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Alternative Classroom Learning Experience CURRICULUM

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					Alternative Classroom Learning Experience UP MANILA CHORALE

CURRICULUM FOR VOCAL WORKSHOP
Based on the Curriculum made by Mary Jeane V. Egloso for teaching a female high school student UP Manila Chorale Alternative Classroom Learning Experience 1. Vocal Workshop 2. Stage presentation

VOCAL WORKSHOP  Students are classified: soprano, alto, tenor, bass. Thus, there will be 4 teams, each lead by the UPM section members and trainees. o Sopranos: Eunice, Etei, Dasi, Addie, Royce, Lili, Chinny, Jillian o Altos: Khaye, Lou, Joanna, Ate Ching, Redg, Aimee o Tenors: Lee, Kervi, Jam, o Basses: Kim, Jake, JayV, Harj, Eric Vocal techniques o Posture o Breathing o Pronunciation, diction Vocalizations

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 

Outline I. Introduction to Singing II. Anatomy and Physiology; Development of correct body alignment III. Development of breath support and control; Basic vocal exercise for vocal production IV. Vocal Health; Preparing for a song and a performance V. Learning the song VI. Diction VII. Styles of Singing a. Classical

b. Gospel c. Pop

INTRODUCTION TO SINGING AND CHORAL SINGING (40 mins) A. Objective:  Show understanding of the voice program and identify the concepts of classical singing  Show the different concepts of classical singing  Show interest in classical singing B. Equipment:  Chapter 1 (pp.1-2) Foundations in Singing 7th Edition of John Glenn Paton and Van Christy C. Learning Procedure: 1. Teacher will first introduce herself to the student and then the student will introduce herself/himself to the teacher. Student is asked to sing a short song. Teacher will ask the student these questions:  Do you honestly want to sing?  Do you see yourself performing in stage?  Are you interested in learning classical technique? 2. Student will be given a syllabus of the program. Teacher will explain the syllabus of the program:  This program will focus on vocal training as applied in choral singing. It is divided into 7 parts, with each executed depending on the performance of the students. The first 3 parts will be discussions while the next 4 are performance classes.  This program will be teaching classical singing technique for the 1st 6 parts. It is best to learn classical technique in able to be familiar with correct techniques in singing.  The program will include lessons on how to develop good breath control, correct body alignment, excellent performance, guidelines in good vocal health habit and basic theory.  The program will be using these references: Foundations in Singing 7 th Edition of John Glenn Paton and Van Christy, The Performer’s Voice of Maribeth Bunch Dayme, Breath Exercises of Prof. Elsie Abellera of the

Leyte Normal University in Tacloban City, Basic Vocal Exercises of Andrea O. Veneracion, Basic of Music Opus 1(4th Edition) by Michael Zinn, The Art of Beverly Sills (CD), Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.). Teacher will discuss the introduction to singing. Mainly she will discuss these important things:  Importance of music in our lives and how it can make our lives better  Freedom to sing: “Can I sing?”  Classical technique as the basis of singing and its importance in vocal health 3. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 4. Song imitation. Teacher will play a melody in the piano and the student is asked to imitate the sound he/she heard. ANATOMY AND PHYSIOLOGY; DEVELOPMENT OF CORRECT BODY ALIGNMENT I. Objective:  Show familiarity of the anatomy and show understanding of physiology and the correct position of the body while singing  Show the correct body alignment  Display the correct body position while singing Equipment:  Body Anatomy Visual Aid  Body mirror  Straight Wall  Even floor  Whiteboard  Whiteboard pen  Whiteboard eraser  Chapter 1(pp.14-23) and 2 (pp. 24-32) of The Performer’s Voice of Maribeth Bunch Dayme  Chapter 2 (pp.7-8) of Foundations in Singing 7th Edition of John Glenn Paton and Van Christy

II.

III.

Learning Procedure: 1. Student will exercise the body for warm-up. Student must stand straight, feet are set apart. The weight is equally distributed on both feet. Body is relaxed. Rotate the head slowly in clockwise motion and then vice versa. Right shoulder moved up and down and so with the left shoulder. Arms are stretched upward and slowly arms reaching the floor. Repeat the stretching three times. Twist the torso in clockwise motion and then counterclockwise, repeat three times. Bend the knees and move it clockwise and vice versa, repeat three times. Last, stand straight with both hands holding the hip. Slowly lift the right leg and bend, rotate the feet in clockwise motion and vice versa. Do the same with the other leg. Student should relax and breathe slowly. 2. Teacher discusses the good posture for singing.  Good posture has two aspects: having the body ready for action and how the body is used during the action  Good posture is needed for better singing for the breathing muscles to work easily and to prevent interference to the sound that is to produce. Poor posture may mean that lungs cannot expand fully or that the voice cannot reach all of the notes because the throat is out of its proper shape. Teacher discusses the ways on how to achieve body alignment. Here’s what to do: Feet: Let heels be a few inches apart, with the toes turned out slightly and one foot a little forward. Keep both feet equally on the floor. With this position, the singer can stand firmly and can shift the body’ weight in any direction.  Legs: Straight, but not rigid or locked at the knees.  Torso: Keep hips and shoulders level. The back muscles hold the torso erect so that the abdominal muscles can play their important role in giving flexible breath control.  Shoulders: Relax downward and back.  Neck and head: Let them rise effortlessly toward the ceiling. Head remain in level so that the eyes look straight ahead, neither down nor up. 3. Difficulties: slouching back, head level, tensioned knees and shoulders 4. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 

