Elena's letter to Vocalise

March 26^th, 2015

Dear Vocalise,

Hope you are having a great week! Thank you for the last rehearsal -- it was fast-passed and effective. I thoroughly enjoyed your sparkling work.

Tonight I would like to share with you some important thoughts…

Our Festival for the Young Voices experiences had changed us all… Sometimes one event, one person, or even one song becomes a pivotal moment in life, making so many things clear… That was certainly my experience.

We had an incredibly profound conversation on March 16^th. It has been wonderful to read your emails responses to the questions I asked you to answer.  I am deeply honored by your trust and admire your brave revelations. Thank you for being honest and sincere with yourself and with me. It is by recognizing and embracing our challenges that we reach our higher potential –- together.

I am encouraged and excited by our discussions and hearing your clear determination to take Vocalise and Cantabile to the next level as we lift our artistry even higher and become stronger advocates for the beauty and joy of music with our unified, passionate and selfless commitment and the power of song that brings about better understanding of all humanity.  

I treasure our journey into self-discovery through singing, through bringing the mind, body and spirit into every note, every rhythm, every word. Last Monday I tried to summarize “the view” and “the method” for you. Here is it once again, at a glance.

We begin together by aligning the body in the standing meditation, using breath to connect and relax all its parts.

“Breath is the bridge that connects body and mind” --  lengthen through the spine and feel space in all parts of body. Sink your breath very low and slow it down. Become aware of your every inhale and exhale. Breathe through your skin and every hair on your head and body.

We seek for our body to feel light, spacious and tall, reaching up through the crown of the head and reaching down into the earth through the soles of the feet.

Relax and open the body even more with each breath as your mind becomes clear and calm.

Clarity and calm bring flexibility to our body, mind and spirit:

            The mind will have enough space for all thoughts and ideas, not refusing any

The body will be so flexible that it would not lose balance, get stuck or freeze in the face of fear or guilt.

Our spirit’s flexibly is in loving and accepting all things that we are and that are around us.

These are very simple steps that I try to do with you at the beginning of each rehearsal. You don’t need me to do these exercise – they are yours to do anywhere any time. The Chinese call it simply “hygiene” and consider this no different from such cleansing rituals as brushing teeth and taking a shower.  

When we begin interpreting and internalizing our music, I ask a lot of you. I ask you to take risks by exploring the human condition, diving into difficult social and political concepts and experiencing intense emotions.

Feeling safe and supported is a big part of our success. The singer is more likely to open up and explore intense emotions in presence of like-minded and loving people. The same singer is also more likely to take risks knowing that others are strong and committed. 

For any artist, safety comes from solid knowledge of the craft. In other words, you won’t be very expressive with the inner meaning of the song when you are still searching for the right notes at the right time. So, metaphysics aside, diligent practicing and an honest look at your current level of the score preparation can’t be substituted by anything else.

The singer feels supported and motivated when others are prepared, disciplined and engaged. It is true that from time to time we take the back seat and ride the “wave of the preparedness of others”, but it can only be “once in a blue moon” moment.

The singer also feels supported when a stronger colleague engages with him/her constantly, sharing the higher skill and experience rather than making it a reason for separation into “sages” and “novices.”

We all must embrace the simple thought that a choir in general and Vocalise in particular will only thrive when all singers and conductors think of ourselves as one instrument, one voice, one heart, one body and that it is with success and thriving of others that we become successful and we thrive. That’s why I think a choir is a perfect metaphor for a community.

Let’s make these last few weeks of our season the time we build the Vocalise community. Think of what you will do move it forward. You can’t possibly be too shy to not inspire someone even more shy by showing your sincere expressivity and connection to music.  You can’t possibly be too busy to not help someone with learning of the material, even if by Skype. You can’t possibly be too “senior” not to encourage a young colleague by telling a funny story of “those were the days” when you couldn't read music and were “totally scared of Elena.”

So what are you going to do?

I can’t wait to see Vocalise change because YOU OPENED UP.

Much love to all of you.

Elena 

3/23/2015 Vocalise Blog

Vocalise Rehearsal Notes (compiled by Gwen Howard) 

Dear Vocalise, 

We had an excellent rehearsal. I hope you had a chance to read my email. If not — please, do before the next rehearsal. 

Please, find below very detailed and precise notes taken by Gwen last Monday. These are reminders of what we worked on, and what is expected by the next rehearsal. I have included links to pronunciation files for Lilacs and Spring Waters, and I have also attached a YouTube link for you to learn the choreography for Goza Mi Calipso. Make sure to learn the dance!

