![]() ![]() Once everyone has taken a turn leading the ensemble, engage in self-evaluation or discuss how things went as a group.This book is the ideal text for AP Music Theory.Since the group is not working towards a performance, you can focus on integrating aural skills into the process rather than teaching the music in the quickest way. Whenever there are difficulties, the leader should offer advice related to aural skills-the numbered list of ideas above may be helpful. Each person should take 10 minutes to lead the ensemble in sight-reading and rehearsing their assigned excerpt.It will be helpful if everyone has some time to look over their section, consider how to orient the ensemble to key and meter, consider what in the excerpt will be most difficult, and relate everything to context (key/scale degrees, meter/rhythmic cells). Each person will act as ensemble director for their assigned excerpt. Assign each member of the group to a different piece of music or section of a piece.You may be able to find such music in a sight-singing anthology, but it’d be great if you can check some music out from a score library or find some on IMSLP or CPDL. You’ll also need some music to rehearse we recommend notated choral or instrumental music with 3–5 independent parts. Goal: Integrate fundamental aural skills into the rehearsal process (the director) practice sight reading in an ensemble (everyone else).īefore you start: You’ll need an ensemble we recommend a 1- or 2-on-a-part choir working with singers typically requires the highest level of thinking about context, since singers don’t have the aid of an external mechanism in finding pitches. These parts can be very useful to learn together since each provides crucial context for how the other will sound. These might be similarities (say, two parts often move in parallel thirds) or pointed contrasts (say, one part always rests while the other plays and vice versa). Finally, think about which parts have natural relationships.The bass is strongly associated with chord progressions, so having it sound while another section is practicing or learning their part will help that part hear some of the context without being distracted by large numbers of other sounds. Use the bass to help your musicians hear their relationship to the key and chord progression.The way you do so will of course depend on the education your musicians have and their standard practice: you might use solfege and technical terms, or merely demonstrate while helping them track the chord/key with an accompanying instrument. This gives a certain small amount of context, but it may be even more musical and effective to draw on the larger context of the accompanying chord(s) (pointing out, say, that they are moving from the root of one chord to the third of the next, and perhaps playing that chord progression for context) or the key (pointing out that they need to find, say, scale degree 6/la). ![]() For example, it is our experience that choral directors often reference intervals when helping their singers find difficult notes.
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