Reproducible Singer Pages

Vocalize! 45 Accompanied Vocal Warm-Ups that Teach Technique Composed and Arranged by Andy Beck

VOCALIZE! – Singer Page 2

Come Now, Let Our Voices Ring For many singers, the healthiest part of the voice is in the middle range. This exercise begins in that “sweet spot” (for most) and gently descends. Be cautious not to add extra weight as the notes go down, but rather float like a feather to the lower pitches. Beginning Warm-Ups

1

Optional: Sing only the vowel sounds of each word, drawing attention to mouth shape and space. Come Now, Let Our Voices Ring

b 4 & b bbb 4 œ œ œ œ Come now, let

our

œ œ œ.

voic - es

ring.

‰ œ œ œ œ

“Al - le - lu - ia”

42 œ œ we

will

44 ˙

Ó

sing.

Beginning Warm-Ups

1

Come Now, Let Our Voices Ring

b 4 2 4 Ó & 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 “Al œ œ- leœ - luœ - œia” œ œ weœ œwillœ œ sing.œ œ œ Œ œ œnow,œ letœ œourœ voic œ œ This simple exercise is a great way to capture the attention of singers at the start of rehearsal. It serves as

I Just Want to Sing I just want to Sing

just want every to singtime. to- day, sing of coreverything -rect-ly all you the way,to sing good cor -rect -ly is the on - lyandway to sing. a cue to “singIcorrectly” Beand mindful know about vocal technique, Beginning Warm-Ups apply it throughout.

1

Come Now, Let Our Voices Ring

Optional: Try to perform the four-bar phrase in one breath.

b 4 2 4 Ó &#b b4bb 4 œ œ œ œ œ œ œ. ‰ œ œ œ œ 4 œ œ 4 ˙ & b# 4 œCome œ œ œ “Al œ œ- leœ - luœ - œia” œ œweœ will œ œ œ sing.œ œ œ Œ œ œnow,œ letœ œourœ voic -œes œring. œ Œ Œ œ œ ˙ &b b C œ œ œ œ ˙. œ œ œ œ I 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 Sing

Sing a Joyful Song

Sing

a

joy - ful

song,

sing

it

all

day

long.

Fa

la

b Ó œ 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 & ˙ œ œ œ œœ œ œ œ œ œ œ ˙.

I just want to Sing Sing a Joyful Song

Sing a Joyful Song

I 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 la

Singthe jaw a or joy - ful song, sing inside it andall day Without forcing tongue, allow the mouth to be open both out on words long. like “song,” “long,” “joy,” and “fa la la.” Avoid closing on consonants such as “ng” and “l.” Warming Up our Voices

b Ó œ œ œ œ œ œ œ œ œ & bbb œ œ œ œ ˙ Sing b 44 Song & ba Joyful œ 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 Œ la œ la b 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 œ

Optional: Massage the sides of your face and the muscles where the lower jaw attaches in back. Loosen everything up as you vocalize.

Sing

a

Warming Up our Voices

joy - ful

song,

sing

it

all

day

long.

Fa

b Ó & bbbbb 4œ œ œœ œœ œ œ œ œœ ˙œ œ œ œ œ œœ œ œ ˙œ œ œ œ œ Œ & 4œ œ œ œ œ œ œ œ œ la la la la la la la, fa Warm - ing up our voic - es, read - y, set, let’s go:

40024

Warming Up our Voices

la

la la la la do, re, mi, fa, sol, mi,

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la. sol, fa, mi, re, do.

la

œ

œ

Sing

˙.

œ

a

joy - ful

œ

œ

œ

œ œ

œ

œ

œ

œ

la,

fa

la

la

la

la

song, VOCALIZE! – Singer sing Page it 3

b &b b œ

œ

œ

œ

œ

la

la

la

la

la

œ

Warming Up Our Voices la

la

œ

all

day

long.

Fa

la

Ó

˙

la.

Sing four-bar phrases, breathing only at rests. Add Curwen hand signs when singing solfège syllables. (See page 20.) Alternate Now rehearsal’s starting, ready for some fun: 1, 2, 3, 4, 5, 3, 5, 4, 3, 2, 1. Warming Lyrics: Up our Voices

b & b b 44 œ œ œ œ œ œ

Warm - ing up our voic - es,

˙ œ œ œ œ

read - y, set, let’s go:

œ œ œ œ œ œ

œ œ œ œ Œ œ

do, re, mi, fa, sol, mi,

sol, fa, mi, re, do.

Feet Are Firmly Planted Good standing posture is absolutely essential for good singing. Follow the lyrics closely as instructions for proper alignment. Check yourself as each body part is mentioned, relaxing into position and Posture avoiding tension. Feet are Firmly Planted

b4 &b 4 œ œ œ œ œ

œ

œ

Feet are firm - ly plant - ed

b &b œ œ œ œ œ

œ

-ders are re - laxed, arms Feet areShoul Firmly Planted

œ

on

˙

the ground.

œ

œ

hang - ing

˙

œ

œ œ œ œ œ

Knees and hips and chest

œ œ œ œ œ

Posture down. Head is

bal -anced on

1

a

Œ

˙. -

lign.

œ

˙

the

spine.

40024

Ó 1

Œ bb 44 œ œ œ œ œ & ˙. œ œ Relax, Releaseœ œ œ œ ˙ œ œ œ Feet are firm - ly plant - ed on the ground. Knees and hips and chest a - lign. & 43 œ ˙ œ ˙ œ œ œ œ ˙ Œ œ œ œ œ ˙ œ œ œ ˙. b Ó œ ˙ & 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 strain

Relax, Release

Shoulin-ders are re laxed, arms ing comfort down. from head Head to is toe. bal -anced on or tightness the body or- throat. Instead,hang strive- for

the

spine.

Roll Your Shoulders

Optional: Perform this exercise while swaying gently from side to side. Release your legs, knees, arms, elbows, shoulders, neck, and head.

b4 œ ˙ &b 4 œ œ œ œ œ & 43 œRoll ˙your œshoul˙- ders œ highœ œand œ low,˙

Relax, Release

b &b

Re - lax,

re - lease,

a - void an - y

œ œ œ œ œ

œ

your shoul-ders all Roll YourRoll Shoulders

b4 &b 4 œ

œ

40024 Though the Notes may Rise

œ

˙.

Œ

strain.

a - round,

œ

œ

œ

˙

œ

œ

œ Œ backœ andœ œforth, œ and˙ œ

œ œ ˙ œ œ ˙. to œand fro.

rit.

œ

then re - lease them back

and

Free from all

ten - sion,

œ œ œ œ œ œ

œ

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œ

œ

˙

tight - ness, or

Œ

Ópain.

down.

œ œ ˙

Œ

Feet are firm - ly plant - ed

b & b3 œ œ˙ œ œœ œ˙ &4œ

on

Relax, Release

the ground.

Knees and hips and chest

a

-

lign.

VOCALIZE! – Singer Page 4

œœ œœ œ œœ ˙˙

Roll Your Shoulders Shoul -ders are re - laxed, arms hang - ing down. Re - lax, re - lease, a - void an - y strain.

