CHORAL

CONDUCTING
WORKSHOP
Prof. LESTER DELGADO
CENTRO ESCOLAR UNIVERISTY
CONSERVATORY OF MUSIC

I. BODY ALLIGNMENT

The conductor's body position is the foundation for all

communicative movement. Finding and maintaining a
proper position while standing is often difficult since the
human skeleton is fundamentally unstable in the upright
position and the feet provide a relatively small base of
support. Additionally, it is common for conductors to lose
awareness of their body position when engaged in the
rigors of rehearsal and performance. Ultimately,
problems brought on by poor body position can be
solved through symmetrical stabilization. This
stabilization will minimize weight bearing for body
segments, optimize functioning of the internal organs,
and sustain the conductor's continuous movements
without undue fatigue.

BODY POSITION
1. Begin with the feet placed no wider than the shoulders.
2. Both feet should be parallel to each
3. From this parallel position, allow the feet to flair out
naturally.
4. Keep legs relaxed and avoid locking the knees.
5. Imagine the point where the neck meets the cranium.
6. From this point, gently lengthen the spine which in turn...
7. Allows the chest to rise to a comfortably high position,
8. Allows the neck to lengthen naturally, and
9. Allows the head to move to a natural position with the chin
neither too low or high

ARM POSITION
1. Allow the arms to hang naturally to the
side of the body.
2. Raise the relaxed right arm so that the
forearm is relatively parallel to the floor.
3. Avoid creating tension by raising the elbow
too high.
4. The hand should be aligned with the
center of the torso, palm facing down at a
comfortable angle.

5. With a relaxed hand, swing your arm back and

forth until you feel the blood rushing to your
fingertips.
6. On your last swing, raise your arm up and you
will discover your natural hand position.
7. The back of the hand will have a slight natural
curve and the fingers will be aligned.
8. From this position you can establish your
natural artistic flair.

Gestures
A. The Directors hand signals are
important for telling:
Which passage in the song the choir is

about to sing (the verse, chorus, bridge,

etc.)
Which section of the choir should sing right

now (sopranos, altos, tenors, or basses)

When you want to start/end a particular

song
When you want them to interpret

B. Hand signals can also remind the

choir of things they already learned
in rehearsal
What words are coming up next
The shape of the melody theyre singing
When to sing unison and when to sing in harmony

BREATHING PROCESS
Preparation
Having a good preparatory beat is very
important to identify the tempo,
dynamics, expression, character and
interpretation of the piece to be
performed.

While Performing
Continually inhaling and exhaling while
conducting the piece is a valuable
score preparation technique. Many
times conducting gesture is not
directly related to both the energy of
the body and the energy of the breath.
In rehearsal, by inhaling and exhaling
tsst or shh can establish connection
between gestures, body and breath,

Ending a Score
Breathing together is very important to
reach a good closure of the piece.
The hand gesture and proper breath
marks will lead to an effective and very
musical ending.

Beating and
Conducting

HAND SIGNALS

1. TOP put your hand to your head

2. LEAD SINGER signal using an open palm
3. CHORUS use letter C
4. REPEAT CHORUS circular motion with finger

crossed
5. ENDING- close fist
6. CHOIR SILENT closer hand to your chest

7. CHOIR LOUDER open hand wide

8. MODULATION Index Fingers up motion
9. LOUDER (one section) index in the ear
and open palm
10. BIGGER SOUND ( big choir) two hands
open and lift

Conducting Technique

Introduce your entrances

Keep your tempo
Explain your dynamics
Control the volume
Ending preparation
Pause for some seconds before closing

II. REHEARSAL
TECHNIQUE
Rehearsal is the most important
aspect of a choir. Here, we learn how
to control our singers, explain what
they need to understand, to give them
details about the piece we will be
performing, experiment what sound
you want your choir to produce and
enjoy each others company.

Fundamental Elements of Tone

Production
Athleticism
Before a sound can be refined, it must be
heard. Some students sing with so little
energy, or athleticism, one can hardly hear
them. Whether their initial sounds are right or
wrong, bad or good, harsh or pleasant,
students must use their voices! Once they
sing with some measure of energy and
athleticism, their efforts can then be directed
and refined.

Balance
Once students are using their voices
athletically, introduce them to the concept
of balance, a better term to use than
posture because the latter can imply the
striking of a stiff, almost intractable
physical position. When body weight is
balanced, singers can breathe more freely
and effectively. Unbalanced weight
distribution forces muscles that should be
used for proper inhalation and breath
management to be utilized for fighting
gravity instead

Proper Inhalation
Proper inhalation solves numerous vocal
problems and prevents scores of others.
Singers must be taught how to utilize
breathing which allows them to take air
into the lower part of their lungs

Expanded Range and Blended

Registers
You can do this by vocalizing the
members of your choir. Let them
appreciate choral progressions by
listening and balancing their voices.

