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tone was tight. So, the class began a discussion of thinking about the whole body. My sense was

that the sound was not connected to support and therefore would not be heard over the orchestra.

“How do we do this?” I asked. Jason suggested that we think about the cello and bowing a cello.

Questioning continued. I asked, “Do any of your voice teachers talk to you about support and

connecting to the breath? What do they say?” Lindsay answered, “Breathe low.” I requested that

the students who were taking voice lessons talk to their voice teachers about how connect the

sound to the breath.

As the dialogue continued, Cory suggested that we were not taking in enough air. But my

concern was what they would do with the air once they took it in. I clarified as follows:

Singing is a whole body experience. We talked about the way the conductor should be and the way the gesture should be, but you need to ask your voice teachers about “singing on the breath” and “engaging the support.” See what they say about these two items.

One student asked about “resistance.” We talked about tension, that there must be tension in

certain places. Dialogue centered on the phenomenon that no one can see our vocal mechanism

or hear our voices the way we do. “When you watched the conductor, you noticed that he was

conducting with a low gesture,” I remarked, “and you noticed body posture. You must connect to

that as well.”

More questioning followed. “Can you find “Lo the berries blue and red” and see how

you might attend to the articulation of the second eighth note in each group? What might be a

suggestion? What is the problem? Why am I stopping?” Rita remarked that “the notes are getting

smaller.” “What must we do?” I asked. Rita answered, “Enunciate!” I asked, “If you were going

to put a marking on those eighth notes, what marking might it be?” Jackie said, “Marcato!” I

waited for students to put the marking in their scores. “We want to emphasize the second eighth

note. Watch what happens when Ryan emphasizes the second and fourth eighth notes.”

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