5. Student is asked to sing and apply the lessons learned. Student evaluates himself/herself after he/she sings. 6. Student’s assignment is to do the warm-up exercise at home everyday to make it a habit. DEVELOPMENT OF BREATH SUPPORT AND CONTROL; BASIC VOCAL EXERCISE FOR VOCAL PRODUCTION IV. Objective:  Identify the techniques in good breath support and control  Sing vocal exercises and do breath exercises and display correct breathing and vocal production  Display interest in exercising the voice prior to a singing performance Equipment: Body mirror Piano Balloon Straw Glass Water Candle Lighter Paper Chapter 3(pp.33-52) of The Performer’s Voice of Maribeth Bunch Dayme Candle exercise of Prof. Elsie Abellera of the Leyte Normal University in Tacloban City Basic Vocal Exercises of Andrea O. Veneracion (Tracks 1-8) Learning Procedure: 1. Balloon demonstration. Teacher is going to blow the balloon and then deflate it. Student will observe the balloon. Teacher compares the balloon with the lungs. 2. Teacher discusses the importance of breathing well in singing. Singing makes special demands on breath:  Singing long musical phrases depends on the volume of air in the lungs and the ability to release air slowly and steadily;  Singing louder and softer and singing with expression and variety depend on the ability to vary the rate of airflow;  Musical rhythm often requires quick breath in between phrases

V.             VI.

Objectives in learning breathe technique:  To release breath energy at a precisely controlled rate and degree of pressure;  To maintain a free flow for a desired length of time;  To transform the breath into tone without wasting any  T renew the energy quickly by taking a new breath Student will do the preliminary breath exercise. Inhalation thru the nose in 3 seconds and controlled exhalation thru the mouth in 4 seconds, repeat the exercise in increasing time. Teacher discusses breath support:  During inhalation the external intercostal muscles and the diaphragm work to create more space for the lungs. During exhalation the muscles at the front and sides of the abdomen and/or the ribs move in. If the abdominal and the internal intercostal muscles work together vigorously, they can empty lungs very quickly, much too quickly for singing. Student will vocalize thru the five-note ascending and descending scale in syllable “mah”. The scale will start in the middle C and then gradually modulates to the other keys. This should be sung smoothly in a legato manner. The purpose is to exercise higher tones on light vowels. Student will then do Arpeggios (Major) in legato in syllable “mah”. The scale will start in the middle C and then gradually modulates to the other keys. This should be sung smoothly in a legato manner. The arpeggio maybe sung in staccato. 4. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 5. Bubbles, Students will inhale in 6 seconds thru the nose and blow the air in a straw which is submerged inside a glass containing water. Candle exercise the student will inhale thru the nose in 5 seconds and exhale thru the mouth to the flame of the lighted candle. If the candle flickers, too much air is escaping. Vocalize in front of the candle without making the candle flame waver, good singing takes much less air. 6. Student’s assignment is to do the warm-up exercise at home everyday to make it a habit.

VOCAL HEALTH; PREPARING FOR A SONG AND A PERFORMANCE

VII.

Objective:  Show understanding of the different ways on how to take care the voice and the things to remember before singing  Perform a short song  Display interest in preparing for a song and a performance Equipment:  Chapter 11 (pp.175-192) and 12 (pp. 193-208) of The Performer’s Voice of Maribeth Bunch Dayme  Chapter 11 (pp.71-82) of Foundations in Singing 7th Edition of John Glenn Paton and Van Christy  Picture of a person with a sore throat (www.bodyofwealth.com) Learning Procedure: 1. Teacher shows a picture of a man with a sore throat. Teacher asks these questions:  What do you see in the picture?  What do you think is the problem of the man? 2. Teacher discusses vocal health to the student.  Vocal health, the state of understanding the vocal instrument and how to take care of it.] Vocal overuse, medically called “hyperfunction”, includes:               Shouting Loud talking and laughing Insistent talking Talking or singing over the noise Coughing and throat clearing Singing at an inappropriate level Singing longer and louder than we can do with comfort Air-conditioning Air travel Central heating with low humidity Drinking alcohol Smoking Fatigue Menstrual period

VIII.

IX.

 

Medications such a decongestants that dry the throat Medications like aspirin and ibuprofen that cause local bleeding

Dietary changes:         No alcoholic beverages Too spicy foods Too sweet Too salty Too much dairy products Caffeine Acidic foods Drink plenty of water

General vocal habits:        Taking care of the body means taking care of the voice too Positive attitude Enough sleep Nutrition Exercise Drinking plenty of water Avoiding things that may contribute to the causes of damaged voices

Teacher will ask the student what other things can help in taking care of the voice. Teacher asks the student this question:  If you are to perform, what are things you should do in able to have a good performance?

Teacher discusses the ways to prepare for a performance. There are three keywords in performing: Musical Style Interpretation Confidence  Musical style - a way of performing that belongs to an individual

 Interpretation - the psychological and aesthetic areas of music; includes the mastery of words (understand the words and feel good about putting them across to other people, determine many things about how we perform, including when we breathe and the facial expression); and how to work with the music (importance of rhythm and sensitivity to intonation)  Confidence- the measure of how we prepare

3. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 4. Student is asked to perform any song and should be able to apply MIC in his/her performance. 5. Student’s assignment is to do the warm-up exercise and vocal exercise at home everyday to make it a habit.