˙ Ó Œ œœ œ œ œ œ œ œ ˙ œ œ œ œ ˙. œ Head is bal -anced on the spine. Free from all ten - sion, tight - ness, or

pain.

One of the first places that we hold physical tension is in our shoulders. Move slowly and with purpose while Relax, Release singing this 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 & 4œ œ œ ˙ œ œ œ œ œtightœ- ness,˙or pain. Re - lax, re - lease, a - void an - y strain. Free from all ten - sion, Roll

your shoul - ders

high

and

b &b œ œ œ œ œ œ ˙. b 4 your shoul-ders all a - round, œ 4œ œ œ œ & b Roll œ

low,

Œ

Roll Your Shoulders

Roll

your shoul - ders

high

Though the Notes may Rise

and

back

˙ low,

and

forth,

and

˙ Ó œ œ œ œ œ œ then re - lease œ them œ backœ and œ down. œ œ ˙ back

and

forth,

and

b Though ŒMay Rise & bbb 4 Œ œ œ the œ œ œNotes w ˙. œ œ œŒ œ & b œ4

rit.

œ

œ

œ

Rolllowering your shoul -ders a - round, then re - lease them andand throat. down. Raising and the chin all while singing places unwanted pressure and strain onback the neck Though the notes may rise, and the notes

So, it is important to maintain a level and balanced head throughout your full vocal range.

b & b b ˙. b 4 & b b 4fall,Œ

Œ

œ œ œ œ holdœ the chinœ

œ œ. J lev - w el

œ œ œ

œ œ. J

Œ

œ œ œ

œ

Optional: Balance a choir folder or book on your head while singing this exercise. Though the Notes may Rise

œ

Though

b &b b . ˙

Œ

fall,

the

notes

may

hold the chin

Œ

œ

with the head

rise,

lev - el

w

œ

œtall.

the

notes

up

and

Œ

Œ

to and fro.

˙ œ œ œ œ

œ

œ

to and fro.

rit.

œ œ œ

œ

w

with the head

up

tall.

Ó

œ

may

œ

may

Drop Your Jaw

40024

Follow 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 rather allow them to float easily from one shape Vowels toDrop the Your next.Jaw

4 &4œ

Drop

& œ

œ

˙

your

œ

O - pen

40024

My, Oh Me, Oh My

jaw,

˙ mouth

œ

œ

let

it

œ

œ

north

and

˙

œ

œ

fall,

shape

your

˙

œ

south

for

œ a

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

œ

œ

vow - els

œ.

fin

-

j œ

er

Œ

˙.

round.

˙.

sound.

Œ

40024

& 44

œ

œ

˙

œ

œVOCALIZE! ˙ – Singer œPage 5 œ

My, Oh Me, Oh My œ œ Drop

&

œ

your

jaw,

let

it

fall,

˙

œ

shape

˙

œ

your

œ

œ

vow - els

round.

j œ

œ.

Œ

˙.

œ

Œ

˙.

Vowelsby the letter “m,” which helps to bring the As written, this exercise presents mostly open vowels connected O Jaw - pen mouth north and or south a goals. fin er sound. voice Feel free to change the consonants vowels basedfor on specific Drop forward. Your

& 44 ˙ œ œ ###Drop # 4 œyour œ jaw, œ & 4 & ˙ œ My, œ oh me,

œ

œ

Œ

Suggestions: “Why, oh we, oh why” will add the roundness of “oo” at each “w.” A rolled “Rye, oh Rio, rye” will relax the tongue. “Fye, oh fee, oh fye” insures that breath is flowing at the onset of tone. My, Oh Me, Oh My

O - pen

mouth

Drop Your Jaw

œ

˙

œ let œ it œ fall, œ œ œ ˙ oh my, oh me, north

and

Vowels

south

œ

œ

˙.

œ

œshape your œ œvow - œels œround. ˙ j œ œmy, œ. oh oh me,œ oh˙ . my! for

a

fin

-

er

Œ

sound.

œ œ ˙ œ œ œ & b444 ˙ œ œ œ Ó ˙. b & #4 œ œ ## Drop œ œyour œ jaw,œ œ œ let œ it œ fall, œ œshape ˙your # 4 œ œvow - œels œround.˙ & Nee 4 neh nah noh noo. œ Sing with pure vowels while connecting eachœand every note to create a legato line. Allow thejjaw to float & eachMy, ˙ me, œ œmy, œ. oh oh my, oh˙ round me, sounds. oh oh me, easily into using relaxed lips to form œ œnew position, œ oh˙. my! Nee, Neh, Nah,Noh, Noo

Œ

Nee, Neh, Nah, Noh, Noo My, Oh Me, Oh My

Œ

With a Joyful O The - Tone pen “n” mouth north resonance, and south formay choose a fincall out - other er sound. Optional: letter helps to develop but the director to initial consonants (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 œ My, Oh b Me, 4 Oh My & b #4 With a joy -œful tone I œam not a -œlone, for my friends on ei - ther Ó side let their ## # 4œ ˙ œ œ noo. œ œ œ œ ˙ & # # Nee 4 œ œ nehœ œ nahœ œ noh œ œ œ œ œmy! Œ & # œ My, œ oh œ me,œ œoh œmy, œoh œ me, œ ohœ my, oh me, oh

Nee, Neh, Nah,Noh, Noo

With a Joyful voicTone - es

ring

as

we

all

do

sing

with our

vow - els

tall,

not

wide.

with our

vow - els

tall,

not

wide.

### 2 ‰ œ œ & 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b4 & b 4 With a joy -œful tone I œam not a -œlone, for my friends on ei - ther Ó side let their œ ˙ Keep the attitude of this exercise joyful and light while maintaining a quality sound. Even though the music Nee for warm vowels neh by visualizing nah tall oval shapes noh at the core of noo. # #strive is bright, every word. Œ œ &# œ œ œ œ œ œ œ œ œ œ œ œ œ œ Optional: Experiment with different volumes. No matter what the dynamic range, the integrity of vowels

With a Joyful Tone Nee, Neh, Nah,Noh, Noo

should be consistent. voic - es With a Joyful Tone

ring

as

we

all

do

sing

##2 &# 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ With a

### œ &

œ

voic - es

40024

joy - ful

œ

ring

tone

I

am

œ œ

œ

as

all

we

not

a - lone, for my friends on

œ

œ

do

sing

œ œ with our

œ

œ

vow - els

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

ei - ther

œ

‰

œ œ

side

œ

œ

œ

tall,

not

wide.

let their

40024

Œ

VOCALIZE! – Singer Page 6

Breath Support Prior to singing, take a deep breath, allowing the abdomen and diaphragm to fully expand while the chest and shoulders remain relaxed. Support your voice by connecting to a controlled, firm exhalation. For this 2 exercise, breathe only when you see a rest. Optional: Place your hand on your abdomen to draw attention to breathing. As you sing, push lightly with Breath Support that hand, creating a comfortable amount of resistance. Breath Support

2 &2œ 2

œ.

œ œ ˙

Breath sup - port,

it’s all

a - bout

œ œ ˙

œ

breath sup - port,

here

j Support œ œ œBreath œ œ œ ˙ œ it’s all a - bout breath sup - port, j œ. œ œ œ œ œ œ œ ˙

Breath sup - port,

œ œ ˙

2

œ

œ.

