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Choral Techniques by Gordon Lamb - HTML preview
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Choral Techniques
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Choral Techniques
Table of Contents
Chapter
1
.
Introduction
1.1
.
Choral Techniques Foreward
Chapter
2
.
Conducting Techniques
2.1
.
Conducting Posture and Use of a Baton
POSTURE AND USE OF A BATON
2.2
.
Use of a Baton
USE OF A BATON
2.3
.
Holding the Baton
HOLDING THE BATON
2.4
.
The Preparatory Beat
THE PREPARATORY BEAT
2.5
.
Starting on the First Beat
STARTING ON THE FIRST BEAT
2.6
.
Starting on the Last Beat
STARTING ON THE LAST BEAT
2.7
.
Starting on Other Beats
STARTING ON OTHER BEATS
2.8
.
Starting on Fractions of Beats
STARTING ON FRACTIONS OF BEATS
2.9
.
The Release
THE RELEASE
2.10
.
The Conducting Beat Patterns
THE BEAT PATTERNS
THE REBOUND
THE TWO PATTERN
THE THREE PATTERN
THE FOUR PATTERN
THE SIX PATTERN
THE NINE PATTERN
THE TWELVE PATTERN
2.11
.
Conducting Asymmetrical Beat Patterns
ASYMMETRICAL PATTERNS
2.12
.
Practicing the Patterns
PRACTICING THE PATTERNS
2.13
.
Conducting Fast Tempos
FAST TEMPOS
2.14
.
Conducting Divided Beat Patterns
DIVIDED BEAT PATTERNS
2.15
.
Unmetered or Free Rhythms
UNMETERED OR FREE RHYTHMS
2.16
.
Mixed Meters and Other Conducting Problems
MIXED METERS AND OTHER CONDUCTING PROBLEMS
2.17
.
The Fermata
THE FERMATA
2.18
.
Use Of The Left Hand In Conducting
THE LEFT HAND
ASSIST WITH BEAT PATTERNS
CUEING
DYNAMICS
CHANGE IN TEMPO
CONTROLLING BALANCE
2.19
.
Tempo Determination
TEMPO
EXTERNAL MARKINGS
INTERNAL MARKINGS
FACTORS NOT IN THE SCORE
2.20
.
Change of Tempo
CHANGE OF TEMPO
2.21
.
Establishing the Mood
ESTABLISHING THE MOOD
2.22
.
Expressive Conducting
EXPRESSIVE CONDUCTING
2.23
.
Performance Conducting
PERFORMANCE CONDUCTING
Chapter
3
.
Score Study
3.1
.
Melodic Considerations
MELODIC CONSIDERATIONS
3.2
.
Harmonic Considerations
HARMONIC CONSIDERATIONS
3.3
.
Rhythmic Considerations
RHYTHMIC CONSIDERATIONS
3.4
.
Part Examination
PART EXAMINATION
3.5
.
Text Considerations
TEXT CONSIDERATIONS
3.6
.
Texture of the Choral Piece
TEXTURE
3.7
.
Applied Score Study
APPLIED SCORE STUDY
3.8
.
Rehearsal Analysis of Indeterminate Music
REHEARSAL ANALYSIS OF INDETERMINATE MUSIC
Chapter
4
.
Interpreting Choral Music
4.1
.
Interpreting Choral Music
INTERPRETING CHORAL MUSIC
DISCUSSION QUESTIONS
SUGGESTED READINGS
4.2
.
The Renassiance Period (1400-1600)
THE RENAISSANCE (1400-1600)
RHYTHM AND TEMPO
DYNAMICS
TEXTURE
TONE QUALITY
RENAISSANCE COMPOSERS
SUGGESTED WORKS FOR STUDY
4.3
.
The Baroque Period (1600-1750)
THE BAROQUE PERIOD (1600-1750)
RHYTHM AND TEMPO
TEXTURE
TONE QUALITY
COMPOSERS OF THE BAROQUE PERIOD
SUGGESTED WORKS FOR STUDY
4.4
.
The Classic Period (1750-1820)
THE CLASSIC PERIOD (1750-1820)
RHYTHM AND TEMPO
TEXTURE
DYNAMICS
TONE QUALITY
COMPOSERS OF THE CLASSIC PERIOD
SUGGESTED WORKS FOR STUDY
4.5
.
The Romantic Period (1820-1900)
THE ROMANTIC PERIOD (1820-1900)
RHYTHM AND TEMPO
TEXTURE
DYNAMICS
COMPOSERS OF THE ROMANTIC PERIOD
SUGGESTED WORKS FOR STUDY
4.6
.
The Twentieth Century And Early Twenty-First Century
THE TWENTIETH CENTURY
RHYTHM AND TEMPO
TEXTURE
DYNAMICS
TONE QUALITY
SPECIAL REQUIREMENTS OF NEW MUSIC
CHORAL COMPOSERS OF THE TWENTIETH CENTURY
SUGGESTED WORKS FOR STUDY
Chapter
5
.
Choral Diction: English and Latin
5.1
.
Choral Diction-English and Latin
CHORAL DICTION: ENGLISH AND LATIN
DISCUSSION QUESTIONS
PROJECTS
SUGGESTED READINGS
5.2
.
English
ENGLISH
5.3
.
Formation of Vowels
FORMATION OF VOWELS
5.4
.
A Relaxed Jaw
A RELAXED JAW
5.5
.
A Relaxed Tongue
A RELAXED TONGUE
5.6
.
Proper Space in the Mouth
PROPER SPACE IN THE MOUTH
5.7
.
Vowel Modification and Range Considerations
VOWEL MODIFICATION AND RANGE CONSIDERATIONS
5.8
.
Darkening Vowels
DARKENING VOWELS
5.9
.
Consonants
CONSONANTS
5.10
.
Marcato and Legato Diction
MARCATO AND LEGATO DICTION
5.11
.
Special Diction Problems
SPECIAL DICTION PROBLEMS
5.12
.
Prefixes
PREFIXES
5.13
.
Word Seperation and Text Flow
WORD SEPARATION
5.14
.
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