For me, it's important to include musicality and expression,
particularly that of phrase shape, from the very beginning of the
learning/rehearsal process. The problem with ignoring the shaping of
phrases (dynamic, agogic, stressed and unstressed syllables, etc.) is
that the choir learns an unmusical shaping of the phrase which then has to be un-learned (and that can take much longer than learning it correctly to begin with).
Of course, we all isolate elements (pitches, rhythms, text, intonation,
etc.) in rehearsal, and sometimes the writing is too difficult for our
groups to do without some drill. But . . . while drilling pitches or
rhythms (let's say text on rhythm only), one can still begin the process
of shaping the phrases. Robert Shaw style countsinging can also have
phrase shapes built in--this technique doesn't mean to sing without
shape or sense of where each phrase is going (make sure you come to
Pamela Elrod Huffman's session at ACDA in Dallas, where she'll focus on
Shaw's rehearsal techniques).
Ultimately this is much more efficient and the choir will begin to sing music, not just notes, from day one.
The other part of this is that your singers become involved with the
music more. Since I work on musicality and expression all the time,
sometimes it only takes a reminder from me ("sing more musically") and
the choir will know what to do. It's important to teach the whys and
hows of this as well (part of teaching them to be better, more
expressive musicians). What are the clues to musical phrasing? They need
to listen for harmonic dissonance and release, think about text stress,
become aware of the important words in a phrase, to be aware of musical
contour (the rise and fall of the musical line). They need to know what
the overall shape of a phrase is (where does it begin and end? we can
sometimes disagree about that!) and how to determine the "goal" of each
phrase (where is it going? what's the most important syllable or beat
towards which one phrases?). . . and especially to remember that all
notes are not equal in a phrase!
Some elements of expression may have to wait, but don't wait too long!
And finally, some of my favorite quotes about phrasing:
Harpsichordist and Pianist Ralph Kirkpatrick: "The essential expressive
quality of a melodic interval lies not in the notes themselves, but in
the space between the notes, in the manner in which one gets from one
note to another."
Conductor Robert Fountain: "Not just the desire, but the passion to keep the line going."
Composer Virgil Thompson: "Is this music just a piece of clockwork, or
does it also tell time? . . . have I been moved or merely impressed?"
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