Transcription
Reproducible Singer PagesVocalize!45 Accompanied Vocal Warm-Upsthat Teach TechniqueComposed and Arranged by Andy Beck
VOCALIZE! – Singer Page 2Come Now, Let Our Voices RingFor many singers, the healthiest part of the voice is in the middle range. This exercise begins in that “sweetspot” (for most) and gently descends. Be cautious not to add extra weight as the notes go down, but ratherfloat like a feather to the lower pitches.Beginning Warm-Ups1Optional: Sing only the vowel sounds of each word, drawing attention to mouth shape and space.Come Now, Let Our Voices Ringb 4& b bbb 4 œ œ œ œCome now, letourœ œ œ.voic - esring.‰ œ œ œœ“Al - le - lu - ia”42 œ œwewill44 Ósing.Beginning Warm-Ups1Come Now, Let Our Voices Ringb 424Ó& b bbb 4 œ œ œ œ œ œ œ. ‰ œ œ œ œ 4 œ œ 4 #& # 44 œCome- es œring.œ œ œ “Alœ œ- leœ - luœ - œia” œ œ weœ œwillœ œ sing.œ œ œ Œœ œnow,œ letœ œourœ voicœœThis simple exercise is a great way to capture the attention of singers at the start of rehearsal. It serves asI Just Want to SingI just want to Singjust want everyto singtime.to- day,sing ofcoreverything-rect-ly all youthe way,tosing goodcor -rect-ly isthe on - lyandway to sing.a cue to “singIcorrectly”Beandmindfulknow aboutvocaltechnique,Beginning Warm-Upsapply it throughout.1Come Now, Let Our Voices RingOptional: Try to perform the four-bar phrase in one breath.b 424Ó&#b b4bb 4 œ œ œ œ œ œ œ. ‰ œ œ œ œ 4 œ œ 4 & b# 4 œComeœ œ œ “Alœ œ- leœ - luœ - œia” œ œweœ willœ œ œ sing.œ œ œ Œœ œnow,œ letœ œourœ voic-œes œring.œŒŒ œ œ &b b C œ œ œ œ .œ œ œ œI just want to sing to- day, and sing cor -rect-ly all the way,to sing cor -rect-ly is the on - ly way to sing.I just want to SingSing a Joyful SongSingajoy - fulsong,singitalldaylong.FalabÓœ œ œ œ œ œ œ œ œ&b b œ œ œ œ ## 4la la la la& bbb4C œ œ œ œ œ œ œ la œ laœ œla,œŒ œfa œ la œ la œ laœ œla œœ œla œ œ la. œŒ œ œ Œœ& œœœ œœ œœ œ œ œ œ .I just want to SingSing a Joyful SongSing a Joyful SongI just want to sing to- day, and sing cor -rect-ly all the way,to sing cor -rect-ly is the on - ly way to sing.Fa laSingthe jawa or joy- fulsong,sing insideit andalldayWithout forcingtongue,allow themouth to be open bothout onwords long.like ming Up our VoicesbÓœ œ œ œ œ œ œ œ œ& bbb œ œ œ œ Singb 44 Song& ba Joyfulœ œ laœ œla œ la œ œla œ la,œ fa la œ laœ œla œ œla œ la œ la.œ œ œ œ Œla œ lab Warm-ing up our voic - es, read - y, set, let’sŒgo:do, re, mi, fa, sol, mi,sol, fa, mi, Œre, do.&b b C œ œ œ œ œ œ .œ œ œ œOptional: Massage the sides of your face and the muscles where the lower jaw attaches in back. Looseneverything up as you vocalize.SingaWarming Up our Voicesjoy - fulsong,singitalldaylong.FabÓ& bbbbb 4œ œ œœ œœ œ œ œ œœ œ œ œ œ œ œœ œ œ œœœ œ œ Œ& 4œ œ œœ œ œœ œ œlalalalalalala,faWarm - ing up our voic - es, read - y, set, let’s go:40024Warming Up our Voiceslalalalalado, re, mi, fa, sol, mi, 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.la.sol, fa, mi, re, do.la
œœSing .œajoy - fulœœœœ œœœœœla,falalalalasong, VOCALIZE! – Singersing Pageit 3b&b b œœœœœlalalalalaœWarming Up Our Voiceslalaœalldaylong.FalaÓ la.Sing four-bar phrases, breathing only at rests. Add Curwen hand signs when singing solfège syllables.(See page 20.)AlternateNow rehearsal’s starting, ready for some fun: 1, 2, 3, 4, 5, 3, 5, 4, 3, 2, 1.Warming Lyrics:Up our Voicesb& b b 44 œ œ œ œ œ œWarm - ing up our voic - es, œ œ œ œread - y, set, let’s go:œ œœ œ œ œœ œ œ œŒœdo, re, mi, fa, sol, mi,sol, fa, mi, re, do.Feet Are Firmly PlantedGood standing posture is absolutely essential for good singing. Follow the lyrics closely as instructionsfor proper alignment. Check yourself as each body part is mentioned,relaxing into position andPostureavoidingtension.Feet are Firmly Plantedb4&b 4 œ œ œ œ œœœFeet are firm - ly plant - edb&b œ œ œ œ œœ-dersare re - laxed, armsFeet areShoulFirmlyPlantedœon the ground.