7/16/22 An Die Freude Rhythm & Text 

Learning the rhythm

Robert Shaw inspired choral singers to be just as professional as instrumentalists.Videos of his rehearsals show the choir count singing subdivided numbers instead of the text. Before practicing this, I listened to a John Elliot Gardiner recording because it is so clean and adherent to the markings for tempo and dynamics. 

John Eliot Gardiner recording

Learning the text

Then I watched a pronunciation guide video to make my own spoken text recording. When Lysette Oropesa learns a new operatic role, she warns us that listening to recordings leads you to falsely believe you know the work. Her first step to memorize the piece is to make a voice memo-type recording of herself reciting the text to rhythm. I tap my finger on the page next to the phone, as my metronome. For this piece, I try to overemphasize the many sudden transitions in tempo, dynamics, legato/marcato phrases. 

pronunciation guide video

7/4/22 Shaping the space above the folds. 

Dr. Foster talks of Joy as the facilitator. It is not only the opposite of performance anxiety, but also the very stimulus of our singing. Every time I sing the word Freude, I’m going to reset and think of the sound and idea I want. I love to watch Sabine Devieilhe’s recording sessions on YouTube because of her beautiful tone and emotional expression. As I watch, I’m thinking of the key words that help me shape the space above the folds. For me: (1) singing up and over the rim of my glasses, (2) the third eye, (3) space rather than pinched or tight, (4) low support so that I leave the larynx alone.

Exercise: starting at C5--8,7,8,7,8,7,8,7,8-8,7,6,5,4,3,2,1 sing on Joy and Freude

Thoughts/Keywords: always stay high and light on descending, melismatic, stepwise movements. Vowels/words are always emotionally expressive. 

Here’s what I’m imagining: (1) space above the larynx, (2) the larynx vibrating freely, (3) widening below the larynx. Foster believes we can direct conscious control to prevent tension in the larynx (Singing Redefined p. 52). If I’m feeling tight or pinched, my keywords are free vibrating and overtones, while directing my lower neck to grow from side to side and front to back. 

Exercise: Legato ascending and descending lyrical phrase

Starting on C4: 1,3,5,8,7,5,4,2,1 / do,me,so,high-do,ti,so,fa,re,do (p. 120)

Sing on Ah, Toss, Glide

Then on the phrases: Wo dein sanfter Flügel weilt (enfolded under gentle wings)

Sing as an artistically expressive phase that de-emphasizes the high note. No carrying the elephant up the stairs on the ascending--discard all effort or struggle. Try not to get louder on the ascent, and not to get softer on the descent. No force or too much vibration upward, and no collapsing downward.

After moving last year, we joined a new Parish and I took a break from cantoring and choral singing to fix up the house and yard. As I prepare to start singing again,  I will be writing about my physical journey back to vocal ability, and my spiritual growth as a cantor. First I will be reviewing Sing to the Lord: Music in Divine Worship, from the United States Conference of Catholic Bishops.  

As a classically trained singer, I was taught to over-prepare for a performance in order to be relaxed and focused enough to convey the spirit of the piece, and the intent of the composer, to the delight of the audience. As Liturgical singers, we study Sing to the Lord for the origin and meaning behind the parts of Catholic worship, in order to facilitate the congregation in the prayers they sing.

  We are asked to begin by reflecting on why we sing the liturgy. More than just ritual and tradition, singing increases our participation in the Mass, our role in the congregation, and the expression of our faith. We remember Christ’s invitation to sing of the Paschal Sacrifice, and give honor and glory to the Holy Trinity.