In a message dated 9/8/2002 9:55:15 PM Eastern Daylight Time, palace@g... writes:
> Which is worse? Too much or too much "false" vibrato or none? > (If I had to choose I would personally prefer no vibrato above too much. > There is nothing worse than hearing a chorus where every vocalist's vebrato > comes out unevenly, especially if someone is off tempo, it is easy to hear > that in music) >
Again, we are talking lack of teaching here. Many conductors do not know how to bring out the best in their singers, and unifying vowel sounds is one way which many good ones use. In addition, the conductors who do know how to use consonants rhythmically, plus help teach appropriate breath management have the best results.
Realize, too, that the biggest problem with working with groups is the same as working one on one: semantics! If a teacher says something to a student, there is always the possibility it will be understood differently from the way the teacher intended. But remember, with a group of say, 10 sopranos or altos or tenors or basses in a section, that is at least 10 different possible interpretations of each direction in EACH section of a choir! The trick is to learn to teach with terms which are understood and interpreted by sections (i.e., individual singers within them) in the same way. In addition, conductors must do as studio teachers do, and that is to learn many ways to say the same thing, since what works for one will inevitably not work with the next person.
Note: I know I am fortunate, since I have had both good studio training and healthy choral training. That also puts me into the minority when both groups of teachers are bashing each other! :) It also makes me pretty darn picky about conductors for whom I consider singing!
Sincerely, Lynda Lacy
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