EVOKING SOUND Fundamentals of Choral Conducting Second Edition James Jordan Foreword by Morten Lauridsen With chapters by Robert W. Rumbelow * James Whitbourn Companion Resources The Anatomy of Conducting DVD James Jordan and Eugene Migliaro Corporon (G-7359DVD, included in this edition) Music for Conducting Study with Giselle Wyers and exercises by Roger Ames # Gerald Custer (G-7359A)PREPARING THE SCORE ALLOWING THE MUSIC TO SPEAK No matter how diverse their views on every other topic, most musicians agree that finding the right tempo is at least half the interpretation. Wagner went further, asserting that the right tempo was the interpretation. In his essay ‘On Conducting, he writes: “1 am persistently returning to the question of tempo because, as I said before, this is the point at which it becomes evident whether a conductor understands his business or not.” Tempo fs also the principal feature singled out by critics in commenting on performers. With all this consensus on the crucial importance of tempo, it may seem curious that musicians haraly ever agree on the proper choice of tempo. Accord in theory has never spread into agreement in practice. (p. 101) —frich Leinsdorf in The Composer's Advocate There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in al time, this expression is unique. And if you block it, it will never exist through any other medium and wilf be lost..(p..75) —Martha Graham, in The Artist’s Way, Julia CameronEvoking Sound ¢ James Jordan It might sound like only a game with words when one says that there is a difference between “learning about things” and “learning things,” just as there is a difference between “speaking about religion” and “speaking religion,” or “speaking about music” and “speaking music.” However, we know that it is easier to have an opinion about life than itis to live wisely. It is also considerably easier to have an opinion about great music than it is to bring it to life. There is a subtle difference between intelligent, even sensitive interpretation and bringing music into existence! in the case of intelligent interpretation, the emphasis is on the opinion of the interpreter, but when music comes into existence, it speaks for itself. (p. 23) Some of our greatest and deepest enjoyment as conductors can come not in performance, but in the quiet and intense process of learning during which the simple but profound truths of the score reveal themselves. We must constantly strive to come closer to the simple truths so that we may stimulate our singers (and audiences) toward such a search of their own. Our great subject is actually the search for those values which caused Bach’s (or Mozart’s or Stravinsky's) work. If they are discovered, itis hoped that we might reconquer them in order to possess them, so that they may become the cause of a more basic life of our own and be shared with those whom we.conduct. (p. 24) Julius Herford 1 ‘in The Choral Journal Play is the exultation of the'possible. (p. 198) <—Martin Buber ‘in The Artist’s Way, Julia Cameron A metronome is an undependable criterion; the. only designation which can’t be misapplied is presto possible. Tempos vary with generations like the rapidity of language. Music’s velocity has less organic import than its phraseology and thythmic qualities; what counts in performarice is the artistry of the phrase and beat within a tempo. A composer is néver sure of tempo before a rehearsal, for preoccupation with such detail during composition slackens creative flow. Writing time corresponds in no way to performance time, and intuitions regarding the latter are, at best, approximate. Tempo indication is not creation, but an afterthought related to performance. Naturally, an inherently fast piece must be played fast, a slow one slow—but to just what extent is a decision for players. If the composer happens to be the performer, 50 much the better. Rhythm and phrasing, nevertheless, do pertain to composition and are always misconceived (though sometimes beautifully), for as | say, notation is inexact. When a composer determines his tempo as‘a final gesture to the product, he does so as an interpreter. Since his tempo varies with the life of the times, his marking is inaccurate, his emotional conjectures will not have authentic translation into sound. The composer will never hear his music in reality as he heard in spirit. (p. 326) —Ned Rorem in Setting the ToneChapter 23 ¢ Preparing the Score Although one can agree that a composer begins with a text, and that itis his inspiration to a certain respect, it is the responsibility of the performer, it seems to me, to satisty as nearly as he can the composers language and then seek what the inside of the composer sought, how he might have felt about the text rather than arriving at a textual, philosophical relationship with the téxt that is one’s own personal interpretation and forcing that upon the, composer. | can remember once that somebody said that Bach was the greatest witness to the crucifixion of Jesus; not that hé happened to be present, but because he was a witness to the meaning of the crucifixion. —Robert Shaw in Preparing a Masterpiece: The Brahms Requiem, video To become truly immortal, a work of art must escapé all human limits: logic” and common sense will only interfere. But once these barriers are broken, it will enter the realms of childhood vision and