Tonal Concept
With the conductors guidance,
students in choirs must strive to find
the best possible sound, one that is
developmentally appropriate and
produced in a healthy manner.

Proper Vowels
Proper vowel formation is essential to
beautiful choral tone. Impure vowels
will distort an otherwise viable sound.
Choral educators must resist the
temptation to ignore faulty vowel
formation because of the fear that
detailed work in this area will bore
their students.

Listening for Errors

We as conductors should study the
pieces we will teach the choir before
attending the rehearsal. IN this way,
we will be able to figure out the errors
in terms of melody, harmony,
dynamics, phrases and progression.

Problem Solving in
the Rehearsal
Choir members attitude;
Rehearsal Time Schedule
Focus on the pieces
Attitude in studying the piece
Sectional Rehearsals
Choirs musical needs;
Solving the Intonation
Solving the Harmony
Solving the Interpretation

III. MUSICAL
INTERPRETATION
1. The conductor should study and

mark the score, analyze and mark

the important parts of the music
2. Diction is important, learning

languages and right pronunciation is

required.
3. Text is equally important to

understand the meaning of every

song you will perform.

IV. PERFORMANCE
Leadership
Conductor should stand as the leader
of the ship. The members should follow
what the conductor want to achieve by
singing correctly their parts. There is
no other leader but the conductor
when performing most especially while
in the stage.

Body Movement while

Conducting
The Conductor should be able to
explain through his/her movement the
interpretation he/she wants to produce
during performance.
Clear representation of the dynamics
and musical interpretation should be
observed by every movement of the
conductor.

Conducting Etiquette
The Conductor should always perform in
perfection. He is the leader of the team and
he should perfect every part of the score.
Eye contact is very important while
conducting, do not leave your members while
the choir is in the act of singing.
The Conductor should be the most musical
person in the stage to produce real musical
performance

LITURGICAL
COMPOSITION
SEMINAR
Prof. LESTER DELGADO
CENTRO ESCOLAR UNIVERISTY
CONSERVATORY OF MUSIC

I. TEXT
The heart of the composition;
The message of each song;
The inspiration of every composer
The melody will come from the story of the Text

BIBLICAL PASSAGE
Psalms

It is a sacred song or hymn, in

particular any of those contained
in the biblical Book of Psalms and
used in Christian and Jewish
worship

Examples: Psalm 23
The Lord is my shepherd, I lack nothing.
He makes me lie down in green pastures,he leads me beside quiet
waters,
he refreshes my soul.He guides me along the right pathsfor his
names sake.
Even though I walkthrough the darkest valley,I will fear no evil,
for you are with me;your rod and your staff,they comfort me.
You prepare a table before mein the presence of my enemies.You
anoint my head with oil;my cup overflows.
Surely your goodness and love will follow meall the days of my
life,and I will dwell in the house of the Lordforever.

COMPOSE YOUR OWN TEXT

Compose based on your liturgical
responses.
Think about the nature of the part of
the Liturgy
Try to read inspirational books, bible
or something that will push you to
write your own lyrics
Pray for the guidance of the Holy
Spirit

Meaning and
Purpose of the text
Base your melodies to the purpose
of the text, example;

Lamb of God ( Should be prayerful

and a little slow for meditative
purposes) etc

II. MELODY
1. Line and Phrase choose a good melodic line with

an exact phrase
2. Voice Ranges consider the singers ( SATB, SSAA,

TTBB, Adult choir and Childrens choir)

3. Effective Melody Compose a melody that is able

to touch the heart of both the singer and the listener

4. Easy Listening Sing able, simple, touching and

prayerful

III. ARRANGEMENT
1. Solo or Duet use good melodies for solo or

effective 2 voices for Duet

2. Group Harmony consider the singers ( SATB,

SSAA, TTBB, Adult choir and Childrens choir)

3. Rhythm use an effective tempo for every

composition based on your Idea of the song

4. Instrumental consider the players who will use

your music, thus, simplify the arrangement of the

instruments

IV. Interpretation
1. Liturgical understand and follow the nature of

every response or part of the liturgy

2. Dynamics put and assign effective dynamics
3. Texture from pp to ff (interpret the sound you

wanted to produce based on your voice placement)

4. Descant additional melody to help built the song,

compose according to its harmonic design.

5. Improvisation optional if singers are capable of

improvising