LEARNING THE SONG I. Objective:  Show familiarity of basic theory of music  Read a simple song  Show interest in learning a song thru basic theory Equipment:  Whiteboard with musical staves  Whiteboard pen  Whiteboard eraser  Piano  Chapter 1-4 (pp.1-73) of Basic of Music Opus 1 4th Edition by Michael Zinn  Chapter 12 (pp.83-92) of Foundations in Singing 7th Edition of John Glenn Paton and Van Christy  Caro mio ben of Giuseppe Giordani from Twenty-four Italian Songs and Arias of the 17th and 18th Centuries for Medium Low Voice (G. Schirmer, Inc.) (pp.35-37) Learning Procedure

II.

III.

1. The teacher is going to sing a simple melody and the student will sing it but he/she will add embellishments on it. The purpose of this activity is to show the creativeness of the student. 2. The teacher is going discuss on how to learn a song.  Learning the music  Notice the title and the composer. Conduct a research on the song’s history. It is important to know the background of the song so that you have an idea on how it was composed. This would be helpful in the performance.  Look at the musical notation. First identify the meter. Meter is the grouping of beats into measures. The meter is represented thru the time signature. If the meter is in quadruple meter – meaning that a strong, accented beat is always followed by three equal beat. (Sometimes there is a secondary strong beat.) If the meter is triple –meaning a strong, accented beat is followed by two equal beats.  Look at the key signature. The key signature will determine the song’s key. It is represented thru sharps, flats or none. If there is no sharp or flat in the staff, the song is in the C Major. Figure 1.1 is the “line of fifths”. The names of the major keys which have sharps in the key signature above the line, and the number of sharps in each key below the line. P5 Higher Key Number of sharps C G 1 D 2 A 3 E 4 B 5 F 6 C# 7

F#

F# C#

F# C#

F# C# G# D#

F# C# G# D# A#

F# C# G# D# A# E#

F# C# G# D# A# E# B#

Figure 1

The “line of fifths” in Figure 2 gives the names of the major keys which have flats in the key signature above the line and the number of flats in each key below the line. Key Number of flats C F 1 Bb Bb 2 Bb Eb Eb 3 Bb Eb Ab Ab 4 Bb Eb Ab Db Db 5 Bb Eb Ab Db Gb Gb 6 Bb Eb Ab Db Gb Cb Cb 7 Bb Eb Ab Db Gb Cb Fb

Figure 2 *It is important to key signature to be able to distinguish the difference of a key from another key. Tap the meter steadily while listening to the melody. When you feel that the melody is familiar, try singing it on nonsense syllables. “Doo –doo –doo” and “La –la –la” are syllables can be used. Singing the melody on syllables is called vocalizing. Repeat this enough times to feel perfectly confident about the melody.  Hear the song on a recording to have an idea of the whole song. This will make the learning easier.  Learning the words  Identify the language of the song. If it’s foreign look for its translation.  Read all the way through the words to get a general idea of the meaning.  Write out the words by hand in poetic form to see clearly how they fit together to form a poem and tell a story.  Make sure you understand the words.  Decide what the main point of the poem is.  Read the poem aloud with expression, phrasing, and accentuation. 

Listen to the music again and whisper the text in rhythm with it.  Listen to the music and speak the text in rhythm.  Combine the melody with the words  Breath points –only breathe on breath points such as commas, rests and breath points symbols. The words and the phrases should not be cut. Teacher will cite an example thru using the Caro mio ben of Giuseppe Giordani. Difficulties: Rhythm and sight-singing Teacher comments on the parts where the student is finding difficulty. Student will comment on the previous discussion. He/she may ask questions. Student will have photocopy pages 2-9 of Concone Op. 9 for Medium Voice Book 1 (G.Schirmer, Inc.) and bring it in the next meeting.



3. 4. 5. 6.

X.

Concept/s: Introduction to singing Objective:  Show understanding of the voice program and identify the concepts of classical singing  Show the different concepts of classical singing  Show interest in classical singing

XI.

XII.

Equipment:  Chapter 1 (pp.1-2) Foundations in Singing 7th Edition of John Glenn Paton and Van Christy Learning Procedure: 5. Teacher will first introduce herself to the student and then the student will introduce herself/himself to the teacher. Student is asked to sing a short song. Teacher will ask the student these questions:  Do you honestly want to sing?  Do you see yourself performing in stage?  Are you interested in learning classical technique? 6. Student will be given a syllabus of the program. Teacher will explain the syllabus of the program:  The program has 12 sessions (60 minutes per session) *may exceed or may be lessen depending on the performance of the student, consists of five discussion meetings and seven performance class  This program will be teaching classical singing technique. It is best to learn classical technique in able to be familiar with correct techniques in singing.  The program will include lessons on how to develop good breath control, correct body alignment, excellent performance, guidelines in good vocal health habit and basic theory.  The program will be using these references: Foundations in Singing 7 th Edition of John Glenn Paton and Van Christy, The Performer’s Voice of Maribeth Bunch Dayme, Breath Exercises of Prof. Elsie Abellera of the Leyte Normal University in Tacloban City, Basic Vocal Exercises of Andrea O. Veneracion, Basic of Music Opus 1(4th Edition) by Michael Zinn, The Art of Beverly Sills (CD), Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.), Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium Low Voice (G. Schirmer,Inc.) Teacher will discuss the introduction to singing. Mainly she will discuss these important things:  Importance of music in our lives and how it can make our lives better  Freedom to sing: “Can I sing?”  Classical technique as the basis of singing and its importance in vocal health

XIII.

7. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 8. Song imitation. Teacher will play a melody in the piano and the student is asked to imitate the sound he/she heard. 9. Student is to research about the correct body posture while singing. XIV. Evaluation Were the students able to:  Understand the voice program and the concepts of classical singing?  Show the different concepts of classical singing?  Display interests in classical singing? Concept/s: Anatomy and Physiology; Development of correct body alignment Objective:  Show familiarity of the anatomy and show understanding of physiology and the correct position of the body while singing  Show the correct body alignment  Display the correct body position while singing Equipment:  Body Anatomy Visual Aid  Body mirror  Straight Wall  Even floor  Whiteboard  Whiteboard pen  Whiteboard eraser  Chapter 1(pp.14-23) and 2 (pp. 24-32) of The Performer’s Voice of Maribeth Bunch Dayme  Chapter 2 (pp.7-8) of Foundations in Singing 7th Edition of John Glenn Paton and Van Christy Learning Procedure: 7. Student will exercise the body for warm-up. Student must stand straight, feet are set apart. The weight is equally distributed on both feet. Body is relaxed. Rotate the head slowly in clockwise motion and then vice versa. Right shoulder moved

XV.

XVI.

XVII.

XVIII.

up and down and so with the left shoulder. Arms are stretched upward and slowly arms reaching the floor. Repeat the stretching three times. Twist the torso in clockwise motion and then counterclockwise, repeat three times. Bend the knees and move it clockwise and vice versa, repeat three times. Last, stand straight with both hands holding the hip. Slowly lift the right leg and bend, rotate the feet in clockwise motion and vice versa. Do the same with the other leg. Student should relax and breathe slowly. 8. Teacher discusses the good posture for singing.  Good posture has two aspects: having the body ready for action and how the body is used during the action  Good posture is needed for better singing for the breathing muscles to work easily and to prevent interference to the sound that is to produce. Poor posture may mean that lungs cannot expand fully or that the voice cannot reach all of the notes because the throat is out of its proper shape. Teacher discusses the ways on how to achieve body alignment. Here’s what to do: Feet: Let heels be a few inches apart, with the toes turned out slightly and one foot a little forward. Keep both feet equally on the floor. With this position, the singer can stand firmly and can shift the body’ weight in any direction.  Legs: Straight, but not rigid or locked at the knees.  Torso: Keep hips and shoulders level. The back muscles hold the torso erect so that the abdominal muscles can play their important role in giving flexible breath control.  Shoulders: Relax downward and back.  Neck and head: Let them rise effortlessly toward the ceiling. Head remain in level so that the eyes look straight ahead, neither down nor up. 9. Difficulties: slouching back, head level, tensioned knees and shoulders 10. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 11. Student is asked to sing and apply the lessons learned. Student evaluates himself/herself after he/she sings. 12. Student’s assignment is to do the warm-up exercise at home everyday to make it a habit. 

XIX.

Evaluation Were the students able to:  Understand the correct body alignment while singing?  Show the correct body alignment while singing?  Show interest in the correct body alignment?

XX.

Concept/s: Development of breath support and control; Basic vocal exercise for vocal production Objective:  Identify the techniques in good breath support and control  Sing vocal exercises and do breath exercises and display correct breathing and vocal production  Display interest in exercising the voice prior to a singing performance Equipment: Body mirror Piano Balloon Straw Glass Water Candle Lighter Paper Chapter 3(pp.33-52) of The Performer’s Voice of Maribeth Bunch Dayme Candle exercise of Prof. Elsie Abellera of the Leyte Normal University in Tacloban City Basic Vocal Exercises of Andrea O. Veneracion (Tracks 1-8) Learning Procedure: 3. Balloon demonstration. Teacher is going to blow the balloon and then deflate it. Student will observe the balloon. Teacher compares the balloon with the lungs. 4. Teacher discusses the importance of breathing well in singing. Singing makes special demands on breath:  Singing long musical phrases depends on the volume of air in the lungs and the ability to release air slowly and steadily;

XXI.

XXII.             XXIII.

 Singing louder and softer and singing with expression and variety depend on the ability to vary the rate of airflow;  Musical rhythm often requires quick breath in between phrases Objectives in learning breath technique:  To release breath energy at a precisely controlled rate and degree of pressure;  To maintain a free flow for a desired length of time;  To transform the breath into tone without wasting any  T renew the energy quickly by taking a new breath Student will do the preliminary breath exercise. Inhalation thru the nose in 3 seconds and controlled exhalation thru the mouth in 4 seconds, repeat the exercise in increasing time. Teacher discusses breath support:  During inhalation the external intercostal muscles and the diaphragm work to create more space for the lungs. During exhalation the muscles at the front and sides of the abdomen and/or the ribs move in. If the abdominal and the internal intercostal muscles work together vigorously, they can empty lungs very quickly, much too quickly for singing. Student will vocalize thru the five-note ascending and descending scale in syllable “mah”. The scale will start in the middle C and then gradually modulates to the other keys. This should be sung smoothly in a legato manner. The purpose is to exercise higher tones on light vowels. Student will then do Arpeggios (Major) in legato in syllable “mah”. The scale will start in the middle C and then gradually modulates to the other keys. This should be sung smoothly in a legato manner. The arpeggio maybe sung in staccato. 7. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 8. Bubbles, Students will inhale in 6 seconds thru the nose and blow the air in a straw which is submerged inside a glass containing water. Candle exercise the student will inhale thru the nose in 5 seconds and exhale thru the mouth to the flame of the lighted candle. If the candle flickers, too much air is escaping. Vocalize in front of the candle without making the candle flame waver, good singing takes much less air.

