Broek Er 2000
Broek Er 2000
Broek Er 2000
A CHILDR
DEVELOPING
CHOIR CONCERT
concertprogramis muchlikecomposing
Selectingpiecesfora successful a musical
planning,and creativity.
work.It requiresknowledge,
JULY 2000 27
rect assumption that second parts
written in parallelthirds or sixths with
the melody are appropriate starting
points for part-singing. However,
these traditional harmony parts, with
the same contour, rhythm, and text as
the melody, may be the most difficult
to master. As Swears explains, "It is
difficult for many children to hear the
difference between parts written in
thirds, and if a child cannot distin-
guish the difference by ear, it is most
likely he will be unable to sing it cor-
rectly."5Inexperiencedchoristerseasily
become confused and wander back to
the primary melodic line. Singing in
parallel thirds is more appropriatefor
an experiencedchorus, whereas imita-
tion or other contrapuntal writing
with independent vocal lines is more
easily achieved by singers with less
Awell-plannedconcert andtheaudience
boththesingers
allows toexperience
a musical experience.
program journey. In the discussion of form, it was
observed that inexact repetition of
phrases is more difficult for young
taining more predictable patterns. similar. Unless a choir's aural and singers than exact repetition of phras-
Finally, melodies comprising conjunct reading skills are quite sophisticated, es. This principle is equally applicable
motion are easier to sing and easier to motives that are similar are difficult to when discussing imitation between
teach than are those with disjunct teach and learn.As the children'schoir voice parts. If second parts are imita-
motion. This does not mean that chil- gains experienceand develops musical tive, they are much easier for children
dren are incapable of singing disjunct, skills, pieces with more sophisticated when they exactly imitate the melody.
chromatic melodies, only that the forms will be successful repertoire Imitation with expandedor contracted
experience level of the choir should be choices. intervals, imitation beginning on a
taken into account before choosing different pitch level, or imitation with
such pieces. Part-Writing slightly different rhythms than the
Children's choirs should include a melody will increase the amount of
Form sample of unison songs in their reper- teaching time needed for the piece.
The clearer the form, the more toire. Much can be learned about
accessible the piece will be for chil- vocal technique, as well as choral tech- Accompaniment
dren.2 This principle is applicable for nique, through unison singing. Linda Treblevoices can be enhanced by a
the largest and smallest formal ele- Swears, in her book Teaching the Ele- beautiful accompaniment.Traditional-
ments of a work, from sections such as mentary School Chorus, observes that ly, piano and organ are standard
verses or refrains to phrases and to "expressive singing can best be nur- accompanying instruments, but
specific motives. Clear forms are those tured through [a] unison melodic line" instruments such as guitar, lute, and
that have regularphraselengths, clear- and cautions that "good part singing harpsichordwork equally well. Many
ly delineated large sections, and exact can only occur when students have composers have also written for treble
repetition ratherthan slight variation. developed their ability to sing voices and obbligato instrumentssuch
Pieces are more easily taught and independently."4 as flute, violin, or oboe. These instru-
remembered if they are divided into When directors determine that ments, along with the recorder, pro-
easily discernible large sections with two- and three-partmusic is appropri- vide a beautiful complementing tim-
regular phrase lengths. More impor- ate for their beginning children's bre to the treble voice. As with a
tant than regularity of section and choirs, they should look for pieces women's chorus, the continuous treble
phraselength, however,is the compos- with parts that sound like a melody. sounds during a children'schoir con-
er's use of exact repetition and con- This includes canons, as well as coun- cert may be balanced through the use
trast. Children will learn and remem- termelodies and ostinatos. For begin- of a bass instrument such as a cello or
ber more accurately if "themes and ning choirs, it is helpful if these sec- bassoon. Every time a new accompa-
motives are consistent throughout a ond and third parts have contours, nying instrument is introduced, chil-
piece."3 This exact repetition is easier rhythms, and texts unlike the primary dren expand their knowledge of tim-
for children than motives classified as tune. Directors often make the incor- bres and refine their tuning skills.
JULY 2000 29
Sample Children's Choir Programs
usinganoverallthemeandgroupings
Program Program
usinggroupings
only
Something Old, Something New (Concert opener)
Songs of praise, songs for fun, and songs of spring Art Thou Troubled? G. F. Handel
written before 1600 or after 1900
Songs of Praise
(Sacredselections)
I Will Sing New Songs Anton Dvorak Cantate Domino IsaacPosch
otte: I h "SoIlething Old, SomethingNew" programwas developedas a collectiveeffortby the authorin conjunctionwith DaphneFix and
SandtiaKrllldson.
zle pieces. At this point, conductors can At some point in the processcomes Notes
referback to the firststep in the process the final "aha"experience when the 1. MaryGoetze, "Writingand Arranging
and retrieve individual pieces they children'schoir conductor knows that forYoungSingers,"ChoralJournal
29 (March
deem suitable for their choir. Unlike the chosen program is finished and 1989):36.
the initial gathering phases, however, complete. This knowledge is accompa- 2. Ibid.
this "searchand find" mission will have nied by a feeling that the musicaljour- 3. Ibid.
more direction and more defining ney has been satisfied.What lies ahead 4. Linda Swears, Teaching the Elementary
guidelines. Conductors may need an is the fulfillment that comes as choris- SchoolChorus(New York: Park Publishing
adagio piece in a minor key, for exam- ters learn the repertoireand claim it as Company,1985), 163.
ple, or a unison chant from Zimbabwe. their own. During performance,choir 5. Ibid., 164.
This referring back and finding the members and audience members alike 6. Mary Goetze, "Wanted:Children to
missingpuzzlepieces makesthe concert experiencea programthat is the result Sing and Learn,"MusicEducators
Journal75
developmentprocessa cyclicalone. of carefuland creativeplanning. (December1988): 28. ?