SPOTLIGHT 2017 Singing with Expression Moving with Intention - PowerPoint PPT Presentation

SPOTLIGHT 2017 Singing with Expression Moving with Intention Gaynor Schofield Chantel Parsons VIVA Acappella Chorus

WELCOME A bit about us…. Our chorus is Viva Acappella and was formed by me in 2009 and since then we have been lucky enough to accumulate a few awards • 2010 Small Chorus Silver • 2011 Small Chorus Champions • 2012 Top Choir Kent • 2012 Champion chorus small chorus winner, most improved chorus • 2013 22 nd Place International Las Vegas • 2014 Mid-size Chorus Silver • 2015 Mid-size Champion chorus • 2016 20 th Place International chorus

WHAT WE WORKED ON • Consistency – doing it the same every time and not letting things go - this is particularly challenging when you know some of your members like running through lots of songs in a rehearsal • Making every rehearsal unmissable – so that even the most able members feel that they are getting something new every time and if they are not there they will have missed something • Quartet work to strengthen individual vocal skill and encourage listening skills of all • Section leaders - building up the relationship between section leader and section members so that support becomes individual and appropriate • Keeping the parts balanced – recruiting to gaps and moving members to suit • Matching resonance

WHAT WE’LL DO TODAY • Learn something new about resonant singing to achieve lock and ring on every chord • Look at vocal texture for expression • Know why detail is important • Do it the same every time • Find out more about authentic and believable performance • Learn a new song and perform it • Have fun and meet new friends

THE PHYSICAL WARM-UP Why warm up my body if I’m just singing? • Enlivening the muscles responsible for breathing, alignment and vocal production to optimise range of motion and co-ordination • Enable breath to move into the body • Enhancing kinaesthetic awareness of your body/voice to make a transition from normal actives to being a musical instrument • Mentally focus you on the task at hand • May be the only exercise for some singers after a day at the office

HEAD TO TOE WARM-UP • Shake out whole body tension • Chin to chest (and Breathe), rotate cervical vertebrae • Tighten/Release face, move tongue, massage sinuses • Work shoulders (up/down, circles, chest open) • Chest stretches (hands locked behind back) • Swing arms (work down to fingers) • Stretch sides, release hips (front/back, circles) • Warm-up legs (toe-ups, balance leg, bend knees) • Full body roll from rag doll

VOCAL WARMUP • Sirening • Bubbling • Adding physical clues to help with lift and texture • Tuning • Using vowels to find matching resonance

RESONANCE CHART

DON’T STOP ME NOW • Get into sections • Find a space • 30 minutes to check out the notes

COFFEE BREAK

EASY YOGA FOR BETTER BREATH (PT 1) GARUDASANA (EAGLE ARMS) brings breath into the upper back, help with lead belts or high • tenor unwavering tones Inhale – lift elbows up, breathing into upper back, grow tall Avoid rounding spine, draw belly/ribs in, grow from crown of head Simplification: Cross arms over chest and touch shoulders, bring elbows up on breath Optional Legs: Cross R leg over left and tuck foot behind ankle, keeping the back straight, slightly bending knee.

MOVING WITH INTENTION – WHAT IS BELIEVABLE? Showmanship Category – vocal mastery, command of stage, theatrical character, audience rapport, exude joy/energy, reinforce musical plan, transcended technique Goal – help you think about how you move in space, and the intention behind your • movements. If you understand the intent behind the motions, you more confidently command the stage • Choose movements that mirror the intention of your story for believability. • The movements need to be singable, and not upstage your message. • Choreograph the character rather than characterize the choreography. • Improvisation is often the first means towards choregraphing – as you’ll find what feels • natural in a passage That being said – we are going to explore some movement vocabulary to help us create a visual plan in small groups!

MOVEMENT VOCABULARY WEIGHT ENERGY TIME SPACE - Light (fighting against gravity) - Indirect (curvy path) - Free (letting energy move gently) - Sustained (slow) - Strong (more forceful) - Direct (straight action) - Bound (constricting energy) - Sudden (fast) -use of body connectivity, is it a -create patterns & shapes -hushed intensity, full forte -beat, tempo, length, phrasing whole arm? Just a hand? -symmetries/irregular shapes -opening/growing OR closing (rising, -unison, canons, dialogs, counterpoint Face? What part initiates the sinking, advancing, retreating) movements? -growth on floor/risers -elongations, double time, silence -successive or simultaneous -stomping vs. tip toes -personal space or ensemble -shape forms: wall like, ball like, tree like -2D or 3D -minimize or maximise

NAME THAT CHOREO MOVE! CAN YOU FIND EXAMPLES? WHEN MIGHT YOU WANT TO USE THEM? Weight Space Time Energy Punch Heavy Direct Quick Bound Press Heavy Direct Slow Bound Slash Heavy Indirect Quick Bound Wring Heavy Indirect Slow Bound Dab Light Direct Quick Free Glide Light Direct Slow Free Flick Light Indirect Quick Free Float Light Indirect Slow Free Use vocabulary to change quickly between physical manifestations of emotions.

CREATING A PERFORMANCE PLAN In your mini chorus – you have approximately 40 minutes to create performance plan Top tip: Select a leader to help shape the plan!

LUNCH You might want to use some of your lunch to continue working on your performance plan

NAME THAT CHOREO MOVE! CAN YOU FIND EXAMPLES? WHEN MIGHT YOU WANT TO USE THEM? Weight Space Time Energy Punch Heavy Direct Quick Bound Press Heavy Direct Slow Bound Slash Heavy Indirect Quick Bound Wring Heavy Indirect Slow Bound Dab Light Direct Quick Free Glide Light Direct Slow Free Flick Light Indirect Quick Free Float Light Indirect Slow Free Use vocabulary to change quickly between physical manifestations of emotions.

EASY YOGA FOR BETTER BREATH (PT 2) TADASANA (MOUNTAIN POSE) Tadasana is used as a basic singing posture, where the spine is aligned and the chest is lifted. Where do you carry your weight? Four part equal standing • Draw energy up through the legs to crown, tip of the head is the • top of the mountain and the arms are the base. Notice if heart collapses, lift sternum, draw in navel, scoop • tailbone in and engaged Focus on your breath and balance in your body with intention •

ANY QUESTIONS?