œœhang - ing œœ œ œ œ œKnees and hips and chestœ œ œ œ œPosturedown.Head isbal -anced on1aŒ .-lign.œ thespine.40024Ó1Œbb 44 œ œ œ œœ& .œœRelax, Releaseœœœœ œœœFeet are firm - ly plant - edonthe ground.Knees and hips and chesta - lign.& 43 œ œ œ œ œ œ Œ œ œ œ œ œ œ œ .bÓœ & b Reœ - œlax, œ reœ- lease,œ œa - voidœ an -œy strain. œFreeœfromœall œ tenœ- sion, tight- ness, or pain.The popular gym workout phrase, “no pain, no gain,” has absolutely no truth for singers! Never allow strainRelax, ReleaseShoulin-dersare relaxed, armsing comfortdown. from headHead tois toe.bal -anced onor tightnessthe bodyor- throat.Instead,hangstrive- forthespine.Roll Your ShouldersOptional: Perform this exercise while swaying gently from side to side. Release your legs, knees, arms,elbows, shoulders, neck, and head.b4œ &b 4 œ œ œ œœ& 43 œRoll your œshoul - ders œ highœ œand œ low, Relax, Releaseb&bRe - lax,re - lease,a - void an - yœ œ œ œ œœyour shoul-ders allRoll YourRollShouldersb4&b 4 œœ40024Though the Notes may Riseœ .Œstrain.a - round,œœœ œœœŒ backœ andœ œforth, œ and œœ œ œ œ .to œand fro.rit.œthen re - lease them backandFree from allten - sion,œ œ œ œ œœœ 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.œœ tight - ness, orŒÓpain.down.œ œ Œ
Feet are firm - ly plant - edb& b3 œ œ œ œœ œ &4œonRelax, Releasethe ground.Knees and hips and chesta-lign.VOCALIZE! – Singer Page 4œœ œœ œ œœ Roll Your ShouldersShoul -ders are re - laxed, armshang - ing down.Re - lax,re - lease,a - void an - y strain. ÓŒ œœ œ œ œ œ œ œ œ œ œ œ .œHead is bal -anced onthespine.Free from all ten - sion,tight - ness, orpain.One of the first places that we hold physical tension is in our shoulders. Move slowly and with purpose whileRelax, Releasesingingthis exercise, circling the shoulders in each direction, releasing any tightness.Roll Your Shoulders& b43b 4œ œ œ œ œ œœ œ Œ œ œœ œ œ œ œ œ . Œ& 4œœ œ œ œœœœtightœ- ness, or pain.Re - lax,re - lease,a - void an - y strain.Free from all ten - sion,Rollyour shoul - dershighandb&b œ œ œ œ œ œ .b 4 your shoul-ders all a - round,œ4œ œ œ œ& b Rollœlow,ŒRoll Your ShouldersRollyour shoul - dershighThough the Notes may Riseandback low,andforth,and Óœœ œ œ œ œthen re - leaseœ themœ backœ and œ down.œœ backandforth,andbThoughŒMay Rise& bbb 4 Œ œ œ theœ œ œNotesw .œ œ œŒ œ& b œ4rit.œœœRollloweringyour shoul-dersa - round,then re- leasethemandand throat.down.Raising andthechin allwhile singingplaces unwanted pressureandstrainonbackthe neckThough the notesmayrise,andthe notesSo, it is important to maintain a level and balanced head throughout your full vocal range.b& b b .b 4& b b 4fall,ŒŒœ œ œœ holdœ the chinœœ œ.Jlev - welœ œ œœ œ.JŒœ œ œœOptional:Balance a choir folder or book on your head while singing this exercise.Though the Notes may RiseœThoughb&b b . Œfall,thenotesmayhold the chinŒœwith the headrise,lev - elwœœtall.thenotesupandŒŒto and fro. œœ œ œœœto and fro.rit.œ œ œœwwith the headuptall.ÓœmayœmayDrop Your Jaw40024Follow the lyrics closely and do as they say, creating vertical space inside the mouth and rounded lips.Be careful not to force the jaw or lips into position, but ratherallow them to float easily from one shapeVowelstoDropthe Yournext.Jaw4&4œDrop& œœ yourœO - pen40024My, Oh Me, Oh Myjaw, mouthœœletitœœnorthand œœfall,shapeyour œsouthforœa 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.œœvow - elsœ.fin-jœerŒ .round. .sound.Œ40024
