Page !1
Training Manual
SEFTON AND KNOWSLEY MUSIC HUBS
VOCAL LEADERSHIP
Dr Shirley Court & Stuart Overington
January 2016
SEFTON AND KNOWSLEY YOUTH MUSIC HUBS
Page !2
Overview
CHAPTER ONE - WHERE DO WE START? 3
What is Engagement? 3
Expectations & Ownership 5
CHAPTER TWO - THE VOICE AS AN INSTRUMENT 8
Every Voice Matters 8
The Ingredients of Good Vocal Technique 9
Choosing the right warm up 11
Extension: How to deal with the changing voice 17
CHAPTER THREE - REPERTOIRE AND BEYOND 19
How do we choose repertoire? 19
I’ve got the song, what next? 22
Techniques to teach a tune 23
Planning for progression 25
CHAPTER FOUR: PULLING IT ALL TOGETHER 27
Conducting 1.0 27
Structuring a Session 28
A positive learning environment 29
Repertoire suggestions 29
SEFTON MUSIC EDUCATION HUB
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Chapter One - Where do we start?
IN THIS CHAPTER WE WILL:
•
Explore what we mean by engagement and the characteristics of an engaging vocal leader
•
Discuss techniques in order to be a more engaging vocal leader
•
Identify the importance of high expectations and pupil ownership in order to produce high quality singing
•
Look at specific ways in which one can aid pupil ownership within singing sessions
WHAT IS ENGAGEMENT?
ENGAGEMENT IS WITH BOTH THE INDIVIDUAL AND THE ACTIVITY
It is important to understand that we engage our singers on two different levels
•
Personal level as Teacher/pupil
•
In the activity of singing itself singing in the classroom, singing in choirs, singing as part of a massed
choir/ singing day.
5 QUALITIES OF AN ENGAGING VOCAL LEADER
1.
Creating the Safe environment to be able to motivate and communicate.
•
Be caring and interest everyone as a human being first.
•
Respect for one another
•
Praise
•
Smile, warmth, friendly eye contact,
•
Flexibility
•
Confidence in what you are doing.
SEFTON MUSIC EDUCATION HUB
Forward
MIDAS (Music Improvement Development and Support Visits) clearly identified that many schools
required support to develop singing for their pupils. In response, Shirley Court and Stuart Overington
have worked with Sefton and Knowsley Music Hub to provide support for curriculum staff in schools
through Vocal Leadership Courses. The aim is to improve the experience and quality of singing –
whilst having a lot of fun too.
This booklet reflects the course structure and contains what is essentially a summary of what works.
If you want to experience how to use it, contact the music hub and book onto the next course.
I’m grateful to Shirley and Stuart for this excellent resource.
CHRIS LENNIE – January 2016
Overview
CHAPTER ONE - WHERE DO WE START? 3
What is Engagement? 3
Expectations & Ownership 5
CHAPTER TWO - THE VOICE AS AN INSTRUMENT 8
Every Voice Matters 8
The Ingredients of Good Vocal Technique 9
Choosing the right warm up 11
Extension: How to deal with the changing voice 17
CHAPTER THREE - REPERTOIRE AND BEYOND 19
How do we choose repertoire? 19
I’ve got the song, what next? 22
Techniques to teach a tune 23
Planning for progression 25
CHAPTER FOUR: PULLING IT ALL TOGETHER 27
Conducting 1.0 27
Structuring a Session 28
A positive learning environment 29
Repertoire suggestions 29
Page !2
Overview
CHAPTER ONE - WHERE DO WE START? 3
What is Engagement? 3
Expectations & Ownership 5
CHAPTER TWO - THE VOICE AS AN INSTRUMENT 8
Every Voice Matters 8
The Ingredients of Good Vocal Technique 9
Choosing the right warm up 11
Extension: How to deal with the changing voice 17
CHAPTER THREE - REPERTOIRE AND BEYOND 19
How do we choose repertoire? 19
I’ve got the song, what next? 22
Techniques to teach a tune 23
Planning for progression 25
CHAPTER FOUR: PULLING IT ALL TOGETHER 27
Conducting 1.0 27
Structuring a Session 28
A positive learning environment 29
Repertoire suggestions 29
SEFTON MUSIC EDUCATION HUB
Page !3
Chapter One - Where do we start?
IN THIS CHAPTER WE WILL:
•
Explore what we mean by engagement and the characteristics of an engaging vocal leader
•
Discuss techniques in order to be a more engaging vocal leader
•
Identify the importance of high expectations and pupil ownership in order to produce high quality singing
•
Look at specific ways in which one can aid pupil ownership within singing sessions
WHAT IS ENGAGEMENT?
ENGAGEMENT IS WITH BOTH THE INDIVIDUAL AND THE ACTIVITY
It is important to understand that we engage our singers on two different levels
•
Personal level as Teacher/pupil
•
In the activity of singing itself singing in the classroom, singing in choirs, singing as part of a massed
choir/ singing day.
5 QUALITIES OF AN ENGAGING VOCAL LEADER
1.
Creating the Safe environment to be able to motivate and communicate.
•
Be caring and interest everyone as a human being first.
•
Respect for one another
•
Praise
•
Smile, warmth, friendly eye contact,
•
Flexibility
•
Confidence in what you are doing.
SEFTON MUSIC EDUCATION HUB
End of Document
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