& œ œ œ ˙ Breath Support

2 &2œ

j œ œ œ œ

Flying,Breath Sighing sup - port,

it’s all

Flying, Sighingj b 4

a - bout

œ we

œ œ œ

let - ting it

œ

breath sup - port,

here

Œ

œ go.

˙

œ

flow.

we

go.

Œ

œ

Breath Support

œœ 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, allowing the voice to ride firmly on the breath as you sing. Be j sup - port, it’s allwe aride. - bout breath flow. Œ Fly breath Sighsup - port, aware that by the 2 œchanging &Breath œ - from œ ing,˙one note toonœthe.thenext œis best œ œing, ˙ breath.olet- pen œ- tinginœit- side. œ œ achieved œ œ whenœfacilitated Breath Support

Optional: Experiment with sliding from pitch toit’s pitch. to create true legato line supported Breath sup - port, all This a -may bouthelpbreath sup a- port, here we by the breath.

j œ.œ œ œ œ œ Œ œ ˙ œ œ ˙ œ œ œ œ˙. œ œ œ œ œ ˙œ it’s all a - bout breath sup - port,

Flying,Caving SighingIn Resist

& #bbœ4 4 ˙œ œ˙ ˙ & 4b 4œ ˙ Breath sup - port, ReFly-

# & ˙ b 4 & b# 4bsist4 ˙ & 4œ

ing, sist

cav - oningthe breath in, we ride. to

œ

œ

Flying, Sighing Resist Caving In

˙.

Resist ˙Caving œ œ In ˙ œ œ œ cav - ing

in,

œ

˙.

œ

œ

one

Sigh sing

Œ

œ

breath

œ

a-

œ

go.

œ œ œ Œ˙ Œ œ œ let -œ˙tingœ it œflow. œ

ing, pen in - side. long - er o -phrase.

œ

˙can last˙ œ œ œ

œ for

˙

œdays.œ œ ˙ œ

Ó œŒ

Fly 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 to Breathe Re sist cav ing in, to sing a long er phrase. carefully “budget” and “spend” the air—avoid deflating too quickly.

# œ j ˙. . Œ œ Œ œ œ œ œ & 44 ˙Œ œ œ œ œ. ˙ œ. œ # 4sist Take˙cav time - ingœ to œin,breathe, one & 4œ œ last time œbreath œcan take œ for œ ˙. j Œ Re œ - sist œ. œ cavœ- ing˙. in, Œ œto œ. sing j a long - er & œ w Take Time to Breathe # ˙ In - hale comœ- plete - ly, take time œ &4Œ œ Œ œto breathe. œ œ œ . ˙ Œ j &4 œ œ. œ œ. œ in, ˙. sist cav - ing one breath can last for

Special Challenge: Do not breathe after the word “phrase.” Resist Caving In

Take

40024

Œ

œ

Take Time to Breathe

œ.

time

j œ

to

breathe,

take

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Œ

j

time

j œ ˙ ˙.

Ó

w

w Ó

˙

todays. breathe. phrase.

j˙ œ ˙.

days. to breathe.

Œ

Re -

Œ œ

Re -

Œ œ

Re -

Œ

#4 & 4œ

˙

œ

œ

˙.VOCALIZE!œ– SingerœPage 7œ

Take Time to Breathe # ˙ œ Re

-

sist

cav - ing

œ

&

in,

to

œ

œ

˙.

sing

œ

a

œ

long - er

œ

phrase.

œ

œ

Œ

˙

œ

Re -

Ó

˙

Inhalation should never occur through a constricted throat. Many times, the need to rush a breath creates sist “gasp” for cavair.- Try ingto allowin, breath tocan for days. an unwanted ample time inone your phrasing refreshlast the air supply with ease. Optional: Place one thumb under your chin near the throat to monitor the inhalation. Keep a relaxed throat as you breathe. Take Time to Breathe

4 &4Œ

œ Take

& Œ

œ

j œ

œ.

time

œ.

In - hale

j œ œ

Œ

˙.

to

Œ

breathe,

take

Œ

˙.

œ

œ

com - plete - ly,

œ.

take time

œ.

time

j œ w

j œ

˙.

to

breathe.

Œ

w

to breathe.

w

Don’t Want to Be Throaty There 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 few ideas40024 to work toward, and others to avoid. Ultimately, singers should strive to develop a free and natural Tone Quality sound, one that is uniquely their own. Don't Want to be Throaty

& b 22 Œ

œ œ œ œ

Don't Want to beDon’t Throatywant to be

œ ˙.

throat - y

Tone Quality or stuck in the

& &bb 22œ Œ ˙. œ œ œ œ œœ œ œœ œ ˙. w

stri - dent I sup Don’t want to orbeweak, throat - y- pose.

& & bb ˙œ ˙.œ œ œ œ ˙.œ œŒ œ œœ ˙w œ tone, stri - dent

œ œ œ œ œ

w

Œ

nose.

Œ œ œ œ œ œœ œ œ œ wœ ˙. want sound nose. love - ly, or Istuck in tothe

œ œ œ œ Don’t want to be

Œ œ œ œ œ œ œœ œœ

with beauto-ti -be ful Don’t want

œŒ ˙œ œœœ œœ œ œ ˙ ˙. w œ œ˙ œ Óœ œ

fo --cused, my- ly, or weak, I sup pose. with free - dom, I wantu to- nique sound-lylove

own.

with beau -ti - ful

& b ˙ œ œ œ ˙. Œ œ ˙ œ œ ˙ œ œ œ ˙ ˙ Ó w b4 -ly2 my Ó œ œ œ œ foœ - cused, with Œ free- dom,œ œu - nique 4 4 œ own. 44 & b tone, œ œ of your voice with consistent support œ the range. Avoid over-singing Unify the registers throughout œ œ or ˙

Just One Voice Just One Voice

under-supporting on any notes. A legato line and light approach may help to cover “breaks.” Just one voice from high to low, do do ti sol la ti Just One Voice

do.

b4 44 œ œ œ œ œ Œ œ œ œ 42 œ &b 4 œ œ ˙ œ œ b 3 & b b 4Just˙ one œvoice œfromœ high œ toœ low, ˙ ˙ do Œ do ˙ti solœ œ la œ tiœ ˙.do.

Never Louder Than Lovely

Nev - er loud - er than 40024 Never Louder Than Lovely

© 2013 Alfred Music Publishing Co., Inc.

love - ly. Nev - er Right to photocopy with purchase.

strong - er than sweet.

Ó ˙

Œ

& b œ ˙.

Just One Voice

stri - dent

Œ œ œ œ œ

w

œ œ œ œ œ

VOCALIZE! – Singer Page 8

or weak, I sup - pose.

b4 œ œ œ & bb ˙4 & œ œ œ œ ˙.

œ œ œ œ œ

œ ˙.

I want to sound love - ly,

with beau -ti - ful

44 œ œ œ 42 œ Ó œ ˙ œw ˙ ˙ Ó œœ ˙ œ

Œ Œœ œ ˙œ œ œ

Never Louder Than Lovely Just one voice from tone,

high

to low, do do fo - cused, with free - dom,

ti sol la u - nique -ly my

ti

do.

own.