Rehearsal expectations for March 30th:

Day Break — all pitches, rhythms, dynamics, text learned; be able to sing in performance tempo. 

Goza Mi Calipso — words, rhythms, notes learned. Choreography learned. Close to memorized. 

Spring Waters — all pitches, rhythms, dynamics learned (except for the last page which I am still trying to find!) Able to sing at quarter=90. Learn text pp 2-6.

Lilacs — able to sing on text. 

Past Life Melodies — see below 

Starting Monday 30th, we begin quartet checks at each rehearsal. Aria singers will lead the quartets and will be checking students’ score to make sure interpretive and articulation marks are always written in and followed.

Here are detailed notes for each song we practiced last Monday. 

Daybreak:

All people

1.      Write a note at the beginning of the piece to flip r’s.

2.      Find all instances of syncopation and mark where separations should occur (syncopation only works when preceded by silence!)

3.      Mark or circle all fp’s. Add an fp sign on m. 60.

4.      Mark or circle all crescendo’s. Add a crescendo going from m. 28 to 29. 

5.      Mark or circle all decrescendo’s.

6.      Mark or write a note to yourself to accentuate all tenutos and accents.

7.      M. 9: circle the quarter note pick-up to m. 10. give the note it’s full value.

8.      M. 35: “mth” of “warmth” goes on the + of 4.

9.      M. 49 and 50: emphasize the “sh” and “s” sounds of “she shines.” same goes for m. 55 and 56.

10.  M. 81: final consonant should go on the + of 4.

Soprano 1

Mark “no breath” (NB, nb, arrow etc.) between m. 15 and 16, 19 and 20, 40 and 41, 71 and 72 (and all repeats of this melody).

1.      mark or circle the breath marks at the end of m. 17 and 35

2.      m. 15: final “s” of “arms” goes on downbeat of m. 16

3.      m. 19: review noted

4.      m. 21 and 51: strong entrance!

5.      m. 72 and repeats: review notes

Soprano 2

1.      mark “no breath” (NB, nb, arrow etc.) between m. 15 and 16, 19 and 20, 40 and 41, 71 and 72 (and all repeats of this melody).

2.      mark or circle the breath marks at the end of m. 17 and 35

3.      m. 15: final “s” of “arms” goes on downbeat of m. 16

4.      m. 23: mark that the “ness” of “darkness” should be softer than the dark (softer, smaller vowel).

5.      m. 33: “about” should be sung “a-bAHH-oot”

6.      the polyphony beginning on m. 70 should be sung like a cantus firmus. write “legato” or “cantilena” above your part.

Alto

1.      mark “no breath” (NB, nb, arrow etc.) between m. 19 and 20, and 40 and 41.

2.      mark or circle the breath mark at the end of m. 35

3.      m. 23: mark that the “ness” of “darkness” should be softer than the dark (softer, smaller vowel).

4.      m. 33: “about” should be sung “a-bAHH-oot”

5.      m. 66: do not emphasize the “es” of “rises” too much to maintain pitch integrity

Sing along with this choir!: https://www.youtube.com/watch?v=AnO1gPxL_vg

Goza mi Calipso:  

All people: 

1.      the beginning should be sung as one line with no breaths. 

2.      add a breath mark at the end of measures 4 and measure 7

3.      circle all dynamic markings

4.      make a note above all accents

5.      all “z’s” should sound like “s.” make a note if you are forgetting.

6.      find instances of syncopation and mark lifts where needed.

7.      find and circle glides and glissandos

8.      at m. 57, we will go back to rehearsal letter C and go through the second ending of that verse. 

Soprano 1

1.      speak through the Spanish in rhythm. Work to have this memorized so we can focus on the dance.

2.      m. 31: add a tilde above the “n” in “acompana.” the word should be pronounced “acompaña.”

3.      review rhythm in m. 40-42. 

Learn the dance for Goza mi Calipso here: https://www.youtube.com/watch?v=gL6z21kbli0

Spring Waters:

Spring Waters pronunciation

Lilacs:

Lilacs Pronunciation

Past Life Melodies:

All people

1.      work on overtone singing! use these videos if you’re having trouble: 

1.      https://www.youtube.com/watch?v=VGbFB91eM34

2.      https://www.youtube.com/watch?v=FwruTg2w-WY

2.      Sing along with Chanticleer! The tricky part for this piece will be remembering the order and sequence of events. https://www.youtube.com/watch?v=o87rD29rl-4

3/25/2015 Ensemble Blog

Ensemble Rehearsal Notes

Goza mi calipso:

·         Speak through the text and practice the pronunciation of the Spanish.  Soprano 1s, please pay particular attention to the verses on page 2, rehearsal marking B. 