9. Student’s assignment is to do the warm-up exercise at home everyday to make it a habit. XXIV. Evaluation Were the students able to:  Understand the techniques of breath control and support?  Use the correct breathing and vocal production techniques through breathing and vocal exercises?  Display interest in exercising the voice prior to a singing performance?

XXV.

Concept/s: Vocal Health; Preparing for a song and a performance Objective:  Show understanding of the different ways on how to take care the voice and the things to remember before singing  Perform a short song  Display interest in preparing for a song and a performance Equipment:  Chapter 11 (pp.175-192) and 12 (pp. 193-208) of The Performer’s Voice of Maribeth Bunch Dayme  Chapter 11 (pp.71-82) of Foundations in Singing 7th Edition of John Glenn Paton and Van Christy  Picture of a person with a sore throat (www.bodyofwealth.com) Learning Procedure: 3. Teacher shows a picture of a man with a sore throat. Teacher asks these questions:  What do you see in the picture?  What do you think is the problem of the man? 4. Teacher discusses vocal health to the student.  Vocal health, the state of understanding the vocal instrument and how to take care of it.]

XXVI.

XXVII.

XXVIII.

Vocal overuse, medically called “hyperfunction”, includes:                 Shouting Loud talking and laughing Insistent talking Talking or singing over the noise Coughing and throat clearing Singing at an inappropriate level Singing longer and louder than we can do with comfort Air-conditioning Air travel Central heating with low humidity Drinking alcohol Smoking Fatigue Menstrual period Medications such a decongestants that dry the throat Medications like aspirin and ibuprofen that cause local bleeding

Dietary changes:         No alcoholic beverages Too spicy foods Too sweet Too salty Too much dairy products Caffeine Acidic foods Drink plenty of water

General vocal habits:        Taking care of the body means taking care of the voice too Positive attitude Enough sleep Nutrition Exercise Drinking plenty of water Avoiding things that may contribute to the causes of damaged voices

Teacher will ask the student what other things can help in taking care of the voice. Teacher asks the student this question:  If you are to perform, what are things you should do in able to have a good performance?

Teacher discusses the ways to prepare for a performance. There are three keywords in performing: Musical Style Interpretation Confidence  Musical style- a way of performing that belongs to an individual  Interpretation- the psychological and aesthetic areas of music; includes the mastery of words (understand the words and feel good about putting them across to other people, determine many things about how we perform, including when we breathe and the facial expression); and how to work with the music (importance of rhythm and sensitivity to intonation)  Confidence- the measure of how we prepare

6. Student is asked to give insights or any comments about the lesson. The student may ask any questions regarding the lessons discussed. 7. Student is asked to perform any song and should be able to apply MIC in his/her performance. 8. Student’s assignment is to do the warm-up exercise and vocal exercise at home everyday to make it a habit. XXIX. Evaluation Were the students able to:  Understand the general vocal health?  Perform a short song?  Display interest in preparing for a song?

IV.

Concept/s: Learning the song Objective:  Show familiarity of basic theory of music  Read a simple song  Show interest in learning a song thru basic theory Equipment:  Whiteboard with musical staves  Whiteboard pen  Whiteboard eraser  Piano  Chapter 1-4 (pp.1-73) of Basic of Music Opus 1 4th Edition by Michael Zinn  Chapter 12 (pp.83-92) of Foundations in Singing 7th Edition of John Glenn Paton and Van Christy  Caro mio ben of Giuseppe Giordani from Twenty-four Italian Songs and Arias of the 17th and 18th Centuries for Medium Low Voice (G. Schirmer, Inc.) (pp.35-37) Learning Procedure 7. The teacher is going to sing a simple melody and the student will sing it but he/she will add embellishments on it. The purpose of this activity is to show the creativeness of the student. 8. The teacher is going discuss on how to learn a song.  Learning the music  Notice the title and the composer. Conduct a research on the song’s history. It is important to know the background of the song so that you have an idea on how it was composed. This would be helpful in the performance.  Look at the musical notation. First identify the meter. Meter is the grouping of beats into measures. The meter is represented thru the time signature. If the meter is in quadruple meter –meaning that a strong, accented beat is always followed by three equal beat. (Sometimes there is a secondary strong beat.) If the meter is triple –meaning a strong, accented beat is followed by two equal beats.  Look at the key signature. The key signature will determine the song’s key. It is represented thru sharps, flats or none. If there is

V.

VI.

VII.

no sharp or flat in the staff, the song is in the C Major. Figure 1.1 is the “line of fifths”. The names of the major keys which have sharps in the key signature above the line, and the number of sharps in each key below the line. P5 Higher Key Number of sharps C G 1 D 2 A 3 E 4 B 5 F 6 C# 7

F#

F# C#

F# C#

F# C# G# D#

F# C# G# D# A#

F# C# G# D# A# E#

F# C# G# D# A# E# B#

Figure 3 The “line of fifths” in Figure 2 gives the names of the major keys which have flats in the key signature above the line and the number of flats in each key below the line. Key Number of flats C F 1 Bb Bb 2 Bb Eb Eb 3 Bb Eb Ab Ab 4 Bb Eb Ab Db Db 5 Bb Eb Ab Db Gb Gb 6 Bb Eb Ab Db Gb Cb Cb 7 Bb Eb Ab Db Gb Cb Fb

