and Simi Jadech and accessible choral favourites such as Vivaldi Gloria and Fauré Requiem. Advanced. Musicianship for S
UPCOMING MUSICIANSHIP FOR SINGERS COURSES Weekend for Conductors, Vocal Leaders and Singers Bolton. 7 – 8 November 2015. Weekend for Conductors, Vocal Leaders and Singers London. 6 – 7 February 2016. Weekend for Conductors, Vocal Leaders and Singers Walsall. 4 – 5 June 2016. Summer School Keele University, Staffordshire. 13 – 21 August 2016. Join us for our annual flagship residential course at Keele University. For course prices and booking information please visit www.singforpleasure.org.uk/events/current-listings
SING FOR PLEASURE Sing for Pleasure is a national charity that aims to encourage the enjoyment of better singing in class and choir through four main areas: • A variety of events designed to provide quality singing opportunities for children and adults at all levels of experience and ability from all backgrounds, both nationally and internationally • The delivery of a highly respected conductor training programme designed to enable choral conductors and vocal leaders to get the best from their choir • A range of high quality song books, resources and publications for use with adults and children • The provision of bursaries and scholarships for talented young conductors, singers and teachers.
Sing for Pleasure
Bolton Music Centre, New York, Bolton BL3 4NG. Freephone: 0800 0184 164 (Freephone supplied by Verizon) Email:
[email protected] Twitter: @SingforPleasure Facebook: Sing for Pleasure
www.singforpleasure.org.uk
Sing for Pleasure
Musicianship for Singers Musicianship for Singers teaches singers to read music and sight sing. The sessions are active and lively. We focus on the core skills of singing in tune, aural memory, internal hearing/the thinking voice, speed-reading notation, accurate intonation and increased confidence in singing with other voices in harmony. Singers learn music theory and analysis appropriate to the repertoire of each level. The courses are designed from a singer’s point of view, unlike most other theory courses which assume instrumental reading skills. The courses are offered at Foundation, Intermediate 1, Intermediate 2 and Advanced levels. Delegates can take a pre-course test to determine the appropriate level of MfS class. This is particularly important to ensure that you start at the right level for you. The Musicianship for Singers tutor team will be led by Rebecca Berkley. All tutors are experienced choral directors and music teachers who have taught singers at all levels.
The National Choral Organisation Investing in choral futures
Registered Charity No. 270384
www.singforpleasure.org.uk
WHAT DOES EACH LEVEL INVOLVE?
Foundation
Intermediate 2
Musicianship for Singers at Foundation level is designed for entry level readers, and assumes no prior musical study.
Musicianship for Singers at Intermediate 2 level introduces choral classics and draws on a wider range of musical styles. Singers should be confident and fluent sight readers of music at Intermediate 1 level before starting this course.
Singers will sing and sight read rhythm notation (semibreve, dotted minim, minim, crotchet, quavers, semiquavers and rests) in simple time signatures (2/4, 3/4, 4/4, 2/2), and commonly found tempo instructions. Singers will read pitch notation in diatonic melodies in major keys in treble or bass clef, and learn to identify intervals and triad patterns, especially in the tonic and dominant chords. During the Foundation level course, singers will sight sing rounds and two part repertoire similar to Sing a Song of Sixpence, and the SfP Junior Song Book pack.
Intermediate 1 Musicianship for Singers at Intermediate 1 level is an introduction to reading SATB, four part scores. Singers should feel confident sight reading music at Foundation level before starting an Intermediate 1 course. Singers will sing and sight read more complex rhythms including dotted notes and tied notes, in simple and compound time signatures (typically 2/4, 3/4, 4/4, 2/2, 3/2, 6/8 and 9/8) within tempo instructions including rit, accel, and pauses. Singers will read pitch notation in diatonic melodies in major and minor keys that do not modulate but have occasional accidentals in treble and bass clef. They will recognise and sing intervals, scale and triad patterns in choral music in three and four parts. Singers will learn about cadences by reading vertically across parts. On the Intermediate 1 course singers will sight sing approachable three and four part songs like those in Camptown Races, Novello Basics and Voiceworks.
Singers will apply their knowledge of rhythm reading to understand rhythmic feel in a variety of musical styles. They will investigate how to sight read syncopation, swung rhythms and triplets. Singers will read pitch notation in diatonic melodies in major and minor keys which modulate step by step around the cycle of fifths. They will sing intervals, scale and triad patterns built on chords I, II, IV, V, V7 and VI in four part (SATB) open and short scores, reading vertically across parts to identify harmonies. At Intermediate 2, singers will sight sing arrangements and part songs from Jean Harlow and Simi Jadech and accessible choral favourites such as Vivaldi Gloria and Fauré Requiem.
Advanced Musicianship for Singers at Advanced level focuses on adventurous and challenging repertoire in a diverse range of musical styles. Singers taking an advanced course must be fluent and confident sight readers at Intermediate 2 level before starting this course. Singers will sing and sight read a range of rhythmic notation including irregular time signatures, including tuplets, sycopations and hemiola. Singers will read pitch notation beyond the 1600-1850 diatonic system, including Renaissance polyphony and 20th century treatments of tonality; and reading diatonic music which modulates through chromatic chords. Singers will identify and sing music using chromatic harmony and intervals, and enharmonic shifts in music in 4-8 parts in open and short scores. On the advanced course singers will sight sing more complex chamber choir repertoire like Lauridsen Chansons des Roses; music for 6-8 voices like Vaughan Williams Mass in G Minor; pre 1600 repertoire using modal tonalities; post 1900 classical repertoire using non diatonic tonal organisation like Poulenc Gloria; and longer and fugal movements from Bach Magnificat and Passions.