& 44œœ œœVOCALIZE! – Singer œPage 5 œMy, Oh Me, OhMyœ œDrop&œyourjaw,letitfall, œshape œyourœœvow - elsround.jœœ.Œ .œŒ .Vowelsby the letter “m,” which helps to bring theAs written, this exercise presents mostly open vowels connectedO Jaw- penmouthnorthand orsoutha goals.finer sound.voiceFeel freeto change theconsonantsvowels basedforon specificDrop forward.Your& 44 œ œ###Drop# 4 œyour œ jaw, œ&4& œ My,œ oh me,œœŒSuggestions: “Why, oh we, oh why” will add the roundness of “oo” at each “w.” A rolled “Rye, oh Rio, rye” willrelax the tongue. “Fye, oh fee, oh fye” insures that breath is flowing at the onset of tone.My, Oh Me, Oh MyO - penmouthDrop Your Jawœ œ let œ it œ fall, œœ œ ohmy,ohme,northandVowelssouthœœ .œœshape yourœ œvow - œels œround. jœ œmy, œ.ohohme,œ oh . my!forafin-erŒsound.œ œ œ œ œ& b444 œœœ Ó .b& #4œœ## Dropœ œyour œ jaw,œ œ œ let œ it œ fall, œ œshape your#4œ œvow - œels œround. & Nee4nehnahnohnoo.œSing with pure vowels while connectingeachœand every note to create a legato line. Allow thejjaw to float& eachMy, me,œ œmy, œ.ohohmy,oh roundme, sounds.ohohme,easily intousing relaxedlips to formœ œnew position,œ oh . my!Nee, Neh, Nah,Noh, NooŒNee, Neh, Nah, Noh, NooMy, Oh Me, Oh MyŒWith a JoyfulO The- Tonepen “n”mouthnorth resonance,andsouthformay chooseafincall out- otherer sound.Optional:letterhelps to developbut the directortoinitialconsonants (voiced or unvoiced) during each key change.### 2‰ œ œ& 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œMy, Ohb Me,4 Oh My& b #4 With a joy -œful tone I œam not a -œlone, for my friends on ei - ther Ó sidelet their## # 4œ œ œ noo.œ œ œ œ & # # Nee4 œ œ nehœ œ nahœ œ nohœ œ œ œœmy! Œ& # œ My, œ oh œ me,œ œoh œmy, œoh œ me, œ ohœ my,ohme,ohNee, Neh, Nah,Noh, NooWith a JoyfulvoicTone- esringaswealldosingwith ourvow - elstall,notwide.with ourvow - elstall,notwide.### 2‰ œ œ& 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb4& b 4 With a joy -œful tone I œam not a -œlone, for my friends on ei - ther Ó sidelet theirœ Keep the attitude of this exercise joyful and light while maintaining a quality sound. Even though the musicNee for warm vowelsneh by visualizingnah tall oval shapesnoh at the core ofnoo.# #striveis bright,every word.Œœ&# œ œ œ œ œ œ œ œ œ œ œ œ œ œOptional: Experiment with different volumes. No matter what the dynamic range, the integrity of vowelsWith a Joyful ToneNee, Neh, Nah,Noh, Nooshould be consistent.voic - esWith a Joyful Toneringaswealldosing##2&# 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œWith a###œ&œvoic - es40024joy - fulœringtoneIamœ œœasallwenota - lone, for my friends onœœdosingœ œwith ourœœvow - els 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.ei - therœ‰œ œsideœœœtall,notwide.let their40024Œ
VOCALIZE! – Singer Page 6Breath SupportPrior to singing, take a deep breath, allowing the abdomen and diaphragm to fully expand while the chestand shoulders remain relaxed. Support your voice by connecting to a controlled, firm exhalation. For this2exercise,breathe only when you see a rest.Optional: Place your hand on your abdomen to draw attentionto breathing. As you sing, push lightly withBreath Supportthat hand, creating a comfortable amount of resistance.Breath Support2&2œ2œ.œ œ Breath sup - port,it’s alla - boutœ œ œbreath sup - port,herejSupportœ œ œBreathœ œ œ œit’s all a - bout breath sup - port,jœ. œ œ œ œœ œ œ Breath sup - port,œ œ 2œœ.& œ œ œ Breath Support2&2œjœ œ œ œFlying,BreathSighing sup - port,it’s allFlying,Sighingjb 4a - boutœweœ œ œlet - ting itœbreath sup - port,hereŒœgo. œflow.wego.ŒœBreath Supportœœ œœ œ œ œ Œ& b œb 4 œ œ œœ. œ œœ œœ œœ œ Œ œ œ œ Be sure2to inhale completely on each rest, allowingthe voice to ride firmly on the breath as you sing. Bejsup - port,it’s allwe aride.- bout breathflow. ŒFlybreathSighsup - port,awarethatby the2 œchanging&Breathœ - fromœ ing, one note toonœthe.thenextœis bestœ œing, breath.olet- penœ- tinginœit- side.