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Magic Choral Trick #381 Doug’s Tuning Trick

Doug, who sings in my men’s chorus, arrived at rehearsal the other night with something new he’d discovered for bringing a pitch up to where it needs to be.

He was working with Tonal Energy Tuner on his phone ( https://itunes.apple.com/us/app/tonalenergy-tuner-metronome/id497716362?mt=8 ) and was sustaining a pitch – but having difficulty with the accuracy.

He says he tried tapping his forehead, which worked a little. But then he began to draw circles – with a light massage touch, just above the space between his eyebrows, and amazingly, the Tonal Energy Tuner told him he’d raised the pitch, and was no longer singing flat.

“Cool!” I said, “Let’s try that with the chorus!!!”

So throughout the evening, on sustained chords at the ends of phrases I asked all the guys to do this ‘third eye massage’, and amazingly, the chords began to lock in more quickly than usual.

I tried it the next night with my women’s chorus, and it worked for them too!!

Of course some of my singers wanted an explanation – and though I have a few theories, I feel that it’s immaterial. (In the same way that understanding electricity is not a prerequisite for turning on a lamp)

What does interest me though is the technique’s possible continuing effectiveness. And after the singers have internalized the feeling of the light circular third eye massage, would it be enough of a trigger for in tune singing if only I were to do it?

Regardless – thanks Doug for your willingness to share the weird stuff!!!

Magic Choral Trick #367 Chord Work

Lately during Warm Up time I’ve been doing just a bit of actual warming up of the voices, but much more work on warming up the chorus’ ears.

Really not fair though that this exercise is easier with a men’s chorus, or in an SATB choir where the two bottom voices are men’s.

What I’m talking about is the intensity with which you can hear the overtones, or harmonics when men are singing the root of a chord.

Thinking vertically, as well as melodically and paying attention to overtones can produce truly magical results in every group. The work – hearing the harmonics/overtones may take just a bit longer in women only groups.

In my men’s chorus I ask the Basses to sing the root of the chord, and to keep nourishing and sustaining it (staggering the breathing) so that chorus members can practise hearing the overtones in the sound. The overtone that can be heard most easily is the octave above the note that the basses are singing – so when at least a few of the Leads can hear it I ask them to just place that octave right into the Basses’ sound. They don’t need to ‘lead’ when all they’re doing is amplifying something that the Basses are already creating.

Once that octave is clean and balanced, I ask the Baritones and Tenors to listen for the 5th of the chord that will be sounding because of what both the Basses and Leads are singing. It may be easier for the Baritones to hear the 5th overtone an octave higher than they’ll be singing it. I find that that harmonic tends to pop out more.

When the Baritones place that 5th, they know that it’s correct when the combination of what the three parts are doing creates an empty, open, hollow sound. At this point it actually starts to feel pretty good, physically, as if suddenly you’re in a very clean, clear place.

After enjoying this clarity for a while I ask the Tenors to start listening for their 3rd in the overtones that are being created. If the three lower parts can keep that open hollow sound steady, the 3rd will just pop out, and needs to be sung only very delicately for the chord to fuse together and become a mystical place where you’ll all just want to keep hanging out!

For SATB choirs, I’d have the Basses sing the root, the Tenors the octave, the Altos the 5th and the Sopranos the 3rd (though they’ll have to rethink their starring role for the purposes of this exercise) Even if the sopranos take the high octave, the Tenors the 5th and the Altos the 3rd, the sopranos will still have an opportunity to practise humility as they fit into the Basses’ sound.

I know this seems like it would be one long continuous sound, but I find that groups need to rest for a few seconds between the sections of this exercise. If people aren’t accustomed to listening for overtones it can be mentally very tiring. Their brains need a short break both to rest, and to absorb what they’re learning about the sound and physical sensations.

When I do this kind of work at the beginning of a rehearsal I find that people’s ears work better for the rest of the evening.

And for a Director, better tuning really is the Holy Grail that drives us on.

Magic Choral Trick #345 Korg Chromatic Tuner Demo

I’ve done a couple of posts before featuring this fabulous tool:

https://betterchoirs.wordpress.com/2011/12/08/magic-choral-trick-21-the-korg-chromatic-tuner/

and

https://betterchoirs.wordpress.com/2011/12/09/magic-choral-trick-22-using-your-new-korg-tuner-at-home/

and

https://betterchoirs.wordpress.com/2012/01/28/magic-choral-trick-72-korg-tuner-jingle-bells/

 

Here’s a short video I just did to give you an idea of how it’s used.

https://www.youtube.com/watch?v=2ZDBeeDdxVk

Magic Choral Trick #342 Fabulous Fifths

Some groups learn to know and love the sound and feel of an open fifth sooner and more consciously than others.

Organum chant groups and Barbershop quartets and choruses are among these. And Tibetan monks take it to an extraordinary level!

When the interval of a fifth is sung exactly in tune – steadily, with no vibrato, there’s a cavernous hollowness to the sound but an incredible feeling of fullness and rightness to the physical sensation. This is probably why we moved on from singing plainchant in unison. It just felt so good!

Here’s an exercise I use for making a chorus or choir aware and appreciative of fifths while still having warm up fun.

Row, Row, Row Your Boat, or Three Blind Mice, or Freres Jacques – or any short melody that’s known to my singers.

I have the 2 lower voices sing the melody in a fairly low key, then at the same time I have the upper two voices sing the same song a fifth higher.

So I’d have my choral Tenors and Basses, or my Barbershop Baritones and Basses sing the song in the key of C – while having the upper two voices sing the same song in the key of G.

This is also a good warm up for the brain. Because everyone knows the melody, they need to focus quite hard on singing it in their part’s key.

I like to slow it all down once they’ve got the hang of it, so that they can really appreciate and lock in the fifths. They’ll also begin to notice that when the fifths are locked in, the sound rings and expands, so that it sounds like a much bigger group.

Here are a few groups who’ve got the locked in fifths handled.

https://www.youtube.com/watch?v=0x99vnVEufw (Ensemble Organum)

https://www.youtube.com/watch?v=2L0qKPF_Nc8 (Organum Duplum)

https://www.youtube.com/watch?v=yhkkkLKJEcE (Vocal Spectrum)

https://www.youtube.com/watch?v=6ZCvZY6oxFc (GQ – Girls Quartet My goodness these young women are amazing!!!)

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