·         Practice the syncopated rhythms by counting and clapping, speaking the text in rhythm, and even writing out the counting if needed.

·         Sing through on your notes. Notice that the material at rehearsal markings A, D, and F is the same!!

·         Memorize from Rehearsal Marking F to the end (last page), including dynamics.

Day Break:

·         Review what we worked on during class, pages 6-10, Rehearsal Markings 3-6.  Be sure your notes/rhythms/text is solid on this section by next week.  If you were absent, know that we finished learning all notes/rhythms for the entire piece, so please prepare at home for next week.

·         Review the entire piece.  Notice that musical material often returns throughout the piece!  Melodies that you have sung in the beginning, return at the end!

·         Perhaps most importantly, listen to this recording several times to get a feel for this piece.  You need to understand the tempo and flow, and listening often is your easiest way to accomplish this.  Listening is an invaluable practice tool!  This recording is accessed through DropBox.  If you do not have DropBox, it is free and safe to download online. 

Bedu Pako Baramasa:

·         Practice speaking the text from beginning to end.  Work for fluency.  Try to make sure you are not stumbling for words.

·         Review pages 5-8.  This section was added on during Wednesday’s rehearsal.  If you were absent, please work on this.  

·         Please watch this video to hear and see what the piece will look like when complete.

Let It Shine:

·         Review your parts from beginning to end.  Use your music score to check for accuracy.  Do not trust your memory right now as you work to re-polish the piece. 

·         Soprano 1’s: At the top of page 5, first line, third and fourth measures, make sure you are moving down to a B.  Some of you are still singing a C rather than B for the first note of the fourth measure.  Also check page 5, line 3, measures 2 and 3 for accuracy on the B-natural in measure 2 and B-flat in measure 3.

·         Alto 2’s: Work through page 5, staying light on the low notes and knowing when you move from D to C (second line, first measure).

·         All parts: Pay special attention to the last measure of page 6, as this is where the piece moves into a new key and it is a tricky transition!

Aural (Listening) and Theory Skills:

·         Please practice singing the following at home:

1.      Major Scale on solfège with hand signs.

2.      Natural Minor, Harmonic Minor, and Melodic Minor Scales on solfège with hand signs.

3.      Scale Intervals both ascending (going up – Do Re, Major Second) and descending (going down – Do Ti, Minor Second)

4.      Don’t forget about Sing Legato on solfège syllables, note names, counts, and if you are up to even more challenge, scale degrees! 

____________________________________________________________

Hello Musicianship!

Musicianship A:

Everyone should have their Book 4 done through page 11. 

For those of you that missed the sight reading exercise, you can find the PDF here:

https://drive.google.com/open?id=0B4uVu1DffYTrZXpYMTFRcHd4dkU&authuser=0

Please write in the solfège for every part, as well as the counts for your part specifically.

Here's a link to YouTube to hear the original piece, for those who are curious:

https://www.youtube.com/watch?v=vCGUQtKtiLQ

We will be making sure that everyone has turned in their theory book, so if you haven't done it all yet, this is your last chance to catch up!

For the next class, after revisiting the sight reading, we're going to do a 'just-in-case' review of scales and key signatures just to see where everyone is. No pressure! It's just a review, not a test!

Musicianship B:

Great job on today's review! Here is the link to the sheet where you will be notating the interval between each note: https://drive.google.com/file/d/0B4uVu1DffYTrZmE1QlNTU1ZfYkk/view?usp=sharing

Please do the intervals for the Soprano 1 line if you are a Soprano 1, and the Soprano 2 line if you are a Soprano 2 or Alto. Does the piece look familiar? It's from Vivaldi's Gloria!

Here's a link to listen to the movement on YouTube!

https://www.youtube.com/watch?v=eLvECMpdHyc

See you all next week!

Michael

3/18/2015 Ensemble Blog

Dear Ensemble singers and families,

First of all, I hope that you truly enjoyed Cantabile’s Festival for Young Voices last weekend with Dr. Anthony Trecek-King and Derique.  It was a beautiful, informative, and soul-filled event that you will remember for the rest of your lives! Being able to hear and talk with Aria on Wednesday gave you a goal for the future, how much can be accomplished with hard work, dedication, and active listening!  We have now entered the second half of the semester and it is time to begin focusing on our Spring Concert repertoire.  Please see below to get started!    