œœ achievedœ œ whenœfacilitatedBreath SupportOptional:Experimentwith sliding from pitch toit’spitch.to createtrue legato line supportedBreathsup - port,all Thisa -maybouthelpbreathsup a- port,here weby the breath.jœ.œ œ œ œ œ Œ œ œ œ œ œ œ œ . œ œ œœ œ œit’s all a - bout breath sup - port,Flying,CavingSighingInResist& #bbœ4 4 œ œ & 4b 4œ Breath sup - port,ReFly-#& b 4& b# 4bsist4 & 4œing,sistcav - oningthe breathin, we ride. toœœFlying, SighingResist Caving In .Resist Cavingœ œ In œ œ œcav - ingin,œ .œœoneSighsingŒœbreathœa-œgo.œ œ œ Œ Œœœ let -œ tingœ it œflow. œing,pen in - side.long - er o -phrase.œ can last œ œ œœfor œdays.œ œ œÓœŒFly ing,on the breath we ride.Sigh - ing,o - pen in - side.As you inhale and fill with air, the front, sides, and back of the torso should fully expand. When you sing,Take Time lly “budget” and “spend” the air—avoid deflating too quickly.#œ j . .Œ œ Œ œ œ œ œ& 44 Œœœ œ œ. œ.œ# 4sist Take cav time- ingœ to œin,breathe,one& 4œœ last timeœbreath œcan takeœ for œ .jŒ Re œ - sistœ. œ cavœ- ing . in, Œ œto œ. sing j a long - er&œ wTake Time to Breathe# In - hale comœ- plete - ly,take timeœ&4Œœ Œ œto breathe.œœ œ. Œj&4œ œ.œ œ.œ in, .sistcav - ingonebreath canlastforSpecial Challenge: Do not breathe after the word “phrase.”Resist Caving InTake40024ŒœTake Time to Breatheœ.timejœtobreathe,take 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.Œjtimejœ .ÓwwÓ todays.breathe.phrase.j œ .days.to breathe.ŒRe -ŒœRe -ŒœRe -Œ
#4& 4œ œœ .VOCALIZE!œ– SingerœPage 7œTakeTimetoBreathe# œRe-sistcav - ingœ&in,toœœ .singœaœlong - erœphrase.œœŒ œRe -Ó Inhalation should never occur through a constricted throat. Many times, the need to rush a breath createssist “gasp” forcavair.- Tryingto allowin,breath tocanfordays.an unwantedample time inoneyour phrasingrefreshlastthe air supplywithease.Optional: Place one thumb under your chin near the throat to monitor the inhalation. Keep a relaxed throatas you breathe.Take Time to Breathe4&4ŒœTake& Œœjœœ.timeœ.In - halejœ œŒ .toŒbreathe,takeŒ .œœcom - plete - ly,œ.take timeœ.timejœ wjœ .tobreathe.Œwto breathe.wDon’t Want to Be ThroatyThere are many words used to describe vocal tone, both positive and negative. Some good ones include:warm, rich, and round. Some unflattering ones are: strident, forced, or nasal. This exercise mentions a fewideas40024to work toward, and others to avoid. Ultimately, singersshould strive to develop a free and naturalTone Qualitysound, one that is uniquely their own.Don't Want to be Throaty& b 22 Œœ œ œ œDon't Want to beDon’tThroatywant to beœ .throat - yTone Qualityor stuck in the&&bb 22œ Œ . œ œ œ œ œœ œ œœ œ . wstri - dentI supDon’t want to orbeweak,throat- y- pose.&& bb œ .œ œ œ œ .œ œŒ œ œœ w œtone,stri - dentœ œ œ œ œwŒnose.Œœ œ œ œ œœ œ œ œ wœ .wantsound nose.love - ly,or Istuckin totheœ œ œ œDon’t want to beŒ œ œ œ œ œ œœ œœwithbeauto-ti -befulDon’twantœŒ œ œœœ œœ œ œ . w œ œ œ Óœ œfo --cused,my- ly,or weak, I suppose. with free - dom,I wantu to- niquesound-lyloveown.with beau -ti - ful& b œ œ œ . Œ œ œ œ œ œ œ Ówb4-ly2 myÓœ œ œ œ foœ - cused, withŒ free- dom,œ œu - nique44 œ own. 44& b tone,œœ of your voice with consistent supportœ the range. Avoid over-singingUnify the registersthroughoutœœ or Just One VoiceJust One Voiceunder-supportingon any notes. A legato line and light approachmay helpto cover“breaks.”Just one voice from high to low,do dotisollatiJust One Voicedo.b444œ œ œ œ œŒœ œ œ 42 œ&b 4œœ œœb3& b b 4Just one œvoice œfromœ highœ toœ low, do Œ do ti solœ œ la œ tiœ .do.Never Louder Than LovelyNev - er loud - er than40024Never Louder Than Lovely 2013 Alfred Music Publishing Co., Inc.love - ly.Nev - erRight to photocopy with purchase.strong - er than sweet.Ó Œ
