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Workshop Booklet





Fundamental Vocal Techniques for
Classroom and General Use

By Rollo Dilworth

.J J J J J J tss tss tss tss J. __. tss J k k tss tss . nnnJ J J tss tss tss k tss k tss k tch tst tst tch J J J._~ . .__._ _ L__ 2 tss tch tch . .

• Keep all of the pitches in tune as you sing.MAY WE FOLLOWYOU? 2/58 cXPAf\JSIOf\J • Vary the dynamics (pp. EX rENSION • Use solfege syllables. tall vowel sounds throughout the exercise. mf. • Sing this piece expressively using a sweeping motion with your hand (as if you are painting a wall). marcato). extend your right arm outward in an inviting manner. • Carefully use your ear to keep each pitch in tune. legato. May 3/5 we you? low fol i 7 Times WEE OHWEE! FOCAL f-lOIf\J r S • maintaining head voice Page 51 • Vary the vowel sounds. do. decrescendo). • tall vowels • Use Multiple Expression Levels (M. • activating head voice • intonation (descending line) Page 50 • Vary the articulations (staccato. • Employ nice. • As you sing the exercise.E. crescendo. ft.) • Sing this exercise with a well supported singing tone (in head voice). p. mp. i 5 Times . f. • descending intervals [XH-NSIOf\J • Sing the exercise using all head voice tones. Wee oh wee oh wee oh wee oh So mi fa re mi do re Ii 3 wee. accent. tenuto.L.

• Create your own scat syllables (such as doo. fa. • While keeping the melody of this exercise in mind. re. • singing with expression • Page 118 • Vary the dynamics (pp. do) • Use Multiple Expression Levels (M. • Sing the syncopated rhythms with clarity and in a relaxed manner. • Focus on using good intonation as you sing the descending scale. mf. tenuto. bop) and sing this exercise.L.) EXf~Lf\i\JAIION • Use this exercise as an opportunity to keep repetitive pitches in tune. p.E.. Have you heard_ of the mi· nor third? _ The mi· nor third . legato. try to sing a minor third interval from random pitches given by the teachers. This is the phrase that grows and grows* *Add one more "and grows" each time 4 then ta· pers to the end. bah.- is the word! i 5 Times ~ 3Sm THE GROWING PHRASE FOCAl POINTS EXPANSION &. accent. ft. me.. discuss and develop some appropriate gestures to illustrate this concept. i 3 Times . marcato). decrescendo).. f. • singing·repetitive pitches • Vary the articulations (staccato. [X rEf\JSION • As the phrase continues to expand. • Once you become familiar with the melody.14/68 THE MINOR THIRD EXPANSION FOCAL POIN I S • Use only staccato articulations through out the piece. mp. • descending major scale (so. • the minor third interval Page 71 • syncopation FXTENSION EXPLANATION • Sing the minor third intervals with accuracy. crescendo. try to improvise your own new tune (MENC Standard #3).

down down to to just live -.. . ..da pop cans. Some ... I'm swip-in'. so .. Ah. I know. . Some· one's swip-in'. • Make sure that every word can be understood. 5 swip-in'those cans. . .._ ~ Ah..da pop cans. Over-enunciate the diction to ensure that all consonants are clean. caos. develop stability in singing two-part harmony. I just live -'s swip-in' my . try singing each successive verse at a slightly faster tempo. EXPL ANArlON • Use this piece as a way to secure intonation.._ I'm swip-in'.one's swip-in'. • Using your entire body. 4 'I to I Some . Some-one's swip-in'. • intervals in the tonic triad • two-part harmony Page 96 • use of head voice Exrt-:NSION • singing with expression • clarity of diction • Without the accompaniment CD.. so . I know. i 4 Times reducing number of cans each time.. I'm SWlp-m.SODA POP CANS 24/18 EXPANSION FOCAl POINTS • Whisper the text in rhythm at a pianissimo dynamic level. 'I Some.. act out the lyrics of the scores as you sing.da pop cans.. I'm swip-in'. and develop expression as you communicate the text. . I's swip-in' my to am 'I 4 I -­ am .. I'm . • Singers on the top vocal part should work to float and sustain the "ah" vowel. I know.. I'm swip-in'those so . Some-one's swip-in'.

5. clapping. • maintaining tall vowels EXTFNSIOf\J EXPl Af\JAIION • Sing this exercise using solfege or numbers. i 3 Times .E. finger snapping _ EXPRESSION LEVEL 4 • Expression Levels 1. 4. marching. articulation. decide which expression level best fits the Ie . _ - AI - AI Ie Ie - - lu - lu ia. 2 and 3 plus: • stepping. sign language. mood and character of the - ia. AI A~ Ie . AI - ia. conducting gestures. • Sing this exercise using the Kodaly hand - - ia. t --------- - EXPRESSION LEVEL 2 • Expression Level 1 plus: • subtle head movement that connects with - ia! Ie .2. torso • hand signals. 6). Experiment with the Multiple Expression Levels concept using pieces from your choral repertoire. and walking 6 - lu ia! -~.L. shoulders. As you explore singing the phrase at each level (1. can assist in making your performance more artistically expressive! EXPRESSION LEVEL 1 • use only the eyes and eyebrows to express the mood of the music • vary the shape of the eyes.3 or 4). • intonation • four-part harmony • Vary the articulations. Discuss which pitches change and which ones stay the same (MENC Standards #3. • Use this scale to strengthen four-part singing. • Be sure to sing tall vowels. vary the height of the eyebrows Ie Ie - lu ia.4871 2 ALLELUIA! EXPANSION r:OCAl_ POIf\JTS Page 148 • Vary the dynamics. e­ AI - Encourage your singers to sing a phrase at various expression levels. Explore ways in which M. and style EXPRESSION LEVEL 3 • Expression Levels 1 and 2 plus: • movement of the arms. • Re-write this exercise in the parallel harmonic minor mode and perform. • Carefully listen to the singers around you as you perform this exercise. ia! Ie .

pare the air. • diction • syncopated rhythms • Strive for expressive syllabic emphasis on the following syllables: • awareness of vocal technique REA-dy Pre-PARE Sup-PORT VOW-els CON-so-nants Ex-PRES-sions • artistic expression EXPLAI\~ATION e'Vse this warm-up to sequence key choral doncepts: intake of air breath support tall vowels crisp consonants facial expression Ir we want to E-XflNSION • Use movement suggestions to enhance your performance.541108 GETTING READY TO SING! EXPANSIO~J r:OCAL POIN] S Page 165 • Vary the tone color." "let our expressions be seen. we must pre ." "let the vowels be round. Movement found in piano accompaniment." 7 ." "keep the consonants clean. * _ so we can sing_ our all day song-­ i 4 Times *add on each time: "support the sound. be read ---- Y to sing.

your choir will beg for more. you'll have hands-free. Use the demonstration CD for quick learning and with the accompaniment tracks. Developed and composed by the award-winning choral composer and master teacher.IJ!ILL .CHOIR BUILDERS Fundamental Vocal. Start out with the unison pieces and "build" to the more challenging exercises for 2-part. Rollo Dilworth. portable warm-ups at your fingertips every day.Techniques for Classroom and General Use Have fun with your choral warm-ups! With this collection of fifty-four inventive and educational songs and exercises. D . 3-part or 4-part treble or mixed voices. M HAL-LEONARDI your performance groups. Choir Builders will prove to be a "fun"damental way of improving and sus­ taining a quality choral sound with Order this book from your preferred music store .