dreams. (p. 84) —Giorgio De Chirico in The Artist’s Way, Julia Cameron Preparing and Marking the Score The first step in preparing for the rehearsal is the obvious step of preparing and marking the score. The learning of the notes and the rhythms of all the parts is prerequisite to the other levels of score preparation. The following steps are recommended, 1. Hum or moan through the piece. Intensely hum the overall. piece (following its:principal rhythms) on the consonants “mm” or “nn” at a mezzo forte or forte level. Breathe for as many of the entrances as possible. This technique allows you to actively participate in and make decisions concerning the:phrase directions of the work. The humming or moaning establishes a connection between the notes on the page and is when you establish breath the sound of a musical line in motion. T! locations. Play and sing all parts. Play and/or sing all parts individually. Then play one part and sing another until all combinations of parts have been experienced. Finally, begin by singing one part and then switching immediately to another part. This is especially helpful in contrapuntal music. 307‘ Evoking Sound * Jaines Jordan 1 3. Reinforce Alexander-based alignment sensations and thoughts, and stay aware of Body Mapping principles and concepts. When preparing a score, | always prepare.it from a sitting or standing position that is reflective of the singing process. There is an intimate but unseen connection between body posture and the music learning process, When a piece of music is. performed, the body’s “muscle memory” will recreate the posture and body alignment that was present as the score was being learned. You should view score preparation-as both an aural and a kinesthetic exercise. The kinesthetic attitude of the body is established at the time Pt the initial note learning of the score takes place, Constantly reinforce all of the Alexander-based alignment issues that were presented.earlier in . Chapter 4. 1 4. Mark the score. One ofthe most obvious aids in rehearsal technique is often overlooked by both experienced and novice conductors. Marking 1 the score in an, organized manner will not only assist you in preparing ; for rehearsal but also serve as a visual reminder for you during rehearsal. Ht ‘While score marking may be time consuming, most conductors find it i hastens the score learning process. ‘ : The key’to score marking i8 to establish a consistent procedure. Establish standard color codes for the most important aspects of the score. Below is a suggested color-coding system that may be used as a model, Unless otherwise indicated, colors refer to a colored pencil. 1) red ee circle all forte dynamics ' green. eee circle all piano dynamics darkgreen.......-. circle all mezzo forte dynamics light green highlighter . . . trace over all crescendos and decrescendos orange . . . enlarge all meter changes yellow highlighter. . trace and track thematic and imitative material blue... eee indicate syllables that receive stress i j purple... 0... eee connect notes between voice parts that are in suspension or create a dissonance ! i pink highlighter. . . trace over accentsChapter 23 * Preparing the Score place harmonic analysis underneath score; use highlighter to draw attention to unusual harmonic progressions . .circle thirds in triads and other intervals that may cause intonation, problems underline all tempo changes . indicate necessary possible vowel modifications above voice part and trace over with blue highlighter; draw arrows where. necessary to track entrances =a = =e = Conduct while humming or moaning through the piece. Now conduct and intensely hum.the overall piece on the consonants “mm” or “nn” at a'mezzo forte or forte level. Breathe for as many of the entrances as possible, Study and expetience.the breathi of the.piece carefully, When learning scores, it is important to have a clear sense of where the choir will breathe within, the phrase-structure-and between phrases. This serves an important function. Conductors often alter the consistent tempo of a piece because'they do not breathe with the singers and, hence, rush the tempo. One of the most important factors in maintaining a consistent tempo is to make sure the breath process of the singers is rhythmic. As statedabove, in, the initial, stages of the’ score preparation process, it is very important that you not only breathe where the choir breathes but you also exhale air constantly in the motion of the piece to simulate the forward motion of the phrases. You. could also moan or hum in a monotone. Regardless of the rhythm of the work, the humming or moaning should be continuous and not simply echo the melodic rhythm (exact rhythm) of the piece. This encourages you to always be connected with the “sound” of the piece while learning the score. Avoid learning a piece of music without connecting yourself and your singing mechanism to the ongoing rhythmic motion and flow of the work. This connection will help to free your conducting gesture.Evoking Sound * James Jordan 310. 