& b œ .Just One Voicestri - dentŒ œ œ œ œwœ œ œ œ œVOCALIZE! – Singer Page 8or weak, I sup - pose.b4œ œ œ& bb 4&œ œ œ œ .œ œ œ œ œœ .I want to sound love - ly,with beau -ti - ful44œ œ œ 42 œÓœ œw Óœœ œŒŒœ œ œ œœNever Louder Than LovelyJust one voice fromtone,highto low,do dofo - cused, with free - dom,tisollau - nique -ly mytido.own.Even at your fullest volume, never force the voice. Beauty is so much more important than volume. The lyricsof this exercise provide fundamental rules for singing at any dynamic level.Never Louder Than Lovelyb 3& bbb44 œ œ œ œ œ Œ Œ œ œ 2œ œ œ 4 .ÓbœŒœ œ œ œœ œ 4œ4& 4NevNev - er strong - er thanœ - er loud - er than love - ly.œœœ sweet. do dotisollatido.b Just one voice from high to low,bŒ& b œ œ œ œ œ œ œœ œ œ œ œ œ . Never Louder Than LovelyJust One VoiceNev - er moreb 3&b b 4 ProjectœNev - er& bbbCb œ Project&œ œPro - ject,Nev - er more&b Œvol - ume thanœ œ œbeau - ty.œ loud - er than love - ly.Œœ œ œ œpro - ject,vol - ume thanŒ Œœ œyoubeau - ty. Sing - ing likeœNev - erthisœ œ œProjectspect,œbecare - fulnotto&b Œspect,&b œœbeœœgrown.œ œ œ œcare - fulœfind your voice has grown.nottoŒŒ shout.Sing - ing likethisœ œ œ œ œ œUse aPro - ject, shout.œ .treat. Œœ œ Œœ œ œ œ œœœœœ have to sing itout.Re - spect,well - sup - port - ed& bb Cœ œ œ œ Œœ œ Œ Œ œ œ œ Œœ œ& œyou havePro - ject,pro - ject,to sing œitfind your voice hasastrong - er than sweet.For many developing singers, there is a fine line between a healthy projected tone and shoutedover-singing. Visualize a point on the far wall of the rehearsal room. With firm breath support andan open resonating space in the mouth and throat, be sure that your voice carries to that point.œ œ œ œisŒout.re - spect,Pro - ject,ŒŒwell - sup - port - edœ re - spect,Œa tone,Œ œœ œ œ œ œ œUse a isŒ . œŒ wRe œ- spect,pro - ject. Œtone,œŒtreat.re -œ œŒand you’llœre -œ œ40024and you’llwpro - ject.4002440024 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.
VOCALIZE! – Singer Page 9Consonants Are PlannedPlace the final consonant crisply on the cutoff of each phrase.Optional: Hold the palm of your hand in front of your mouthas you sing. Feel a light burst of air as eachDiction2consonantis pronounced.Consonants are Plannedb 4&b b 4 œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ Ev-’ry phrase we sing should be com - pleteb&b b œ2œœ œ œ œwith aŒ œ œ œDiction’rycon - so - nant is planned,Consonantsevare -Plannedso theb 4&b b 4 œ œ œ œ œ œ œ œ Ev-’ry phrase we sing should be com - pleteœ œ œ œ with aDiction2Each andÓau - di - ence can un - der - stand.6Thethe‰œ œ œ œ ‰& bb8 # œjLips,œ ‰ œTongue,œœŒ œ œb& b œ œ œ œ œ œ theb 4Tip of the Teeth œThe lips,the tongue,thetipev - ’rycon - so - nant is planned,œneat.Œ œ œ œ œ œ œ œ œ The Lips, the Tongue, the Tip of the TeethConsonants are Plannedfi - nal cut - off that isŒ œ œof the teeth,so thefi - nal cut - off that isneat.œ œ œ œ œ œ œ.œ œ œ œ œ care - ful - ly sing - ing each word.Œ œ œEach andŒjÓ #œE -Œ œ œ œ œ œ œ œ œ Œ .œ œ& bb b 4 œ‰ œ œ œ‰ œ œ œ œ ‰œ œ ‰Œœœœœ&œœœ of theœ mouth.The title ofusœthat good diction is achievedby using these critical partsœ this exerciseœ remindsœ.Ev-’ryphrasewe sing should be com - pleteEnunciate clearlyas yousing.The Lips, the Tongue, the Tip of the Teethnun-ci - ate,e - nun-au - di - ence can un - der - stand.with asoci - ate,fi - nal cut - off that isthat the lyr - ics areneat.heard.bbb6b œj œ ‰ œ œ œ ‰œ œ œŒ œ œ œ ‰ œ œ œ œœ œ&& 8œ œ œ œ.