Figure 4 *It is important to key signature to be able to distinguish the difference of a key from another key.  Tap the meter steadily while listening to the melody. When you feel that the melody is familiar, try singing it on nonsense syllables. “Doo –doo –doo” and “La –la –la” are syllables can

be used. Singing the melody on syllables is called vocalizing. Repeat this enough times to feel perfectly confident about the melody.  Hear the song on a recording to have an idea of the whole song. This will make the learning easier.  Learning the words  Identify the language of the song. If it’s foreign look for its translation.  Read all the way through the words to get a general idea of the meaning.  Write out the words by hand in poetic form to see clearly how they fit together to form a poem and tell a story.  Make sure you understand the words.  Decide what the main point of the poem is.  Read the poem aloud with expression, phrasing, and accentuation.  Listen to the music again and whisper the text in rhythm with it.  Listen to the music and speak the text in rhythm.  Combine the melody with the words  Breath points –only breathe on breath points such as commas, rests and breath points symbols. The words and the phrases should not be cut. Teacher will cite an example thru using the Caro mio ben of Giuseppe Giordani. 9. Difficulties: Rhythm and sight-singing 10. Teacher comments on the parts where the student is finding difficulty. 11. Student will comment on the previous discussion. He/she may ask questions. 12. Student will have photocopy pages 2-9 of Concone Op. 9 for Medium Voice Book 1 (G.Schirmer, Inc.) and bring it in the next meeting. VIII. Evaluation Were the students able to:  Show understanding on how to learn the song?  Read a simple song?  Show interest in learning a new song and use the guidelines on how to learn it?

XXX.

Concept/s: Introduction to Giuseppe Concone Op. 9 Fifty Lessons for the Voice (for Medium); Singing of the 1st exercise Objective: Show understanding of the importance of classical technique in all aspects of singing Sing a Concone exercise and listen a recorded performance of Beverly Sills Show interest in singing exercises for singing velocity Equipment: Piano Body mirror CD Player Recorder The Art of Beverly Sills (CD) Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (p.2) Learning Procedure: 10. Teacher and student will listen to an international renowned soprano, Beverly Sills. Teacher will give a short introduction of the artist and the songs in the album. 11. Teacher warms up the student through breath exercises. The student will stand straight in front of the mirror with the hands touching her lower abdomen; he/she will inhale through the nose in 3 seconds and exhale through the mouth in 3 seconds. This exercise is repeated until the student feels that he/she is warmed-up. Teacher also gives vocalization exercise to the student. Teacher will play a five-note ascending and descending scale (C-D-E-F-G-F-E-D-C ‘ ) in the piano and the student will sing these notes in the syllable “mah”. The exercise is done in all the keys of the piano(comfortable range). Teacher will play a major arpeggio in staccato (C-E-G ’ ) in the piano and the student will sing in the vowel “ah”. The exercise is done in all the keys of the piano (comfortable range). 12. Teacher will introduce an Italian Vocal exercise by Gieuseppe Concone. Teacher will play the 1st exercise while she sings the melody. Student will sight-sing the melody. 13. Teacher records the lesson in a recorder. Student will sing the 1st exercise of the Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.4-5) and the teacher will accompany the student in the piano. At the end of the lesson,

XXXI.    XXXII.       XXXIII.

student will cool down through the breath exercise done in the beginning of the lesson. 14. Exercise difficulties: define phrasing, define dynamics, consistency of vowel production 15. Teacher comments on the exercise done by the student. Teacher will specify the parts that should be more practiced. 16. Teacher will play the recently recorded lesson. Student will evaluate herself. 17. Student will study and perform the 2nd exercise of Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (p.2-3) in the class. XXXIV. Evaluation Were the students able to:  Understand the importance of classical technique in all aspects of singing?  Sing a Concone exercise ?  Display interest in singing exercises for singing velocity?

XXXV.

Concept/s: Singing of the 2nd exercise; Preparation for singing an Aria Objective:  Show understanding of the importance of classical technique in all aspects of singing  Sing a Concone exercise  Show interest in singing exercises for singing velocity Equipment:  Piano  Body mirror  Recorder  Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.2-3)  Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37) Learning Procedure:

XXXVI.

XXXVII.

XXXVIII.

18. Teacher warms up the student through breath exercises. The student will stand straight in front of the mirror with the hands touching her lower abdomen; he/she will inhale through the nose in 3 seconds and exhale through the mouth in 3 seconds. This exercise is repeated until the student feels that he/she is warmed-up. Teacher also gives vocalization exercise to the student. Teacher will play a five-note ascending and descending scale (C-D-E-F-G-F-E-D-C ‘ ) in the piano and the student will sing these notes in the syllable “mah”. The exercise is done in all the keys of the piano(comfortable range). Teacher will play a major arpeggio in staccato (C-E-G ’ ) in the piano and the student will sing in the vowel “ah”. The exercise is done in all the keys of the piano (comfortable range). 19. Teacher records the lesson in a recorder. Student will sing the 2 nd exercise of the Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.2-3) and the teacher will accompany the student in the piano. At the end of the lesson, student will cool down through the breath exercise done in the beginning of the lesson. 20. Exercise difficulties: longer note values and define dynamics 21. Teacher comments on the exercise done by the student. Teacher will specify the parts that should be more practiced. 22. Teacher will play the recently recorded lesson. Student will evaluate herself. 23. Student will study and perform the 3rd exercise of Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.3-4) in the class. He/she will study Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37). He/she is expected to be familiar with the song and should research about the historical background of the piece. In the next lesson she will first introduce the song before singing. XXXIX. Evaluation Were the students able to:  Understand the importance of classical technique in all aspects of singing?  Sing a Concone exercise ?  Display interest in singing exercises for singing velocity?