Even at your fullest volume, never force the voice. Beauty is so much more important than volume. The lyrics of this exercise provide fundamental rules for singing at any dynamic level. Never Louder Than Lovely

b 3 & bbb44 ˙ œ œ œ œ œ ˙ ˙ Œ ˙ Œ œ ˙ œ 2œ œ œ 4˙. Ó b œ Œ œ œ œ œ œ œ 4œ 4 & 4 Nev Nev - er strong - er than œ - er loud - er than love - ly.œ œ œ sweet.˙ do do ti sol la ti do. b Just one voice from high to low, b Œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙ ˙ Never Louder Than Lovely Just One Voice

Nev - er more

b 3 &b b 4 ˙

Project

œ

Nev - er

& bbbCb œ ˙ Project & œ œ

Pro - ject, Nev - er more

&b ˙

Œ

vol - ume than

œ œ œ

beau - ty.

œ ˙

loud - er than love - ly.

Œ

œ œ œ ˙œ

pro - ject, vol - ume than

Œ

˙

Œ œ ˙œ you

beau - ty.

˙

Sing - ing like

œ

Nev - er

this

œ œ œ

Project

spect,

œ

be

care - ful

not

to

&b ˙

Œ

spect,

&b œ

œ

be

œ

œ

grown.

œ œ œ œ

care - ful

œ

find your voice has

˙

grown.

not

to

Œ

Œ

˙

shout.

Sing - ing like

this

œ œ œ œ œ œ

Use a

Pro - ject,

˙

shout.

œ

˙.

treat.

˙

Œ œ œ Œœ œ ˙ œ œ ˙œ œ œ œ œ ˙ have to sing it out. Re - spect,

well - sup - port - ed

& bb Cœ œ œ ˙ œ Œœ œ ˙ Œ Œ œ œ œ Œœ œ & ˙ ˙ œyou have Pro - ject, pro - ject, to sing œ it find your voice has

a

strong - er than sweet.

For many developing singers, there is a fine line between a healthy projected tone and shouted over-singing. Visualize a point on the far wall of the rehearsal room. With firm breath support and an open resonating space in the mouth and throat, be sure that your voice carries to that point.

œ œ œ œ

is

Œ

out. re - spect,

Pro - ject,

Œ

Œ

well - sup - port - ed

œ

˙

re - spect,

Œ

a

˙ tone,

Œ œ

œ œ œ œ œ œ

Use a

˙

˙ ˙

is

Œ ˙. œ

Œ

˙

w Re œ - spect,

pro - ject.

˙

Œ

tone,

œ

Œ

treat.

re -

œ œ

Œ

and you’ll

œ

re -

œ œ 40024 and you’ll

w

pro - ject.

40024

40024

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VOCALIZE! – Singer Page 9

Consonants Are Planned Place the final consonant crisply on the cutoff of each phrase. Optional: Hold the palm of your hand in front of your mouth as you sing. Feel a light burst of air as each Diction 2 consonant is pronounced. Consonants are Planned

b 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 - plete

b &b b œ 2

œ

œ œ œ œ

with a

Œ

˙

œ œ œ Diction

’ry con - so - nant is planned, Consonantsev are -Planned

so the

b 4 &b b 4 œ œ œ œ œ œ œ œ ˙ Ev-’ry phrase we sing should be com - plete

œ œ œ œ

˙

with a

Diction

2

Each and

Ó

au - di - ence can un - der - stand.

6 The the ‰ œ œ œ œ ‰ & bb8 # œjLips, œ ‰ œTongue, œ œ Œ œ œ b & b œ œ œ œ œ œ ˙ theb 4Tip of the Teeth œ The lips, the tongue, the tip ev - ’ry con - so - nant is planned,

œ

neat.

Œ œ œ œ œ œ œ œ œ ˙

The Lips, the Tongue, the Tip of the Teeth

Consonants are Planned

fi - nal cut - off that is

Œ œ œ

of the teeth, so the

fi - nal cut - off that is

neat.

œ œ œ œ œ œ œ. œ œ œ œ œ ˙ care - ful - ly sing - ing each word.

Œ œ œ

Each and

Œ j Ó #œ

E -

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˙ ‰ Œ œ œ œ œ & œ œ œ of the œ mouth. The title of usœthat good diction is achieved by using these critical parts œ this exercise œ reminds œ. Ev-’ry phrase we sing should be com - plete Enunciate clearly as you sing. The Lips, the Tongue, the Tip of the Teeth

nun

-

ci - ate,

e - nun

-

au - di - ence can un - der - stand.

with a so

ci - ate,

fi - nal cut - off that is that the lyr - ics are

neat. heard.

bbb6b œj œ ‰ œ œ œ ‰œ ˙ œ œŒ œ œ œ ‰ œ œ œ œœ œ & & 8 œ œ œ ˙ œ. œ œ œ œ œ œ œ œ Seashells # œ ev - ’ry con - so - nant is planned, The lips, the tongue, the tip

so the of the teeth,

Each and

ӌ

au - di - ence can un - der - stand. care - ful - ly sing - ing each word.

j #œ

b 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 the Œ ‰ Teeth &Lips, œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ. The œ She sells œ sea - shells down by the sea - shore. I’m sure she sells sea - 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 # œj

Woodchuck

The

lips,

the tongue,

the

tip

bbbbb 42 œ‰ œ & ‰ œ‰ 6 & & b bœ8 œ. œ . œ œ . œœ.œ œ œ.œ œ

Seashells

Seashells

of 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, if

How much wood would a nun She- sells ci - ate,sea - shells e -down nun by- the ci -sea ate, - shore.

b &b b œ

care - ful - ly sing - ing each word.

so that - ics I’m sure theshelyr sells

Seashells Woodchuck much wood

bbbbbb 682 œ. œ. & & 4œ œ

œ œ œ

as

œ

œ

œ

a wood - chuck could chuck,

œ œ if

b &b b œ Woodchuck

œ

œ

œ

œ

wood - chuck could chuck

œ

wood!

œ. œ. œ. œ œ œ. œ ‰ œ. œ. œ. œ. œ. œœ. œ œ œ œ œJ œ œ œ œ œ œ œ

She sells sea - shells down by the sea - shore. How much wood would a wood - chuck chuck, if

40024

a

œ

œ œ œ

œ

I’m sure she sells sea - shore a wood - chuck could chuck wood?

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

œ

œ

œ œ

œ

œ

œ

‰ Œ. œ.

are sea - heard. shore shells.

Sibilant consonants (those that create a hissing sound with the tongue on the roof of the mouth) can be problematic if overdone. Treat every “s” with care, extending the vowel of each syllable to its fullest length, avoiding a “leaky tire” effect.

œ

E -

œ

œ

E -

j œ Œ. As

Œ

.j œ‰. Œœ

shells.

Œ

As

nun

-

ci - ate,

e - nun

Woodchuck œ. bb 6 œ.

-

ci - ate,

so

that the

VOCALIZE! – Singer Page 10

lyr - ics

are

heard.

Seashells

& b8

œ.

œ. œ œ œ. œ ‰ œ. œ. J

œ.

œ. œ.

œ. œ.

œ.

Œ.