œ œ œœœœœ œSeashells # œev - ’rycon - so - nant is planned,The lips,the tongue,thetipso theof the teeth,Each andÓŒau - di - ence can un - der - stand.care - ful - ly sing - ing each word.j#œb 6& b b 8 œ. œ. œ. œ. œ. œ œJ œ. œ ‰ œ. œ. œ. œ. œ. œ. œ. . Œ.b the Tongue,‰ the Tipœ of theŒ‰ Teeth&Lips,œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ.Theœ She sellsœ sea - shellsdown by the sea - shore.I’m sureshe sellssea - shore shells.e - nun- ci - ate,so that the lyr - ics are heard.6nun - ci - ate,& b 8 # œj œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ. Œ # œjWoodchuckThelips,the tongue,thetipbbbbb 42 œ‰ œ&‰œ‰6&& b bœ8 œ. œ . œ œ . œœ.œ œ œ.œ œSeashellsSeashellsof the teeth,œœœ œ. œ‰ ‰ œ œœ. œœ . œ œ.œœ œ. œ œ œœ.œ.J œ œ a woodœ- chuck couldœ chuckœ. wood?wood - chuck chuck, ifHow much wood would anun She- sellsci - ate,sea - shellse -downnun by- theci -seaate,- shore.b&b b œcare - ful - ly sing - ing each word.so that- icsI’msure theshelyr sellsSeashellsWoodchuckmuch woodbbbbbb 682 œ. œ.&& 4œ œœ œ œasœœœa wood - chuck could chuck,œ œifb&b b œWoodchuckœœœœwood - chuck could chuckœwood!œ. œ. œ. œ œ œ. œ ‰ œ. œ. œ. œ. œ. œœ.œ œ œ œ œJ œ œ œ œ œ œ œShe sellssea - shells down by the sea - shore.How much wood would a wood - chuck chuck, if40024aœœ œ œœI’m sureshe sellssea - shorea wood - chuck could chuck wood? 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.œœœ œœœœ‰ Œ.œ.aresea - heard.shore shells.Sibilant consonants (those that create a hissing sound with the tongue on the roof of the mouth) can beproblematic if overdone. Treat every “s” with care, extending the vowel of each syllable to its fullest length,avoiding a “leaky tire” effect.œE -œœE -jœŒ.AsŒ.jœ‰. Œœshells.ŒAs
nun-ci - ate,e - nunWoodchuckœ.bb 6 œ.-ci - ate,sothat theVOCALIZE! – Singer Page 10lyr - icsareheard.Seashells& b8œ.œ. œ œ œ. œ ‰ œ. œ.Jœ.œ. œ.œ. œ.œ.Œ.‰jœThis favorite childhood tongue twister makes an excellent diction workout for singers. Strive to make everyShe sellssea - shells down by the sea - shore.I’m sureshe sellssea - shore shells.word understood, even at this fast tempo.For Fun: Make it a brainteaser! Rest every time you have the word “wood.” Now, rest every time you have theword “chuck.” Or “could.” Or “much,” and so on!Woodchuckb 2&b b 4 œœœœ œHow much wood would ab&b b œœœ œ œmuch woodasœœœœ œœœ œwood - chuck chuck,œœa wood - chuck could chuck,ififaaœœœœœœwood - chuck could chuckœœwood - chuck could chuckœwood?AsŒœwood!Dynamics Are Fancy and FineObserve the dynamic markings. Contrast is the key,Dynamics/Articulationsbut be careful not to over-sing when loud ne quality, no matter what the dynamics are.Dynamics are Fancy and Finefbb4&b b 4 œœ œ œŒœ œ œœloud and proud when it’sSingfor - te,pœœ œ œ œ œ œ œ sing soft when pi - an - omffor - te,sing soft when pi - an - omfŒœ œis the sign,jjbbDynamics/Articulationsœ‰2b b œ œ œœœœ&œœœœ œ œ œ œ œ Dynamics are Fancy and Fineœ .p dy - nam -ics are fan - cy andwhen mez - zo is a - round,fine.bbb 4me f- di - umœ soundbŒœ œ œ œ œ& 4œœœ œ œ œ œ œ œ œ loud and proud when it’sSingStaccatoSing Legato, Singmpmake aÓŒis the sign,mpœ œmake aj#bj jj& b#bb44 œ œœ œ œ œ.œ œœ œœ œœ œœ œ œ œ.‰ ‰ œ œ.j œ‰ œ. ‰œ œ.jœ‰ œ œ.œ œ. œ. œ œj Ó‰ Œ. .Sing Legato, Sing Staccatome - dile- um- namandha hafine.ha ha.Sing- gasound- to, whenfa mezla -lazo lais la.a - round,Sing dystac- -icsca are- to,fan - cy haPractice a smoothly connected legato, versus a sharply detached staccato. Demonstrate the contrastingarticulation with gestures: painting a smooth arc with your hand for legato, and tapping an index fingerintoSingtheWeoppositeSforzando palm for staccato.Sing Legato, Sing Staccatosfp#4# 4mfj‰ jj ‰ mfjw‰‰ œ. œ œÓ œ j ‰ Œœ.œ.& 4 4 œ œ œ œœ œ œ œ œ œœ. . . œ. SingSingle - ga - to,we40024SingWeCrescendoingSforzandoWe Arefa la sforla la -la.zan Singstac- - ca 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.- do!to,ha ha ha ha ha.