XL.

Concept/s: Singing of the 3rd exercise; Study of Caro mio ben of Giuseppe Giordani

XLI.

Objective:  Show understanding of the importance of classical technique in all aspects of singing  Sing a Concone exercise and an Italian aria  Show interest in singing exercises for singing velocity Equipment:  Piano  Body mirror  Rcecorder  Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.3-4)  Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37) Learning Procedure: 24. Teacher warms up the student through breath exercises. The student will stand straight in front of the mirror with the hands touching her lower abdomen; he/she will inhale through the nose in 3 seconds and exhale through the mouth in 3 seconds. This exercise is repeated until the student feels that he/she is warmed-up. Teacher also gives vocalization exercise to the student. Teacher will play a five-note ascending and descending scale (C-D-E-F-G-F-E-D-C ‘ ) in the piano and the student will sing these notes in the syllable “mah”. The exercise is done in all the keys of the piano(comfortable range). Teacher will play a major arpeggio in staccato (C-E-G ’ ) in the piano and the student will sing in the vowel “ah”. The exercise is done in all the keys of the piano (comfortable range). 25. Teacher records the lesson in a recorder. Student will sing the 3 rd exercise of the Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.3-4) and the teacher will accompany the student in the piano. Hints on Italian Pronunciation:  Vowels General Rule: the vowels are very open, and never to be pronounced as impure vowels or diphthongs; they are long in accented syllables which they terminate, -short in unaccented syllables, or in accented ones ending with a consonant

XLII.

XLIII.

a like ah (e.g., amare) *pron. ăh- mah- rĕh+ e “ ay in bay (without the vanish ĭ); ĕ in bed ; a in bare (before r) i “ o “ u“  ee in beet ; ĭ in bit; ĭ before a vowel, like y (consonant) aw, or ah (without the vanish ŭ) ; ô in ôpinion oo in boot : u in bull

Consonants General rule: Even the hard consonants are somewhat softer than in English ; the soft consonants are very delicate b, d, f, l, m, n, p, qu, s, t, v, as in English c like k, before a, o, u, or another consonant except c, as below c“ ch in chair before e or i ; cc like t-ch before e or i

g “ g hard before a, o, u, or another consonant; except before l (pronounce gl like l-y [consonant]. e.g sugli , *pron. sool’-yé], and n (prpnounce gn like ñ in canon [kan-yon] g “ z in azure (or a very soft j) before e or I h is mute j like y in you r, pronounce with a roll (tip of tongue against hard palate) Where a doubled consonant occurs, the first syllable is dwelt upon ; e.g. in ecco *pronounce ek’-ko,not ek’ –o].- accented syllables take a less explosive stress

Student will give a brief introduction of Caro mio ben and then perform the aria in class. At the end of the lesson, student will cool down through the breath exercise done in the beginning of the lesson.

26. Exercise difficulties: define phrasing, moving melody, define dynamics, Italian diction, large leap intervals 27. Teacher comments on the exercise done by the student. Teacher will specify the parts that should be more practiced. 28. Teacher will play the recently recorded lesson. Student will evaluate herself. 29. Student will study and perform the 4th exercise of Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.4-5) in the class. He/she will practice Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37). He/she is expected to memorize the song. XLIV. Evaluation Were the students able to:  Understand the importance of classical technique in all aspects of singing?  Sing a Concone exercise ?  Display interest in singing exercises for singing velocity?

XLV.

Concept/s: Singing of the 4th exercise; An Aria Performance Objective: Show understanding of the importance of classical technique in all aspects of singing Sing a Concone exercise Show interest in singing exercises for singing velocity Equipment: Piano Body mirror Recorder Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.4-5) Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37) Learning Procedure:

XLVI.    XLVII.     

XLVIII.

30. Teacher warms up the student through breath exercises. The student will stand straight in front of the mirror with the hands touching her lower abdomen; he/she will inhale through the nose in 3 seconds and exhale through the mouth in 3 seconds. This exercise is repeated until the student feels that he/she is warmed-up. Teacher also gives vocalization exercise to the student. Teacher will play a five-note ascending and descending scale (C-D-E-F-G-F-E-D-C ‘ ) in the piano and the student will sing these notes in the syllable “mah”. The exercise is done in all the keys of the piano(comfortable range). Teacher will play a major arpeggio in staccato (C-E-G ’ ) in the piano and the student will sing in the vowel “ah”. The exercise is done in all the keys of the piano (comfortable range). 31. Teacher records the lesson in a recorder. Student will sing the 4 th exercise of the Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.4-5) and the teacher will accompany the student in the piano. The teacher will ask the student the meaning of the Caro mio ben. Student shall explain the meaning of the song. Student will sing Caro mio ben of Giuseppe Giordani with interpretation. At the end of the lesson, student will cool down through the breath exercise done in the beginning of the lesson. 32. Exercise difficulties: define phrasing, define dynamics, moving melody, consistent tempo, good Italian diction 33. Teacher comments on the exercise done by the student. Teacher will specify the parts that should be more practiced. 34. Teacher will play the recently recorded lesson. Student will evaluate herself. 35. Student will study and perform the 3rd exercise of Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (p.6-7) in the class. He/she will practice Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37). XLIX. Evaluation Were the students able to:  Understand the importance of classical technique in all aspects of singing?  Sing a Concone exercise?  Display interest in singing exercises for singing velocity?

L.

Concept/s: Singing of the 5th exercise; An Aria Performance

LI.

