What is the scale for choir ill give a hint it starts with do
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Major Scales. Use Up/Down Arrow keys to increase or decrease volume. Major scales are by far the most familiar scale structure to singers and usually the first type of scaleintroduced in voice lessons. Both the major and minor scales contain seven pitches plus the repetition of the starting pitch an octave higher.
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Major Scales. Use Up/Down Arrow keys to increase or decrease volume. Major scales are by far the most familiar scale structure to singers and usually the first type of scaleintroduced in voice lessons. Both the major and minor scales contain seven pitches plus the repetition of the starting pitch an octave higher.
Choral diction has been one of my personal emphases ever since I started singing in the choir at my church back in Oakland, California. After joining the choir, it didn’t take long to develop a fascination with the way lyrics and music interact; from there it was a short step to understanding the importance of making the message of the music clear to the listener.
When I became the choir director at another church later, I decided to provide that information to my singers, and so gave them a writeup on the principles of diction as I perceived them. I later refined these as I wrote letters to Living Water one year; these are the diction excerpts from those letters.
Bear in mind that there are various schools of thought on just how choral diction should be taught and executed, and that each of those schools therefore also has its own particular strengths and weaknesses. My way of thinking is to communicate the message, even if the minor sacrifice of lessening the stylistic impact is required. My reason for this is found in I Corinthians 14:7-12 (and, yes, I know the context is about spiritual gifts, not choir – but the principle of communication for edification is identical).
For the informational part of the next bunch of letters, I’d like to share what I’ve learned about choral diction. We’ve been looking at this during rehearsal, so this is an opportunity to reinforce what we’re learning. To start, choral diction is simply the way in which we pronounce our words as we sing. The basis of diction, of course, is found in spoken language which, for our purposes, will be assumed to be English. The reason for this assumption is that different languages have a variety of sounds, and so I want to restrict our initial foray into the subject to the phonemes we use most often. Other languages have non-English sounds: I’m told that Arabic has a hard H and a soft H, and know from familial experience that Chinese has any number of vowels which seem to be halfway between English sounds. Examples closer to home are German, which has the umlaut vowels (å, ë, ö, and ü), and the Scandinavian languages which have still other vowels (Ø, Ä). Still more complicated is Czech, which I’ve heard has sounds which are not taught to students until they are nine or ten years old (such as circumflex-r).
Anyway, there are two basic parts of speech in choral diction: consonants and vowels. The essential concept in precise diction is that vowels define pitch and consonants define rhythm. Consonants such as M and N can also define pitch, but as these applications are infrequent and usually nontextual, I’ll ignore them in my discussion. Vowels require the mouth to be open; consonants require the mouth or throat to be closed (except for H). Vowels are sustainable for virtually any length of time; some consonants are not – it helps to think of vowels being long and consonants being short as long as you realize that there is some blurring of the distinction at some points.
I’ll be considering vowels and consonants separately first, and will plan to finish with some information on how they work together. But that’s enough for now, except to regale you with something dictional I read a long time ago. It seems that a tourist was in London and passed a restaurant. The proprietor had clearly stated his and his staff’s linguistic orientation, for there was a card in the window which said: “English spoken – American understood.” So if you’ll care for the tyres on your lorry, take the lift when possible, avoid undue visitation to pubs, and remember that in Britain they’re called nappies rather than diapers, you indubitably sha’n’t be afoot when the game’s afoot…
As I wrote last time, the two major types of dictional elements are vowels and consonants. The basic vowel sounds are OO, OH, AW, AH, AY, EH, and EE. Yes, there are other vowels, such as UH, Å, Ë, Ö, and Ü. A friend once showed me a diagram which presents a clear picture of how the vowels are related:
Vowels are the means by which we sing pitches and achieve tone color. You’ll notice that the picture above lists the vowels in phonetic rather than alphabetical order.
Choral diction has been one of my personal emphases ever since I started singing in the choir at my church back in Oakland, California. After joining the choir, it didn’t take long to develop a fascination with the way lyrics and music interact; from there it was a short step to understanding the importance of making the message of the music clear to the listener.
When I became the choir director at another church later, I decided to provide that information to my singers, and so gave them a writeup on the principles of diction as I perceived them. I later refined these as I wrote letters to Living Water one year; these are the diction excerpts from those letters.
Bear in mind that there are various schools of thought on just how choral diction should be taught and executed, and that each of those schools therefore also has its own particular strengths and weaknesses. My way of thinking is to communicate the message, even if the minor sacrifice of lessening the stylistic impact is required. My reason for this is found in I Corinthians 14:7-12 (and, yes, I know the context is about spiritual gifts, not choir – but the principle of communication for edification is identical).
For the informational part of the next bunch of letters, I’d like to share what I’ve learned about choral diction. We’ve been looking at this during rehearsal, so this is an opportunity to reinforce what we’re learning. To start, choral diction is simply the way in which we pronounce our words as we sing. The basis of diction, of course, is found in spoken language which, for our purposes, will be assumed to be English. The reason for this assumption is that different languages have a variety of sounds, and so I want to restrict our initial foray into the subject to the phonemes we use most often. Other languages have non-English sounds: I’m told that Arabic has a hard H and a soft H, and know from familial experience that Chinese has any number of vowels which seem to be halfway between English sounds. Examples closer to home are German, which has the umlaut vowels (å, ë, ö, and ü), and the Scandinavian languages which have still other vowels (Ø, Ä). Still more complicated is Czech, which I’ve heard has sounds which are not taught to students until they are nine or ten years old (such as circumflex-r).
Anyway, there are two basic parts of speech in choral diction: consonants and vowels. The essential concept in precise diction is that vowels define pitch and consonants define rhythm. Consonants such as M and N can also define pitch, but as these applications are infrequent and usually nontextual, I’ll ignore them in my discussion. Vowels require the mouth to be open; consonants require the mouth or throat to be closed (except for H). Vowels are sustainable for virtually any length of time; some consonants are not – it helps to think of vowels being long and consonants being short as long as you realize that there is some blurring of the distinction at some points.
I’ll be considering vowels and consonants separately first, and will plan to finish with some information on how they work together. But that’s enough for now, except to regale you with something dictional I read a long time ago. It seems that a tourist was in London and passed a restaurant. The proprietor had clearly stated his and his staff’s linguistic orientation, for there was a card in the window which said: “English spoken – American understood.” So if you’ll care for the tyres on your lorry, take the lift when possible, avoid undue visitation to pubs, and remember that in Britain they’re called nappies rather than diapers, you indubitably sha’n’t be afoot when the game’s afoot…
As I wrote last time, the two major types of dictional elements are vowels and consonants. The basic vowel sounds are OO, OH, AW, AH, AY, EH, and EE. Yes, there are other vowels, such as UH, Å, Ë, Ö, and Ü. A friend once showed me a diagram which presents a clear picture of how the vowels are related:
Vowels are the means by which we sing pitches and achieve tone color. You’ll notice that the picture above lists the vowels in phonetic rather than alphabetical order.
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