œDynamics are Fancy and Finefbb4&b b 4 œme - di - um sound when mez - zo VOCALIZE!is a - round,– Singer- nam11-ics arep dyPageŒœ œ œœœ œ œSing We SforzandoSing Legato, Singloud and proud when it’sSingStaccatofor - te,fan - cy andfine.Œœ œ œ œ œ œ œ œsing soft when pi - an - omfis the sign,mpœ œmake a#b# b4j jjjjœ‰‰‰œ œjœ‰ œ œ.œ œ œ œ j Ó‰ Œœœ œœbœ‰4&œœbœœœœœœœœœœœ.œ œ this exercise,œ forte, thenBefore performingœ. try to sustainœthe highest pitch at your. fullest. .softest. try it at your. œ.pianissimo. How quickly can you get from one to the other? Add a controlled crescendo after the initialSingle- um- gasound- to,fa la la la la.- -icsca are- to,fan - cy hame - diready- namandha hafine.ha ha.attack and you’reto go! when mez - zo is a - round,Sing dystacNote: Sforzando may be abbreviated sf or sfz. When followed immediately by p, the correct notation is sfp.Sing We SforzandoSing Legato, Sing Staccatomf#4# 4mfjj& 4 4 œ œ œ œœ œ œ œœ œ w œ. ‰ œj ‰ œ. ‰ œj ‰ œ. œ œÓ œ j ‰ Œ . . . œ.sfpSingSingfa la sforla la -la.wele - ga - to,zan Singstac- - ca- do!to,ha ha ha ha ha.WeSingAreWeCrescendoingSforzandoWe AreCrescendoingœw œ œœ œ œœ œ œ œmf34&4œ p cresc. poco a pocoWearesfpcres - cen - do - ingaswemfœas -cend,œÓœœloud - ertheœ œgrow - ingSingwe- onzan- of a music do!Follow thedynamics closely. Imaginesevensfornumbersthe volume dialplayer. Each measurefdecresc. poco a pocoyou sing is one level louder or softer than the previous measure.& bœœœ . Optional:Count up or down on your fingers as you change dynamics.We Are Crescendoinghighp -cresc.er poco awepoco3&4& œ œ œœWeas& bœareweœhigh - erœœcres de -œwe& œœœaswede -40024climb.œœcen-scend,f .We’reœœdo-œœinggo - ingsoft - erscend,œgo - ingœde - cresbœ- anddecresc.softerpoco a- pocoœWe’reœœœœœsoft - erœand 2013 Alfred Music Publishing Co., Inc.Right to photocopy with purchase.œthisœde - cresbœ-time.œœsoft - erœtheœcen - do - ingpœœcen - do - ingœ pœœ œ œœ œ œœ weœ as œ- cend,œ grow œ- ing œ loud - .erasclimb.œœœthis .time.
VOCALIZE! – Singer Page 12A Diphthong SongA diphthong is defined as “the sound created when two vowels combine in a single syllable.” When singinga diphthong, sustain the first (or “primary”) vowel sound for the majority of the note’s duration, gliding to thesecondary vowel only at the very end.Other SkillsAlternate Lyrics: Light rain, window pane. Outside, clouds divide. Go now, take a bow. Sing a diphthong song.A Diphthong Song#& # 44 wwNight##& ## 4w& 4wsky,A Diphthong SongSnowNight .lullww . .shinWhite,sky,lull#w& ### 4ww&# 4 w4œ œ œWhite,4Night& # Snowœ œsky,A Diphthong SongŒ .œwa - by. Other SkillsDay---break,Œ .œ . . Œœing bright.w Singœwaa - by. Other SkillsDay- .wbreak,œno Œ .mis - take. . œw .Œdiph - thongsong.nomis - take.œ Œ . Œw. .œ . . Œ. œ w .œjw Sing- ing bright.adiph - thongsong.‰œœœshinœœœ œ- œbreak,œœ œ noœ œ mis œ- take.œlull - a - by.DayFlexibilityFlexibility#œ Œ . w& ## w .w .œœœ& ### SnowœœœœœœœœœSingœ œ aœ œdiph œ- thongœ œœsong.œjœ ‰4& 4 œ œ œWhite,œ œ œshin œ- œingœœ bright.œœœ œ œ œ œ œ œFlexi - bil - ity,what a ver - y finea - bil - i - ty.Sing lightly with a gentle pulse from your diaphragm on each pitch. Practice this tune with the wordsFlexi - bil - ity,sing - ing with pre - cisea - gil - i - ty.“da-ba-da-ba-da” to improve accuracy.FlexibilityFlex-i - bil-i-ty,sing - ing with pre - cisea - gil - i - ty.#& ### 4œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œjœ ‰& 4 œ œ œ œj œ œ œ œ œ œ œœ œ œ œj œ jœ œ4Flexibility,whatfine‰& 4 œFlexœ œ œ œ- œ. i œ- bilœ œ- œi œ.- ty, œsingœ - ingœa withœver -preœy -œciseœ aa -œ- gilbilœ - -œi i œ- - ty.œty. ‰Lis - ten to the beau -tyof mu - sic all a - round.