Objective:  Show understanding of the importance of classical technique in all aspects of singing  Sing a Concone exercise  Show interest in singing exercises for singing velocity Equipment:  Piano  Body mirror  Rcecorder  Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.6-7)  Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37) Learning Procedure: 36. Teacher warms up the student through breath exercises. The student will stand straight in front of the mirror with the hands touching her lower abdomen; he/she will inhale through the nose in 3 seconds and exhale through the mouth in 3 seconds. This exercise is repeated until the student feels that he/she is warmed-up. Teacher also gives vocalization exercise to the student. Teacher will play a five-note ascending and descending scale (C-D-E-F-G-F-E-D-C ‘ ) in the piano and the student will sing these notes in the syllable “mah”. The exercise is done in all the keys of the piano(comfortable range). Teacher will play a major arpeggio in staccato (C-E-G ’ ) in the piano and the student will sing in the vowel “ah”. The exercise is done in all the keys of the piano (comfortable range). 37. Teacher records the lesson in a recorder. Student will sing the 5 th exercise of the Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.6-7) and the teacher will accompany the student in the piano. Student will sing Caro mio ben of Giuseppe Giordani with interpretation. At the end of the lesson, student will cool down through the breath exercise done in the beginning of the lesson. 38. Exercise difficulties: define phrasing, moving melody, define dynamics, wellsupported tones 39. Teacher comments on the exercise done by the student. Teacher will specify the parts that should be more practiced. 40. Teacher will play the recently recorded lesson. Student will evaluate herself. 41. Student will study and perform the 6th exercise of Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.6-7) in the class. He/she will practice Caro

LII.

LIII.

mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37). LIV. Evaluation Were the students able to:  Understand the importance of classical technique in all aspects of singing?  Sing a Concone exercise?  Display interest in singing exercises for singing velocity?

LV.

Concept/s: Singing of the 6th exercise; An Aria Performance Objective:  Show understanding of the importance of classical technique in all aspects of singing  Sing a Concone exercise  Show interest in singing exercises for singing velocity Equipment:  Piano  Body mirror  Recorder  Concone Op. 9 for Medium  Voice Voice Book 1 (G. Schirmer,Inc.) (pp.7-8)  Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low (G. Schirmer,Inc.) (pp.35-37) Learning Procedure: 42. Teacher warms up the student through breath exercises. The student will stand straight in front of the mirror with the hands touching her lower abdomen; he/she will inhale through the nose in 3 seconds and exhale through the mouth in 3 seconds. This exercise is repeated until the student feels that he/she is warmed-up. Teacher also gives vocalization exercise to the student. Teacher will play a five-note ascending and descending scale (C-D-E-F-G-F-E-D-C ‘ ) in the piano and the student will sing these notes in the syllable “mah”. The exercise is done in all the keys of the piano(comfortable range). Teacher will play a major

LVI.

LVII.

LVIII.

arpeggio in staccato (C-E-G ’ ) in the piano and the student will sing in the vowel “ah”. The exercise is done in all the keys of the piano (comfortable range). 43. Teacher records the lesson in a recorder. Student will sing the 6 th exercise of the Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.7-8) and the teacher will accompany the student in the piano. Student will sing Caro mio ben of Giuseppe Giordani with interpretation. At the end of the lesson, student will cool down through the breath exercise done in the beginning of the lesson. 44. Exercise difficulties: define phrasing, define dynamics 45. Teacher comments on the exercise done by the student. Teacher will specify the parts that should be more practiced. 46. Teacher will play the recently recorded lesson. Student will evaluate herself. 47. Student will study and perform the 7th exercise of Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.8-9) in the class. He/she will practice Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37). LIX. Evaluation Were the students able to:  Understand the importance of classical technique in all aspects of singing?  Sing a Concone exercise  Display interest in singing exercises for singing velocity?

LX.

Concept/s: Singing of the 7th exercise; An Aria Performance Objective:  Show understanding of the importance of classical technique in all aspects of singing  Sing a Concone exercise  Show interest in singing exercises for singing velocity Equipment:  Piano  Body mirror  Rcecorder  Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.8-9)

LXI.

LXII.

 Caro mio ben of Giuseppe Giordani from Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries for Medium low Voice (G. Schirmer,Inc.) (pp.35-37) LXIII. Learning Procedure: 48. Teacher warms up the student through breath exercises. The student will stand straight in front of the mirror with the hands touching her lower abdomen; he/she will inhale through the nose in 3 seconds and exhale through the mouth in 3 seconds. This exercise is repeated until the student feels that he/she is warmed-up. Teacher also gives vocalization exercise to the student. Teacher will play a five-note ascending and descending scale (C-D-E-F-G-F-E-D-C ‘ ) in the piano and the student will sing these notes in the syllable “mah”. The exercise is done in all the keys of the piano(comfortable range). Teacher will play a major arpeggio in staccato (C-E-G ’ ) in the piano and the student will sing in the vowel “ah”. The exercise is done in all the keys of the piano (comfortable range). 49. Teacher records the lesson in a recorder. Student will sing the 7 th exercise of the Concone Op. 9 for Medium Voice Book 1 (G. Schirmer,Inc.) (pp.8-9) and the teacher will accompany the student in the piano. Student will sing Caro mio ben of Giuseppe Giordani with interpretation. At the end of the lesson, student will cool down through the breath exercise done in the beginning of the lesson. 50. Exercise difficulties: define phrasing ,define dynamics, song interpretation 51. Teacher comments on the exercise done by the student. Teacher will specify the parts that should be more practiced. 52. Teacher will play the recently recorded lesson. Student will evaluate herself.