7. Conduct the piece while inhaling and exhaling constantly. Continually inhaling and exhaling while conducting the piece is a valuable score preparation technique. Many times conducting gesture is totally unrelated to the sound and line of a piecej that is, the conducting gesture is not directly connected to both the energy of the body and the energy: of the breath. Connecting the gesture to the body and to the breath is essential to good rehearsal technique. Much can be taught to a choir without words if the gesture is connected-in such a fashion. By inhaling and‘exhaling on “tss” or “shh” (or any combination of consonants that provide resistance), this connection between gesture, body, and breath can be established. e Breathe the color of the style and effect of the piece. While programmatic approaches to music making can be dangerous, it is very helpful to consider the character of the breath for each piece you conduct and rehearse. In Chapter 18, establishing a sense of textural color was introduced through: associating colors with the. music. Since the vocal “color” of a piece is set through the inhalation process, you must pre- determine the color and mood of the breath you take to start phrases so the color of the ensemble is set in thé breath they take. If fou “hear” a patticular passage as purple, then ask the:chaif to “inhale” the color purple. Sich a techiiique Wwill-elicit-a darker-sound than if you ask the choir to “breathe” red, and so on. 9. Study and’ experience the breath process that connects phrases. When teaching a piece, take special care to teach how the breath begins simultaneously with the end‘of a phrase. Amateur singers tend to finish the phonation of the tone and then start the breath process for the start of the next phrase. If you examine the process'as a singer, the inhalation of breath happens at the same momfefit as the finishing of the toné. So you shéuld not cénduer the étid of the phase; youi should simply breathe for the next phrase—cue the breath. By doing so, the previous phrase ending will take care of itself and: the tone color, pitch, and forward rhythmic motion of the phrase will be maintained. eit e eet. nllChapter 23 * Preparing the Score, Preparing the Tonal Materials of the Music After gaining an understanding of the chythmic life of the music, you must establish a procedure for learning the tonal aspects of the score. Many conductors play througti the score at the keyboard, This will certainly give you an idea concerning the harmonic movement, but it does very litle to establish the direction of phrase of the lines of the piece. Instead, try this: . Begin by first singing che soprano part. On subsequent repetitions, sing and conduct the soprano part. : . After the soprano part becomes very familiar to you, then do the same with the alto, tenos, and other parts. Follow this procedure for every score you conduct. If there are instrumental or keyboard parts, you should learn those in a similar fashion. The time spent singing and conducting individual parts is pechaps the most valuable aspect of score preparation. If you know each of the parts, then your musical mind will be able to combine them. And as you are conducting the work, your ear will be able to easily switch berween parts while continuing to track the parts you are not focusing on, Anticipating Vocal Problems within the Score , Aside from preparing the tonal, rhythmic, and harmonic aspects of the score so you can “hear” the score you are to conduct, it,is valuable to study the score for potential vocal technique problems che singers may encounter, In many cases, tonal or rhythm problems may be caused by a singer’s inability to correctly execute the pitch, Obviously, the space allotted to a summary such as this does not allow for a detailed explanation or solution of the, problem. However, following are the ° common areas where problems occur: : * Maintaining posture for correct singing: the foundation for the inhalation process - Examine the score meticulously for those points where a breath iust-be taken: Rehearse the inhalation process as you count through the work. Make sure the breath is being taken low enough and is not shallow. Also make sure the choir is able to set the sound with the breath. This can only be done if your body is able to accept air through correct posture and alignment,Evoking Sound © James Jordan * Diaphragm activity for diction and articulation of the rhytlim — The ; process of using the breath for singing should-be taught as a two-step process. Diaphragm activity is not support. Diaphragm activity is used only for cleaner, sharper diction and accents. If air is only taken into the body to the perceived level of the diaphragm, a shallow breath will result. Moreover, if the diaphragm is used to propel the air through the vocal mechanism rather than through the lower “support” mechanism, a harsh, pushed sound will result. \ * Breathing: exhalation, inhalation, and support - It is important that you establish for the choir the manner in which the breath is allowed to fall into the body and the sensation of support for the particular piece of music to be rehearsed. Singers need to “feel” what the support sensation is like for each piece of music, and they need to connect that feeling of support to their bodies. * Appropriate resonance for the style of music - You must hear within yourself an appropriate color or sound for the particular piece to be rehearsed before you enter the rehearsal room. That sound is borne out of your own experience and tone preference. You must make an initial decision concerning whether the piece will require a bright tone color or , a a dark one. © Five pure vowels (without