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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