .
‰
dee
dee
dee dee dee dee dee dee dee
œœ œœ œœ ≈ ≈ œœ œœ œœ œœ œœ œœ œœ . . >
‰
j œ. œ. œ. œ œ. n œ.
œ. œ. œ. œ. œ. œ œ. ‰
doot
œ ‰ # œ.
. . œ. . œ. j œ œ. œ œ œ ‰ #œ .
Cha cha cha cha (etc)
n # # # # # .. œœ .. .
doot
‰
œ œ. œ. œ œ. œ. .
œœ. œœ œœ. ≈ ≈ œœ œœ œœ œœ œœ œœ œœ >
n##### . . œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . ....
Da
œ. .
œ. œ œ ‰ .
œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . .
œœ œœ œœ œœ œœ œœ .. . > œ. ‰ j œ. œ. .
n##### . .
œœ œœ œœ ≈ ≈ œœ œœ . . . . œ. œ œ. œ œ. œ
j ‰ œœ .
œ. œ. œ œ. œ.
# Œ ‰ œ œ œ œ œ n # # # # .. œ. .
. 1. . œ . . œ ‰ œ œ œ .. œ. . œ œ œ. œ . œ. œ.
Da
œ. œ œ ‰ .
j ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . .
œœ œœ ≈ ≈ œœ œœ œœ œœ œœ œœ œœ œœ .. . . >
œœ œœ œœ œœ œœ . . . .
(etc)
œ. .
(etc) .œ dee . . œ œ . . œ. œ œ œ ‰ œj œ. . .
dee
doot
œ. œ. œ œ. n œ.
#### # & # œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œ ‰ .. œœ œ. . . . . . . . . . 1. # # # # # 1. .. œœ V # ˙˙
# # # # # 1.œ . & # .
10
Da
Dee
? # # # # # .. # œ. .
doot
doot
œ. œ œ. ‰
#### # . & # .œ œ œ œ œ. œ. œ. œ. Cha cha cha cha #### # . œœ V # . œœ. .. .
7
# # # # # . œ. . & # .
2
35
V
T
&
V
A
T
B
####
####
####
####
œ. œ œ .
‰
1.
‰
# œœ œœ œœ œœ œœ œœ œœ œœ œœ .... ....
‰ # œ. . œ. œ œ. 1.
1.
‰ œœ. . œ. œ. œ œ. œ
‰
doot
‰
‰
œ # œ.
‰
(etc)
doot
dee
dee
œœ œœ œœ . .
Da
doot
‰ n œœ . œ. œ. œ œ. n œ.
dee dee dee dee dee dee dee
‰
j œ.
1.
œ. . œ.
œœ œœ œœ œœ ....
(etc)
œ.
‰
œœ œœ
..
œœ ‰ .. .
≈≈ œ œ œ œ œ œ œœ œœ > j ‰ j œœ œœ œœ œœ œœ œœ . .. .. . . œ œ ‰ œ. œ œ œ .
‰
œ. œ. œ œ. œ. ..
œ. œ. œ. œ. œ œ. ‰ œ j œ. . . œ. œœ œœ œœ œœ œœ œœ œœ œœ .. œœ œœ œœ . . . >
(etc)
‰
œœ. œœ.
≈≈
œ. œ. œ. œ. œ. œ œ. ‰
œ. œ œ .
‰
j .. œ. œ ‰ œ œ œ œ œ œ . . . . . .
œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . .
1.
œ. œ. œ. œ œ. œ. œ. .
1.
œ. .
1.
œœ. œœ œœ. ≈ ≈ œœ œœ œœ œœ œœ œœ œœ ˙˙ >
.. œ œ. œœ. œœ. œœ. œœ œœ. œœ. Cha . . cha cha cha. (etc) œ œ œ œ. .. Dee
. œ. œ. œ œ. œ. . œ . œ. .
Da
# œ . œ. œ. œ œ. œ œ œ. ‰ œj .. . . . . œ. .
1.
(etc)
œ. œ œ .
j œ. œ. œ. œ. œ. œ œ. ‰ # œ.
œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . .
œ. .
œœ œœ œœ ≈ ≈ œœ œœ œœ œœ œœ œœ œœ œœ .. . . . >
j œœ ‰ .
œ. œ. œ œ. œ.
. . . œ. œ œ. œ œ. œ œ ‰ j œ. œ. .
# œœ œœ œœ œœ œœ œœ œœ œœ œœj ‰ . . . . . . . .
# œ. .
# œ. .
? # # # # ˙˙ #
&
16
S
B
&
A
####
####
? # # # # œœ .. # .
&
S
13
3
36
B
T
&
A
####
####
#
œœ .. .
# œ ..
œœ œœ .
œ. œ. œœ .
œ.
≈ ≈
? # # # # œ. . #
œ. œ
œ.
‰
œ # œ.
j # œ. œ. .
œ. œ
œ. œ . œ.
œ.
‰
œœ .