‰

j œ

This favorite childhood tongue twister makes an excellent diction workout for singers. Strive to make every She sells sea - shells down by the sea - shore. I’m sure she sells sea - 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 the word “chuck.” Or “could.” Or “much,” and so on! Woodchuck

b 2 &b b 4 œ

œ

œ

œ œ

How much wood would a

b &b b œ

œ

œ œ œ

much wood

as

œ

œ

œ

œ œ

œ

œ œ

wood - chuck chuck,

œ

œ

a wood - chuck could chuck,

if

if

a

a

œ

œ

œ

œ

œ

œ

wood - chuck could chuck

œ

œ

wood - chuck could chuck

œ wood?

As

Œ

œ

wood!

Dynamics Are Fancy and Fine Observe the dynamic markings. Contrast is the key,Dynamics/Articulations but be careful not to over-sing when loud or 2 under-support when soft. Perform with your very best tone quality, no matter what the dynamics are. Dynamics are Fancy and Fine f b b 4 &b b 4 œ

œ œ œ

Œ œ œ œ œ

loud and proud when it’s

Sing

for - te,

p

œ

œ œ œ œ œ œ œ ˙

sing soft when pi - an - o mf

for - te,

sing soft when pi - an - o mf

Œ

œ œ

is the sign,

j j bb Dynamics/Articulations œ ‰ 2b b œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ ˙ Dynamics are Fancy and Fineœ . p dy - nam -ics are fan - cy and when mez - zo is a - round, fine. bbb 4me f- di - umœ sound b Œ œ œ œ œ œ & 4œ œ œ œ œ œ œ œ œ œ ˙

loud and proud when it’s SingStaccato Sing Legato, Sing

mp

make a

Ó Œ

is the sign,

mp

œ œ

make a

j #b j j j & 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 Staccato

me - dile- um - nam andha ha fine.ha ha. Sing - gasound - to, when fa mez la -lazo lais la.a - round,Sing dystac - -ics ca are - to,fan - cy ha

Practice a smoothly connected legato, versus a sharply detached staccato. Demonstrate the contrasting articulation with gestures: painting a smooth arc with your hand for legato, and tapping an index finger into Singthe Weopposite Sforzando palm for staccato. Sing Legato, Sing Staccato

sfp #4# 4mf j‰ j j ‰ mfj w ‰ ‰ œ. œ œÓ œ j ‰ Œ œ. œ. & 4 4 œ œ œ œœ œ œ œ œ ˙ œ œ . . . œ. . . ˙ ˙ Sing Sing

le - ga - to, we

40024 Sing WeCrescendoing Sforzando We Are

fa la sfor la la -la.

zan Sing

stac- - ca

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- do! to,

ha ha ha ha ha.

œ

Dynamics are Fancy and Fine

f b b 4 &b b 4 œ

me - di - um sound when mez - zo VOCALIZE! is a - round,– Singer - nam11 -ics are p dyPage

Œ œ œ œ œ

œ œ œ

Sing We Sforzando Sing Legato, Sing loud and proud when it’s SingStaccato

for - te,

fan - cy and

fine.

Œ

œ œ œ œ œ œ œ ˙

œ

sing soft when pi - an - o mf

is the sign,

mp

œ œ

make a

#b# b4 j jj j jœ ‰ ‰ ‰œ œjœ‰ œ œ.œ œ œ˙ œ j Ó‰ Œ œ œ ˙ œ œ b œ ‰ 4 & œ œ b œ œ œ œ œ œ œ œ œ œ œ . . œ œ this exercise, œ forte, then Before performing œ. 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 initial Sing le- um - gasound - to, fa la la la la. - -ics ca are - to,fan - cy ha me - diready - nam andha ha fine.ha ha. attack and you’re to go! when mez - zo is a - round,Sing dystac

Note: Sforzando may be abbreviated sf or sfz. When followed immediately by p, the correct notation is sfp. Sing We Sforzando Sing Legato, Sing Staccato

mf #4# 4mf j j & 4 4 œ œ œ œœ œ œ œœ œ ˙ w œ. ‰ œj ‰ œ. ‰ œj ‰ œ. œ œÓ œ j ‰ Œ ˙ ˙. . . . œ. . sfp

Sing Sing

fa la sfor la la -la.

we le - ga - to,

zan Sing

stac- - ca

- do! to,

ha ha ha ha ha.

We SingAre WeCrescendoing Sforzando

We Are Crescendoing œw œ œ œ œ œœ œ œ œ mf 3 4 &4 œ˙

p cresc. poco a poco

We

are

sfp

cres - cen - do - ing

as

we

mf

œ

as -

cend,

œÓ

œ

œ

loud - er

the

œ

˙œ

grow - ing

Sing we - onzan - of a music do! Follow the dynamics closely. Imagine sevensfor numbers the volume dial player. Each measure f decresc. poco a poco you sing is one level louder or softer than the previous measure.

& bœ

œ

œ

˙.

∑

Optional: Count up or down on your fingers as you change dynamics. We Are Crescendoing highp -cresc. er poco awe poco

3 &4 & œ œ œœ We

as

& bœ

are

we

œ

high - er

œœ

cres de -

œ

we

& œ

œ

œ

as

we

de -

40024

climb.

œ œ cen

-

scend, f

˙.

We’re

œ œ do

-

œ œ ing

go - ing

soft - er

scend,

œ

go - ing

œ

de - cres

bœ

-

∑

anddecresc.soft er poco a- poco

œ

We’re

œ

œ

œ

œ

œ

soft - er

œ

and

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

œ

this

œ

de - cres

bœ

-

time.

œ

œ

soft - er

œ

the

œ

cen - do - ing p

œ

œ

cen - do - ing

œ pœ œ œ œ œ œ œ œ weœ as œ- cend,œ grow œ- ing œ loud -˙.er as

climb.

œ

œ

œ

this

˙.

time.

VOCALIZE! – Singer Page 12

A Diphthong Song A diphthong is defined as “the sound created when two vowels combine in a single syllable.” When singing a diphthong, sustain the first (or “primary”) vowel sound for the majority of the note’s duration, gliding to the secondary vowel only at the very end. Other Skills

Alternate Lyrics: Light rain, window pane. Outside, clouds divide. Go now, take a bow. Sing a diphthong song. A Diphthong Song

# & # 44 w

w

Night

## & ## 4w & 4w

sky,

A Diphthong Song

Snow Night

˙.

lull

w w

˙. ˙. shin

White, sky,

lull

# w & ### 4w w &# 4 w 4 œ œ œWhite, 4Night & # Snow œ œ sky,

A Diphthong Song

Œ

˙.

œ

w

a - by. Other SkillsDay

-

-

-

break,

Œ ˙. œ ˙.˙. Œ œing bright. w Sing

œ wa

a - by. Other SkillsDay

-

˙.

w

break,

œ

no

˙

Œ

˙.

mis - take.

˙.

˙

œ

w ˙.

Œ

diph - thong song. no mis - take.