Ensemble Rehearsal Notes

Goza mi calipso:

·         Speak through the text and practice the pronunciation of the Spanish.  Soprano 1s please pay particular attention to the verses on page 2, rehearsal marking B. 

·         Practice the syncopated rhythms by counting and clapping, speaking the text in rhythm, and even writing out the counting if needed.

·         Sing through on your notes.  Notice that the material at rehearsal markings A, D, and F is the same!!

Day Break:

·         Review what we worked on during class, pages 10-14.  Be sure your notes/rhythms/text are solid on this section by next week. 

·         Review the beginning of the piece, pages 2-6.  Notice that the material is very similar in these two sections! 

·         Please look through your parts at rehearsal markings 4-5 and 9 to the end.  We will be working on these sections next week.

·         Please listen to this recording several times to get a feel for this piece.  This recording is accessed through DropBox.  If you do not have DropBox, it is free and safe to download the recording online.  

Bedu Pako Baramasa:

·         Please spend some time reviewing what was done on this piece several weeks ago.  It has been some time, but you did learn the notes and text for pages 3 and 4. 

·         Please watch this video to hear and see what the piece will look like when complete.

Aural (Listening) and Theory Skills:

·         Please practice singing the following at home:

1.       Major Scale on Solfège with hand signs

2.       Natural Minor, Harmonic Minor, and Melodic Minor Scales on Solfège with hand signs

3.       Scale Intervals both ascending (going up – Do Re, Major Second) and descending (going down – Do Ti, Minor Second)

4.       Don’t forget about Sing Legato on Solfège syllables, note names, counts, and if you are up to even more challenge, scale degrees!

Musicianship Notes

Musicianship A

Please make sure to write in the solfège for all parts of the excerpt of Exaltabo Te I handed to you. You get this week to catch up on your theory books, so please make sure to have all the pages previously assigned (through page 11) done for next week!

Musicianship B

Please print out the worksheet I've linked to here, and complete it for next time. (It has a correction in it; the old sheet you have has a paragraph that references a problem that isn't on the sheet, oops!)

https://docs.google.com/a/esohn.com/document/d/1MUyqHSzJqNdykJrT1yAALEDtevnmziOVwc5ER9qtIUc/edit?usp=sharing

Here is the link to the website I mentioned before that has examples of various intervals. Be sure to listen to as many as you can, and have your interval worksheets done for next time!

http://www.earmaster.com/products/free-tools/interval-song-chart-generator.html

3/4/2015 Ensemble Blog

Dear Ensemble singers and families,

It was so nice to be back with you and see your smiling faces after two weeks away!  It is a true pleasure to be able to stand in front of you and hear your lovely sound.  We have an exciting event quickly approaching!  Thursday, March 12th, 2015, you will be treated to a clinic with guest conductor Anthony Trecek-King, followed by the Cantabile Festival for Young Voices on Saturday, March 14th, 2015!  These two days will be wonderful, fun-filled events, but we have a lot to do to be ready in a short amount of time.  Please see below and take these rehearsal notes seriously.  Please come to rehearsal next week fully prepared to move forward with your repertoire.  Strive to be one of the people in your section that others listen for because they know you will be correct.  Do not strive to be the follower. Please have all of the pieces solidly memorized for rehearsal next week.  You are smart, talented, and dedicated artists of choral music! You can do this!  

Cantabile's Fifth Annual Festival for Young Voices:

A Celebration of Negro Spiritual and Gospel Music

Workshop with Guest Conductor and Festival Clinician, Anthony Trecek-King at FCC in Parish Hall: Thursday, March 12, 5.00-7.30 pm

Snack: Please bring a snack

Festival on Saturday, March 14 at First United Methodist Church of Palo Alto:

Drop Off Time: 10.00 am

Drop Off & Sign in Location: church courtyard on Hamilton Ave

Pick Up Time: between 3.30-4.00 pm

You will receive a letter containing more details (eg. attire, lunch, what to bring, pick up instructions etc) on Monday, March 9.

 

Rehearsal Notes

Ol’ Time Religion: Re-visit your notes and rhythms on pages 9-11.  Make sure this is SOLID. 

1. Speak the text in rhythm. 

2. Sing through the notes on Solfege.

3. Sing through using the text.

Remember the tempo changes that have been added.  Slower beginning, accelerando on measure 38-39 of page 7, and three times through the repeat on page 9. Please come to rehearsal with this completely memorized next week. 

The Storm is Passing Over: Remember the tip passed along to you straight from Rollo Dilworth…”chop the onions, spread the butter.” 