.. œ . œ œ œ
j œ. .. œ . œ œ œ
‰ .. œ . œ œ œ . œ. œ. œ œ. œ .. œ . œ œ œ ‰
œ. œ œ œ. ‰ .
œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . . . . .
.. œ œ œ œ. œ. œ œ. . .
‰
œœ œœ œœ œœ œœ œœ œœ ˙˙ >
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19: Legato Blend Encourage resonant and even singing. Practice mixed breathing to achieve a seemless line. May be sung on neutral syllable or text (e.g. "alleluia").
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Choral Intonation Exercises Selected Bibliography Alldahl, Per-Gunnar. “Choral Intonation.” Stockholm: Gehrmans Musikförlag AB, 2008. Aspaas, C., McCrea, C. R., Morris, R. J., and L. Fowler. “Select acoustic and perceptual measures of choral formation.” International Journal of Research in Choral Singing 2 (2004): 11-26. Breytspraak, William. “Sight-Singing and Ear-Training in the Choral Rehearsal.” Lecture, national convention of the American Choral Directors Association, Oklahoma City, OK, March 6, 2009. Doscher, Barbara M. “Exploring the Whys of Intonation Problems.” Choral Journal (November 1991):25-28. Fagnan, Laurier. “Chiaroscuro Resonance Balancing: The Bel Canto Answer to Choral Tone and Intonation Problems.” Choral Journal (November 2008): 51-61. Goldsmith, Dale. “Developing Tonal Memory – Calibrating the Ear.” Lecture, national convention of the American Choral Directors Association, Miami, FL, March 7-10, 2007. Gordon, Edwin E. “Learning Sequence and Patterns in Music.” Chicago: GIA Publications, 2007. Grant, Joe. “Improving Pitch and Intonation.” Choral Journal (December 1987):5-9. Johnson, Eric A. and Edward Klonoski. “Connecting the Inner Ear and the Voice.” Choral Journal (December 2003):35-40. Jordan, James. “The Pedagogy of Choral Intonation: Efficient Pedagogy to Approach an Old Problem.” Choral Journal (April 1987): 9-12. Jordan, James and Matthew Mehaffey. “Choral Ensemble Intonation: Method, Procedures, and Exercises.” Chicago: GIA Publications, 2001. Mitchell, Christopher A. “Audiation and the Study of Singing.” DMA diss., The Florida State University, 2007. Ternström, S. “Choir acoustics: An overview of research published to date.” International Journal of Research in Choral Singing 1 (2003): 3-12.
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Biography: Albert Pinsonneault Conductor Albert Pinsonneault is an Assistant Professor of Music at Edgewood College where he directs the Chamber Singers and Campus-Community Choir, and teaches sight singing and aural skills, conducting, music theory, and choral methods. A native of St. Paul, Minnesota, he attended St. Olaf College (BM, Piano Performance) and the University of Minnesota (MM, Choral Conducting) before completing his doctoral study at the College-Conservatory of Music (CCM) of the University of Cincinnati (DMA, Choral Conducting, Minor in Music Theory). Dr. Pinsonneault has studied conducting with Anton Armstrong, Dale Warland, Earl Rivers, Kathy Salzman Romey, Richard Sparks, and Richard Westenburg. In addition he has participated in the National Conductors’ Symposium with Jon Washburn and the Vancouver Chamber Choir (2008), the Chorus America A Cappella Conducting Masterclass (2007) with Philip Brunelle, Anton Armstrong, Sigrid Johnson, VocalEssence and the St. Olaf Choir, and in two masterclasses with Helmuth Rilling and the University of Minnesota Choruses and Orchestra (2004, 2005). In 2008 Dr. Pinsonneault was the assistant producer of the Second National Convention of the National Collegiate Choral Organization (NCCO) in Cincinnati, Ohio. He is an active clinician in Wisconsin, having worked most recently with the Madison Youth Choirs, the Madison Diocesan Choir, and the "Singing in Wisconsin" Wausau Youth Choir. He is co-founder of the Madison Boychoir Festival, an annual day-festival for 300 young male singers age 8 to 18 held each Winter at Edgewood College. Dr. Pinsonneault has a passion for developing ensemble listening skills, and is excited to present these exercises at the Fourth Conference of the National Collegiate Choral Organization. He resides in Madison, Wisconsin along with his wife Laura, where he is an avid runner and enjoys food, people, and laughter.
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Choral Intonation Exercises Questions for Consideration Dear Conductors, Thank you for taking the time to explore and utilize the exercises in this booklet. I hope to contact you to ascertain their success in your setting. Questions I seek to answer, with your help: 1) Which exercises were useful, and why? 2) Which exercises were not useful, and why? 3) How did you find yourself using these exercises? 4) Do you feel that your choir(s) improved as a result of using these exercises? How? 5) What suggestions do you have for new exercises? Were there any exercises that should be eliminated? 6) Did you find the instructional notes to be helpful, or confusing? How could they be improved? 7) Do you have suggestions for the format in which these exercises are presented?
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