œ ˙ Œ ˙. ˙ Œ w. ˙. œ ˙.˙. Œ . ˙ œ ˙ w ˙. œ j w Sing - ing bright. a diph - thong song. ‰ œ œ œshin œ œ œ œ- œbreak, œ œ œ noœ œ mis œ- take.œ lull - a - by. Day

Flexibility Flexibility

# œ ˙ Œ ˙. ˙ w & ## w ˙. w ˙. œ œ œ & ### Snow œ œ œ œ œ œ œ œ œSingœ œ aœ œdiph œ- thongœ œœsong.œjœ ‰ 4 & 4 œ œ œWhite, œ œ œshin œ- œingœœ bright. œ œ œ œ œ œ œ œ œ Flex i - bil - i ty, what a ver - y fine a - bil - i - ty.

Sing lightly with a gentle pulse from your diaphragm on each pitch. Practice this tune with the words Flex i - bil - i ty, sing - ing with pre - cise a - gil - i - ty. “da-ba-da-ba-da” to improve accuracy. Flexibility

Flex

-

i - bil

-

i

-

ty,

sing - ing with pre - cise

a - gil - i - ty.

# & ### 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œjœ ‰ & 4 œ œ œ œj œ œ œ œ œ œ œ œ œ œ œj œ jœ œ 4 Flex i bil i ty, what fine ‰ & 4 œFlexœ œ œ œ- œ. i œ- bilœ œ- œi œ.- ty, œsingœ - ing œa with œver -pre œy -œcise œ aa -œ- gilbilœ - -œi i œ- - ty.œty.. ‰ Lis - ten to the beau -ty of mu - sic all a - round. ## Lis-ten to the sing- ing, lis - ten to the sound. Listen and Blend & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j Ó ‰ j j j & 4œFlexœ œ œ - œj œ. i - œbil œ - œ i œ - œ.ty,‰ whatœ aœ ver j œ œ œ y fine a bil i œ œ ˙ & 4 œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œty.. ‰

Flexibility

Listen and Blend

Listen and Blend Lis - ten to each neigh - bor,

lis - ten to each friend.

Lis - ten to the voic - es

and blend.

Listen carefully developlisan ensemble the- ten volume, vowels, tone,ofandmu timbre Lis - tenastoyou thework singto - ing, - ten to the blend. sound. Match Lis to the beau -ty - sic all a - round. of your voice to the others in the group. Listen and Blend

& & &

j 44œ œœœ œœ œœ œœj œœ.. 44Lisœ. - ten to eachœneigh˙ - bor, Lis - ten to the J sing- ing,

Syncopation

Ó ‰ j j j j œ œ œ œ œ. œ œ œ œ ‰ œ œ œ ˙ œ œ œ œ œ. j œ œ œ œ œ œ œ œ œ œ œ œ. ‰ j lis - tenœ. to each friend. Lis - ten to the voic - es and blend. œ ˙ Lis-ten œ all œa- round. œj lis - ten to the sound. to theœbeau -ty œ of œmu - sic

Ó ‰ j j & œ œ œ œ œj œ. œ œ œ œ œ. œ œ œ œ j œ œ œ ˙ œ. j Œ œ œ ˙ j œ. j œ. j & 4Lisœœ. œ ˙ œ œ œ œ j J œ ten to each neigh bor, lis ten to each friend. Lis ten to the voic es and blend. œ ˙ j œ œ. &4 œ ˙ œ œ œ œ œ J An - tic - ©i 2013 Alfred œ Co., Inc. - thm? - Music Publishing pa - tion! Can you feel the beat? Syn

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co

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-

pa

-

tion!

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you

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the

rhy -

with purchase. pa Right - to photocopy tion! Can

you

feel

the

rhy -

Syncopation

40024

Syn

Syncopation

œ

Lis - ten to the sing - ing,

lis - ten to the sound.

Lis - ten to the beau -ty

of

VOCALIZE! – Singer Page 13

& œ œ œ œ œj œ.

Syncopation Lis - ten to each neigh - bor,

‰

œ œ œ œ œ.

œ œ œ œ

mu - sic all a - round.

Ó

j j œ œ œ œ œ œ œ ˙

lis - ten to each friend.

Lis - ten to the voic - es

and blend.

When a note falls on the offbeat, syncopation is achieved. A subtle accent on each syncopated note will add energy and clarity to the rhythm. Syncopation

4 & 4 œ. Syn

-

œ J

˙

Œ

œ

co

& œj œ. -

thm?

-

An

j œ ˙

œ. pa

œ. -

tic

-

-

œ ˙ J i

tion!

pa

œ

Can

you

j œ ˙

œ. -

œ

-

feel

j œ

the

rhy -

œ œ œj œ

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tion!

j œ œ

œ

Can

you feel

the

j œ

beat?

Do Is Like a Rock 40024

This exercise describes the shape of the Curwen hand signs used when singing Kodaly’s famous solfège syllables. Practice the signs as you sing. (See page 20.) Optional: When you are confident with the signs, sustain the first note of each measure instead of singing Scales/Intervals every word. Do is Like a Rock

12 & 8

Œ. j j . œ œœ œ œ

Do is like a rock.

j j Œ. œ œ œ œ œ.

j j j . œ œœ œœ œŒ

œ. œ.

œ. Œ.

Re

is like a ramp. Mi is like a ta - ble. Scales/Intervals

Fa, thumb’s down.

Re

is like a ramp.

Fa, thumb’s down.

j j j j & œ œ œ œ œ. Œ. œ œ œ œ œ. Œ. œ. œ. œ œJ Œ. œ œJ œ œJ œ. Œ. 12 Œ. La is likej a hook. j Œ. Ti,œ oneœj œfin œ- jger.œ œj Œ.Do isœ.like œ.a rock.œ. Œ. j 8 œis likeœj œa wall. & Sol œ œ œ œ œ. œ œ.

Do is Like a Rock

Do is like a rock.

Mi is like a ta - ble.

j j j j Octaves Œ. œ œSevenths œ œ œ. Œ. œ. œ. & œ œ œ œ œ. and

œ œ œ œ œ. Œ. J J ˙ Œ Do œ isœlikeœ a rock.

œ œ Œ. J 3 œ œ œ œ Œ œlike a hook. œ ˙ & 4Sol is like ˙. pitch. ˙. a wall. La Beissure one fin - ger. œcan be œto sing in the Larger intervals difficult œ to tune. centerTi,of each Octaves and Sevenths

- taves and - enths and asixths are for mythree friends, so start of I’ll singOthers it a - gain. Optional: Oc Selected singerssev may sustain low “do” measures at the each 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 Sevenths

Oc - taves and

sev - enths and sixths are my friends,

so

˙. this˙ . I’ll

œ œ œ ˙ ˙ songœ to œ theœ end. sing

it

Œ

Œ

a - gain.

œ œ œ œ Œ ˙. Œ œ ˙ & œ œ . ˙ œ œ œ ˙œ œ ‰ 4 œœ œ œ œ œ ‰ j œ œ œ œ œ œ œ œ œ & 4Oc œ- taves œand sev œ œ œ œ -enthsœ and sixths œthis œ songœ to the end. J œœ œ are myœ friends, œ sing

One, Five, Four, Five

40024

1 5 4 5 3 5 2 5

One, Five, Four, Five

1 5 © 4 2013 5 Alfred 3 2 Music 1 Publishing 1 5 Co., 4 Inc. 5 3 5 2 5 Right to photocopy with purchase.