## Lis-ten to the sing- ing, lis - ten to the sound.ListenandBlend& œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œjÓ‰j j j& 4œFlexœ œ œ - œj œ. i - œbil œ - œ i œ - œ.ty,‰ whatœ aœ verjœœœyfineabiliœœ & 4 œ œ œ œ œ œ. œ œ œ œ œ.œ œ œ œ œ œ œ œ œ œ œ œty. ‰FlexibilityListen and BlendListen and BlendLis - ten to each neigh - bor,lis - ten to each friend.Lis - ten to the voic - esand blend.Listen carefullydeveloplisanensemblethe- tenvolume,vowels,tone,ofandmutimbreLis - tenastoyoutheworksingto- ing,- tento the blend.sound. Match Listo thebeau -ty- sic all a - round.of your voice to the others in the group.Listen and Blend&&&j44œ œœœ œœ œœ œœj œœ.44Lisœ.- ten to eachœneigh - bor,Lis - ten to theJ sing- ing,SyncopationÓ‰j j jjœœœœœ.œœœœ‰œœœ œ œ œ œ œ. jœ œ œ œ œ œ œ œ œ œ œ œ. ‰jlis - tenœ. to each friend.Lis - ten to the voic - es and blend.œ Lis-tenœ all œa- round. œjlis - ten to the sound.to theœbeau -ty œ of œmu - sicÓ‰jj& œ œ œ œ œj œ.œœœœœ.œœœœjœœœ œ.jŒ œœ j œ.j œ.j& 4Lisœœ.œ istentothevoicesandblend.œ jœœ.&4œ œœ œ œ œJ An - tic - i 2013 AlfredœCo., Inc.- thm?- Music Publishingpa - tion!Can you feelthe beat?Syn-co--co-pa-tion!Canyoufeeltherhy -with purchase.pa Right- to photocopytion!Canyoufeeltherhy -Syncopation40024SynSyncopation
œLis - ten to the sing - ing,lis - ten to the sound.Lis - ten to the beau -tyofVOCALIZE! – Singer Page 13& œ œ œ œ œj œ.SyncopationLis - ten to each neigh - bor,‰œ œ œ œ œ.œ œ œ œmu - sic all a - round.Ójjœ œ œ œ œ œ œ lis - ten to each friend.Lis - ten to the voic - esand blend.When a note falls on the offbeat, syncopation is achieved. A subtle accent on each syncopated note will addenergy and clarity to the rhythm.Syncopation4& 4 œ.Syn-œJ Œœco& œj œ.-thm?-Anjœ œ.paœ.-tic--œ Jition!paœCanyoujœ œ.-œ-feeljœtherhy -œ œ œj œœtion!jœ œœCanyou feelthejœbeat?Do Is Like a Rock40024This exercise describes the shape of the Curwen hand signs used when singing Kodaly’s famous solfègesyllables. Practice the signs as you sing. (See page 20.)Optional: When you are confident with the signs, sustainthe first note of each measure instead of singingScales/Intervalsevery word.Do is Like a Rock12& 8Œ.jj.œ œœ œ œDo is like a rock.jjŒ.œ œ œ œ œ.jjj .œ œœ œœ œŒœ. œ.œ. Œ.Reis like a ramp.Mi is like a ta - ble.Scales/IntervalsFa, thumb’s down.Reis like a ramp.Fa, thumb’s down.jjjj& œ œ œ œ œ. Œ. œ œ œ œ œ. Œ. œ. œ. œ œJ Œ. œ œJ œ œJ œ. Œ.12Œ. La is likej a hook.jŒ. Ti,œ oneœj œfin œ- jger.œ œj Œ.Do isœ.like œ.a rock.œ. Œ.j8 œis likeœj œa wall.& Solœœœœœ.œ œ.Do is Like a RockDo is like a rock.Mi is like a ta - ble.jjjjOctavesŒ. œ œSeventhsœ œ œ. Œ. œ. œ.& œ œ œ œ œ. andœ œ œ œ œ. Œ.JJ ŒDoœ isœlikeœ a rock.œ œ Œ.J3œœœœŒœlike a hook.œ & 4Sol is like . pitch. .a wall.La Beissureonefin - ger.œcan beœto sing in theLarger intervalsdifficult œto tune.centerTi,of eachOctaves and Sevenths- taves and- enthsand asixthsare formythreefriends,so start of I’llsingOthersita - gain.Optional: OcSelectedsingerssevmaysustainlow “do”measures at theeach phrase.should match these “home tone singers” each time they descend to the same note.Œ .& œ œ œ œ œ œ œ œ œ & 43Oc œ- tavesœandœ sevœ-enthsœandœ sixthsœ areœ myœ friends, Œ sing .Octaves and SeventhsOc - taves andsev - enths and sixths are my friends,so .this .I’llœ œ œ songœ to œ theœ end.singitŒŒa - gain.œ œœ œŒ .Œœ & œœ. œœœ œ œ ‰4 œœ œ œ œ œ‰jœœœœœœœœœ& 4Oc œ- tavesœand sevœœœœ -enthsœ and sixthsœthis œ songœ to the end. Jœœœ are myœ friends,œ singOne, Five, Four, Five400241 5 4 5 3 5 2 5One, Five, Four, Five1 5 4 20135 Alfred3 2 Music1 Publishing1 5 Co.,4 Inc.5 3 5 2 5Right to photocopy with pu
Vocalize! Composed and Arranged by Andy Beck 45 Accompanied Vocal Warm-Ups that Teach Technique Reproducible Singer Pages