Any note a quarter note or shorter should be crisp and detached (chop the onions).  Half notes and longer should be smooth and full value (spread the butter). 

Soprano 2s: Be sure to look at your part on pages 4 and 5.  Feel very comfortable with your notes so you can really enjoy the special chorus! Please come to rehearsal with this completely memorized next week. 

Peter, Go Ring-a Dem Bells: Re-visit your notes and rhythms throughout.  Make sure this is SOLID. 

1. Speak the text in rhythm. 

2. Sing through the notes on Solfege.  You can Solfege this entire song.  Just make sure to take note of the key change from F-Major to G-Major on page 14. 

3. Sing through using the text.

Remember the change in tempo and character on pages 11 and 12. 

Pay special attention to measure 133 to the end.  Count and clap your rhythm, speak the rhythm, write in the rhythm, move the rhythm with your body, step to the rhythm, do anything you can to FEEL the rhythm in this section. Please come to rehearsal with this completely memorized next week. 

Let it Shine: Please re-visit your parts on this piece.  A little work to refresh your memory will go a long way!  Carefully review your harmonies on pages 5 and 6.  This was the weakest area during the run through last week.  Give it some special attention and tender loving care! Please come to rehearsal with this completely memorized next week.

Amazing Grace: Remember that you are switching to now sing the harmony rather than the melody. 

Please review your part making sure to be singing the Treble III line on pages 6-7 and 9-10. Keep it beautiful and artistic!  Limit the scooping and stylizing that is so easy to add.  What may be appropriate when you are singing as a soloist is not always appropriate when singing with a choir!

Let it Shine: Sing this with a clean, bel canto, tone quality.  It should be pure, floating, and utterly beautiful. Pay close attention to the differences in the melodic line on page 7.  It is not the same as the first verse. Give special attention to measures 8, 26, 34, 45, and 53 (Sol, Mi, Do).  They are all identical and this was the only measure of error in our read through.  Please come to rehearsal with this completely memorized next week.

Musicianship Notes

Hello Ensemble!

Here are your assignments by section for the week.

For Musicianship A & B:

http://www.earmaster.com/products/free-tools/interval-song-chart-generator.html

This is the website I was talking about with clips of different songs that you can use to hear various intervals in. You can listen to as many as you'd like, but please make sure to listen to at least two examples each of the major and minor sixth.

Musicianship A:

For those of you in Musicianship A who did not receive the assignment that was given over the last two weeks, please download and print it from the link here:

https://drive.google.com/file/d/0B9DI7IvIgK00c2RoNFRkT1dGa28/view?usp=sharing

Here is the overview of the assignment:

The first section of the assignment is to identify the intervals - the space between the notes. The bottom note should always be considered "do" for the purposes of determining the quality of an interval. The quality of an interval can be major, minor, perfect, augmented, or diminished.

In the first interval for example, the notes are C and A. C is the bottom note, and so it is "do" in the key of C major. A is "la" in the key of C major, and from "do" to "la", the interval is a major 6th.

A capital M should be used for major intervals; a lowercase m for minor; a P for perfect intervals, a + (plus) for augmented intervals, and a o (circle) for diminished intervals.

A major interval is one where a tone goes to another note in the context of the key of the bottom note, except for unison, 4ths, 5ths, and octaves. (Unisons, 4ths, 5ths, and octaves, are always perfect. If modified, they become augmented or diminished, depending on the direction; augmented is if they are raised, and diminished is if they are lowered. Remember, there is never such a thing as a major 4th, etc!)

A minor interval is one where the tone goes to another note in the context of a key, but is lowered by a half step. For example, the second interval is a minor 7th. C to B is normally a major 7th, but because the B is lowered by a half step, it becomes minor.

Please make sure not to rush through the problems, especially with those that contain either F or B! Those two notes especially can be very tricky. (e.g. B to F natural is a diminished 5th!)

I have also noticed that not everyone is handing in their work from the class time. Please make sure to hand in all your assignments to me after I ask for them, so that way I can make sure I'm helping you all in the best way I can.

Everyone should have received a copy (or a photocopy) of Book IV. Please have pages 1-7 completed for next time and have your book ready to hand in to Gwen. 

Musicianship B:

Please make sure to listen to as many interval examples as possible during the week. There will be a quiz next time!

Also, be sure to be ready to sing your parts in a quartet for next time. You will be given a grade and feedback on how well you are able to hold your part independently. Please make sure to write in the solfege and counts as needed. If all goes well, I'll have pages 4-6 ready for you next time!