1 5 4 5 6 7 8

œ

œ

˙

œ

œ œ

Sol is like a wall. La is like a hook. Ti, one fin - ger. Oc - taves and sev - enths and sixths areVOCALIZE! my friends, so14 I’ll – Singer Page

& œ

œ

œ

œ

œ

œ

˙

One,œ Five,œ Four,œ Five Octaves and Sevenths

Œ

˙.

Do is like a rock. sing it a - gain.

œ œ œ

˙.

Œ

˙

Oc - taves and sev - enths and sixths are my friends, sing this song to the end. œ œ œ œ œ ˙ Œ ˙. & 43 œ œ ˙ œ diatonic œ and œ develop vocalœagility, center ofœpitch, and an understanding of major˙.scale tones This exercise will

intervals. In to the provided, consider singing on solfège or note names. Ocaddition - taves and sevnumbers - enths and sixths are my friends, so syllablesI’ll sing it

Œ

a - gain.

One, Five, Four, Five

œ 4œ & & 4 œœ œ œ œœ œ œœ œœ œœ œ œœ œ œ˙ j ‰ Œ œ˙.œ œ œ˙œ. œ œ œ œœ œœ œ œ˙ œ œJŒ ‰ œ œ œ œ œ Oc -1taves 5 and 4 5 sev 3 -5enths 2 and 5 sixths 1 5 are 4 5my3 friends, 2 1

1 sing 5 4 5 3this5 2 5song1 to5 the 4 5 end. 6 7 8

One, aFive, Sing HalfFour, Step Five

43 Sing a Half Step & & 44 œ œ œ œ œ#œ œ œ œœ œœœ œœœ œ nœj ‰ œ

. œ

œœœ œJœ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.

œ

1difference 5 a4 5 between 3half5 2a half 5 and 1 whole 5sing4 step 5 a 3can 2whole 1 a great 1 impact 5 4 sing 5on3successful 5a 2 third, 5sight-singing, 1 5 and 4 5 down 6 7 8a Sing step, step, The subtle have music learning, and overall tuning. Learn the sound of each interval as you carefully practice.

Œ & œ Œ œ œ #œ œ. œ œ nœ œ. œ œ œ œ œ œ ˙ fourth. Sing a half step, sing a whole step, sing a third, and up a fourth. 3 & 4 œ œ #œ œ. œ œ nœ œ. œ œ œ œ œ œ

Note: This melody presents each interval both descending and ascending. Sing a Half Step

Sing

a

half

Œ

& œ

fourth.

step,

œ œ #œ Sing a

sing

œ.

half

a

whole

œ œ nœ

step, sing a

step,

œ.

sing

œ œ

a

œ

whole step, sing a

third,

œ

third, and

and

˙

œ œ up

a

down

a

Œ

fourth.

40024

All Through the Night Sing as softly as possible. This requires a great deal of intensity and support and is much more challenging Short Songs than singing at full volume. All Through the Night

4 & b 4 œ. Sleep,

& b œ. God

j œ œ œ

my child, and

j œ œ œ

will send thee,

&b œ œ œ œ hill and vale in 40024

Drink to Me Only

œ.

j œ œ œ

peace

at - tend thee,

˙

œ.

all

through

˙

all

j œ ˙.

œ.

through

Œ

the night.

j œ. œ œ œj ‰ œ. œj œ œ

rit.

a tempo

slum - ber sleep- ing.

I

my lov - ing

j œ ˙.

Œ

the night.

Guard - ian an - gels

œ œ œ œ Soft

the drows - y

œ. œj œ œ

vig - il keep - ing,

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

œ.

40024 j œ œ œ

˙

all

œ œ œ œ hours are creep - ing,

j œ. œ ˙. Œ

through the night.

˙

œ

God

will send thee,

all

throughVOCALIZE! the night.– Singer Page 15 Soft

œ. œj œ œj ‰ œ. œj œ œ

rit.

&b œ œ œ œ

the drows - y

j œ. œ œ œ

a tempo

hours are creep - ing,

j œ. œ ˙. Œ

˙

Drink to Me Only with Thine Eyes hill and vale in

slum - ber sleep- ing.

I

my lov - ing

vig - il keep - ing,

all

through the night.

Many of the diphthongs in this song occur over two notes. Be sure to sustain the primary vowel sound, extending it even into the second pitch. Drink to Me Only

b 3 &b b 4 œ œ œ Drink to

b &b b

˙

me

∑

on

-

ly

with

œ œ œ

˙

or leave a

kiss

b &b b Œ Œ œ Œ

that

thine

œ

eyes,

œ œ œ

œ

from

œ œ œ

˙

œ

but might I

of

Jove’s

the

œ œ œ

the

soul

doth

œ œ œ nec

-

œ

œ œ œ

with - in

˙E

œ œ œ

The thirst

b &b b ˙

œ œ œ

œ

tar

and

œ œ

I

˙

will pledge

œ

œ œ œ

œ œ

cup,

and

I’ll

˙

œ

˙

œ

rise,

doth

ask

a

sip,

not

I

would

˙.

with

mine,

˙

œ

ask

for

˙.

wine.

œ œ œ drink

œ œ œ

œ œ œ

œ

˙.

di - vine;

˙

œ

not change

for

˙.

thine.

Music in the Morning This song features long phrases with short moments to breathe. Be sure to fill completely, but without Short Songs 2 at each rest. tension, Music in the Morning

# & # 44 œ œ œ œ ˙

Mu - sic in the morn

# &# ˙

eve

# &# ˙

˙ -

˙ -

œ œ œ œ w

˙

ing,

bring-ing in the

œ œ œ œ w

˙

ning,

Ó

har -mo -nies at dawn.

œ œ œ œ

day.

Ó

Mu - sic in the

œ œ œ œ ˙

lull the night a - way.

œ œ œ œ w

Ó

Mel - o - dies at

œ œ œ œ ˙

˙

Mu -sic all a - round

me,

mid

œ œ œ œ

play - ing

on and

-

˙

40024

night,

w

on.

The Turtle Dove

b4 &b 4 œ œ

40024

Fare you

œ

œ

œ

well,

my

dear,

œ

œ œ œ œCo., Inc.œ œ © 2013 Alfred Music Publishing I

Right to photocopy with purchase.

must

be

gone,

and

œ

leave

œ œ œ you

for

œ œ a

# &#

eve

-

ning,

lull the night a - way.

VOCALIZE! – Singer Page 16

Ó

œ œ œ œ w

˙

Mel - o - dies at

The Turtle Dove har -mo -nies at dawn.

œ œ œ œ ˙

˙

Mu -sic all a - round

me,

mid

-

œ œ œ œ

play - ing

night,

w

on and

on.

This beautiful melody includes some large intervals and a wide vocal range. Strive for consistency of tone throughout. The Turtle Dove

b4 &b 4 œ œ Fare you

b &b ˙

œ

œ

œ

œ

well,

my

dear,

I

Œ

If

b &b œ

œ

roam

œ

ten

I

œ

thou - sand

œ œ œ

must

œ

œ œ

while.