diphthongs) to maintain pitch and tone color = Do not use diphthongs when rehearsing a piece, When a choir is not skilled in diphthong execution, poorly exectited diphthongs will manifest themselvés as veiled or tinusual tone color, or a variance in pitch. After + the clioir has learned the piece on neutral syllables, then move to the text of the piece. Locate all diphthongs in the text and be prepared to teach the proper performance of the diphthongs. «Finding head voice (yawn-sigh) to maintain proper tone color - You must be vigilant that the appropriate amount of head tone.is maintained iy in each respective voice part, regardless of the tessitura of the work: Parts that lay low in the tessitura for a ‘voice part, sung without the proper amount of head tone, often result in.pitch difficulties, inability toChapter 23 * Preparing the Score perform-a wide range of dynamics, and obvious inconsistencies in tone color. Expanding the vocal tract to ensure a free, open singing sound — If a variety of vocal ranges are required to perform a work, maintaining a free vocal tract will likely present some problems. Range extension and register consistency (as required by the piece) — If extremes of ‘tessitura are required by the work, you must address range extension and, more importantly, register consistency. In fact, a choir's ability to maintain register consistency (the same relative color throughout the entire range):is a major. determinant of.choral'tone. Flexibility (runs) ~ For certain styles of music, especially those pieces in the baroque and classical periods, the ability to execute runs is important to the rhythmic clarity of the piece. Teaching your singers the technique of singing martellato will enable them to sing extended melismas with ease. Resonance and placement to execute a specific style - Make certain through warm-ups and vocal pedagogy that you have made decisions regarding the vocal resonance. of the choir (e.g., bright’ or dark; tall, narrow or round). Rhythmic styles - In studying the score, make a determination based upon your concept of the inherent rhythmic style inchided in the piece. As stated earlier, the correct choice of neutral syllable and consonant combinations will facilitate the learning of the piece. Rehearse. the inherent rhythm style of the piece, focusing on staccato, legato, dynamics, and accents (sforzandos). Crescendos, decrescendos, and messa di voce - This may seem like an oversimplification, but amateur choirs need instruction on the proper execution of crescendos and decrescendos as required by the score. Amateur singers often provide more air (support) to sing a crescendo without dropping the jaw, which results in a harsh, unrealistic crescendo.Evoking Sound * James Jordan The use of messa di voce (crescendo and decrescendo on one pitch) heightens the expressive color and range of emotional expression. Your choir should be very familiar with messa di voce and how it is produced. This technique is especially necessary in contrapuntal music. + Execution of leaps + As you study.the score, locate the-leaps within all voice parts. Then as you rehearse, give your choir the “tools” they need .to properly exécuite léaps. Basically stated, singers should-drop the jaw and “fish mouth” for every ascending leap. This technique is also the ‘foundation for vowel modification, * Vowel modification for blend and intonation - Identify the areas in each voice part where you know your singers will be approaching the extremes in their-range. Failure to deal with vowel modification issues will result in poor tone color as well as pitch difficulties. Inaccurate pitch problems are often related simply to vowel modification issues. When preparing a score; sing each vocal part and search for these types of technical problems. By familiarizing yourself with these problems and the proper solutions before rehearsal, you.will be able to keep the-rehearsal-pace moving and provide the choir with the “tools” to:fix the problems. Inexperienced conductors often hear some.of.the problems, but they lack the pedagogical expertise to correct them. Hence, this slows the pace of the rehearsal. Preparing the Text In addition to making yourself aware of the vocal techniquie- aspects of the score, take considerable time to understand the diction issues of the work you are going to conduct. To understand the diction is to understand the inherent color of the work. For English diction, study Madeleine Marshall, The Singer's Manual of English Diction, and for other languages, John Moriarty, Diction, both listed in the bibliography to this book.Chapter 23 * Preparing the Score Supplemental Score Preparation Resources Apart from the processes described above, there is a choral score reading program available that gives conductors feedback concerning their ability to detect errors within a choral performance. The program includes a self-study workbook to help improve one’s ability to detect errors. The program is The Choral Score Reading Program (GIA, 1985), by Richard F. Grunow and Milford H. Fargo. Score study and preparation is also addressed in detail in The Choral Rehearsal, Volume 2: Inward Bound (GIA, 2007). Included in that text is a formal analytical score study technique based upon vocal technique requirements of the score, as well as the score analysis technique as espoused by Julius Herford, among others.