œ

roam

œ

œ

miles,

my

be

gone,

and

œ œ œ

œ œ

a

I

-

œ

way,

œ œ

dear, though I

œ

roam

leave

œ

will

come

œ

œ

ten

œ œ œ

œ

œ œ

you

for

œ œ œ

back

œ

œ œ a

œ œ

a - gain, though I

Œ

˙.

thou - sand

miles.

Hey Ho Harmony

In unison, 2-part canon, and 3-part canon. Practice good vocal technique throughout. Hey Ho

#4 & 4˙

œ

˙

Hey

ho,

# & œ.

Still

œ œ ˙

œ

no - bod - y home.

j œ œ.

j œ œ.

I

be

will

ver

Meat,

j œ œ œ œ œ

-

y

mer

-

ry.

œ

nor

œ

drink, nor

˙

œ œ œ œ ˙

b4 ¢& 4 Ó

˙

mon - ey have I none.

œ

˙

Hey

° b 4PARTœ I œ œ œ ˙ & 4

œ œ œ œ ˙

œ

ho,

œ œ ˙

no - bod - y home.

I Can Sing My Part

I

can sing my part,

PART II

° b & œ

40024

I know it

œ œ œ œ I

œ

per - fect

œ

œ

can sing my

part,

œ

Œ

har - mo - ny.

œ œ œ œ ˙

by heart.

If you sing with me,

œ œ œ œ I know it

œ œ #œ

˙

by

heart.

We can sing

œ

œ

œ

œ

˙

Your

notes

are

not

mine,

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

Hey

˙

ho,

# & œ.

no - bod - y home.

j œ œ.

j œ œ.

I

be

Meat,

j œ œ œ œ œ

I Can Sing My Part Still

will

ver

nor

drink, nor

mon - ey have I none.

VOCALIZE! – Singer Page 17

-

y

mer

-

˙

ry.

œ

˙

Hey

ho,

œ œ ˙

no - bod - y home.

This exercise is a pep talk to encourage confident part-singing. Two independent lines ensure success, with the biggest challenge coming at the conclusion of each phrase where the harmony is constructed inI Can parallel Sing thirds. My Part

° 4PARTœ I œ œ œ ˙ &b 4

œ œ œ œ ˙

b4 Ó ¢& 4

˙

I

can sing my part,

PART II

I know it

œ œ œ œ I

° &b œ

œ

b ¢& œ

œ

per - fect

per - fect

œ

œ

œ

œ

can sing my

part,

œ

Œ

har - mo - ny.

Œ

œ

¢

mine,

If you sing with me,

œ œ œ œ I know it

œ œ #œ

˙

by

heart.

We can sing

œ

œ

œ

œ

˙

Your

notes

are

not

mine,

Ó

œ Your

œ œ œ œ ˙

but when they com - bine

˙

by heart.

har - mo - ny.

° &b œ œ œ œ ˙ &b

œ œ œ œ ˙

with the part

œ œ œ œ

˙

but when they com - bine

I

sing,

œ œ #œ

with my part,

œ

notes

œ

are

œ

not

U œ œ œ œ #˙

rit.

har - mo - ny will ring.

U œ œ œ œ ˙

har - mo - ny will ring.

40024

40024

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VOCALIZE! – Singer Page 18

Sing Alleluia, Allelu

Harmony

Practice each Allelu part separately before putting them together. The contrasting rhythms and contrary melodic Sing Alleluia, motion help to create vocal independence. 1st time - PART I only 2nd time - PART II only 3rd time - Both parts

° 4 &b 4 œ

PART I

œ œ œ

Sing

al - le - lu - ia,

PART II

44 ˙ b & ¢ ° &b œ

¢& b ˙

Al

-

le

œ œ œ

-

œ

al - le - lu - ia,

˙ -

le

-

œ

˙

œ

al - le - lu.

˙

Al

Sing

œ

œ

œ

Sing

œ

œ

˙

˙

lu

-

ia.

Al

œ

al - le - lu.

œ

œ

lu

-

ia.

œ

al - le - lu - ia,

Œ

œ

al - le - lu.

˙ -

œ

œ

Œ

˙.

le

-

lu.

3rd time - rit. to end

˙

œ

œ œ œ

˙

œ œ œ

Sing

al - le - lu

œ

œ Sing

œ œ œ œ œ

al - le - lu

-

ia,

-

Œ

˙.

ia.

œ

sing

œ œ œ

Œ

al - le - lu.

Zing-a Zing-a Zing

° 2PART I &4œ œ œ œ œ

Zing - a zing - a zah,

2Œ 4 & ¢

PART II

40024

œ œ œ œ œ œ

zing - a

zah, zing - a zah,

œ œ œ œ œ œ œ œ

Zing - a zing - a

zah, zing - a zah,

œ œ œ œ œ œ œ œ œ

zing - a zing - a zing - a zing - a

zah.

œ œ œ œ œ œ œ œ œ

zing - a zing - a zing - a zing - a

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

Œ Œ

zah.

40024

4 &b 4 œ

œ œ œ

Sing

œ

œ

al - le - lu - ia,

œ

˙

œ

œ œ œ

VOCALIZE! – Singer Page 19

al - le - lu.

Sing

œ

œ

al - le - lu - ia,

4 œ œ ˙ ˙ ˙ ’Twas Night ¢& b 4 ˙ on a Silent ˙Winter -

le

-

lu

-

ia.

Al

-

le

Œ

œ

al - le - lu.

PART II

Al

œ

Œ

˙.

-

lu.

Harmony 2 In unison, 2-part canon, 3-part canon, and 4-part canon. Practice good vocal technique throughout.

° b4 œ œ & & b 4œ œ œ œœ œœ 'Twas on a Silent Winter Night

œ œ œ œ

˙

3rd time - rit. to end

œ

Sing al - le - lu - ia, al - le - lu. ’Twas on a si - lent win - ter

b ˙ ¢& &b œ

Al from

œ

the

˙ œ

œ

le sky

to

œ

˙ œ

œœ œœ œ œ ˙. œ

œ

Sing night, the

stars

be - low,

there

came

Œœ

œ

al - le - lu - ia. a - glow with ra - diant light, when

œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ lu ia. Sing al - le - lu - ia,

earth

œ

a

gen - tle

œ

œ œ œ Œ œ œ ˙

sing al - le - lu. fall - ing snow.

Zing-a Zing-a Zah Zing-a Zing-aoutlines Zing This exercise the tonic chord and the first five pitches of a major scale. Though rather simple, it will help to improve intonation, vowels, flexibility, diction, and other vocal skills.

° 2PART I &4œ œ œ œ œ

Zing - a zing - a zah,

2Œ 4 & ¢

PART II

œ œ œ œ œ œ

zing - a

zah, zing - a zah,

œ œ œ œ œ œ œ œ

Zing - a zing - a

zah, zing - a zah,

œ œ œ œ œ œ œ œ œ

Œ

œ œ œ œ œ œ œ œ œ

Œ

zing - a zing - a zing - a zing - a

zing - a zing - a zing - a zing - a

zah.

zah.

40024

40024

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.

VOCALIZE! – Singer Page 20

Curwen Hand Signs Ti

La

Sol

Fa

Mi

Re

Do

40024

© 2013 Alfred Music Publishing Co., Inc. Right to photocopy with purchase.