INNOVATIVE WARM-UPS

INNOVATIVE WARM-UPS
F O R T H E VO LU N T E E R C H O I R
Creative Concepts to Improve Choral Sound
Singer’s Edition
MICHAEL KEMP
Foreword by Helen Kemp
GIA Publications, Inc.
Chicago
Also by Michael Kemp
The Choral Challenge: Practical Paths to Solving Problems
G-6776
Innovative Warm-ups for the Volunteer Choir:
Creative Concepts to Improve Choral Sound
Director’s Edition
G-8696L
Festival Alleluias (Based on a canon by William Boyce)
G-8586
G-8586INST instrument part
G-8586HB handbell part
GIA Publications, Inc.
7404 South Mason Avenue
Chicago, IL 60638
www.giamusic.com
G-8696
© 2014 GIA Publications, Inc.
All rights reserved.
Printed in the United States of America
ISBN: 978-1-62277-089-2
Dedicated to Julia Kemp and Guy Rothfuss,
incredibly wonderful voice teachers.
Table of Contents
Comments for Choir Members . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Posture Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Breath Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Tone Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Common Vowel Modifications . . . . . . . . . . . . . . . . . . . . . . . . . 4
Clarifying Your Consonants . . . . . . . . . . . . . . . . . . . . . . . . . . 4
3
Innovative Warm-ups and Skill Teaching Procedures
Two-part Simple Starters
1. Stimulating Energy . . . . . . . . . . . . . . . . . . . . . . . . . .
7
2. Phrase Contours . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
3. Targeting Significance within Phrases . . . . . . . . . . . . . . . . .
8
4. Vertical Vowels and Vocal Brilliance . . . . . . . . . . . . . . . . . . 8
5. Phrase Trajectory . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
6. Adjusting Vowels for Better Focus . . . . . . . . . . . . . . . . . . . 9
7. Nasal Resonance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
8. Expressive Legato . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
9. Phrase Momentum . . . . . . . . . . . . . . . . . . . . . . . . . . 10
10. Expressive Singing in Minor . . . . . . . . . . . . . . . . . . . . . 10
11. Transitioning between Styles . . . . . . . . . . . . . . . . . . . . . 11
Four-part Warm-ups 12. Moving from Melismas to Tuning Chords . . . . . . . . . . . . . . 11
13. Moving from Melismas to Tuning Chords in Minor . . . . . . . . . 12
14. Schwaization of Vowels . . . . . . . . . . . . . . . . . . . . . . . . 12
15. Schwaization of Vowels in Minor . . . . . . . . . . . . . . . . . . . 13
16. Note Grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
17. Vertical Tuning of Chords in Minor . . . . . . . . . . . . . . . . . 14
I N N OVAT I V E WA R M - U P S F O R T H E VO L U N T E E R C H O I R
Michael Kemp
18. Phrase Momentum with a Minor Bluesy Touch . . . . . . . . . . . . 14
19. Singing Phrases with Ebb and Flow . . . . . . . . . . . . . . . . . . 15
20. Adjusting Vowels in Minor . . . . . . . . . . . . . . . . . . . . . . 15
21. Singing with Buoyancy . . . . . . . . . . . . . . . . . . . . . . . . 16
22. Playful Singing with a Jazzy Ending . . . . . . . . . . . . . . . . . . 16
Rev Up and Cool Down Canons
4 parts, SATB 23. Oh, How Lovely . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
24. Kyrie Eleison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
25. Alleluia (Boyce) . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
26. Alleluia (Mozart) . . . . . . . . . . . . . . . . . . . . . . . . . . 19
27.Dona Nobis Pacem . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Skill Teaching Procedures 28. Open Throat Singing
SATB . . . . . . . . . . . . . . 21
29. Proportional Sensitivity
4-part canon . . . . . . . . . . 21
30. Staggered Breathing SATB . . . . . . . . . . . . . . 22
31. Articulation Styles
Unison . . . . . . . . . . . . . 23
32. Agogic Delays
Unison . . . . . . . . . . . . . 23
33. Singing with Expression
Unison . . . . . . . . . . . . . 24
34. Adjusting Vowels and Consonants Unison . . . . . . . . . . . . . 24
viii
Concluding Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
T wo -P a r t S i m p l e S ta r t e r s
2 Part Simple Starter #1
Stimulating Energy
1. Stimulating Energy
qd = 52
3
&8 œ œ œ œ œ
Zing - a zing - a zoo,
Tick - y tack - y too,
Yaw - dah waw - dah doo,
& 38 œ œ œ œ œ
4
œ œ œ œ œ
zing - a zing - a zoo,
tick - y tack - y too,
yaw - dah waw - dah doo,
œ œ œ œ œ
œ œ œ œ œ
zing - a zing - a zoo,
tick - y tack - y too,
yaw - dah waw - dah doo,
œ œ œ œ œ
&œ œ œ œ œ
42 œ œ # œ œ œ œ œ œ
&œ œ œ œ œ
42 œ œ œ œ œ œ œ œ
zing - a zing - a zoo,
tick - y tack - y too,
yaw - dah waw - dah doo,
Michael Kemp
zing - a zing - a zing - a zing - a
tick - y tack - y tick - y tack - y
yaw - dah waw - dah yaw - dah waw - dah
2 Part Simple Starter #2
Phrase Contours
# c œ.
&
q = 82
Oh
# c
&
œ.
œ œ œ
J
mee oh
no,
j
œ œ œ
œ
œ
U
œ
zoo boom boom(m)!
too boom boom(m)!
doo boom boom(m)!
œ
œ
U
œ
2. Phrase Contours
œ.
oh
œ.
œ œ œ
J
mee oh
no,
j
œ œ œ
,
,
Traditional Welsh melody
Adapt. Michael Kemp
œ.
j
œ w
oh
no
mee oh.

œ.

j
œ w
7
Michael Kemp
I N N OVAT I V E WA R M - U P S F O R T H E VO L U N T E E R C H O I R
2 Part Simple Starter #3
Targeting Signicance
within
Phrases within Phrases
3. Targeting
Significance
q = 64
& c œ œ œ œ œ.
&c
3
Oh
no
no
no why
œ œ œ
duh dye dye,
œ œ œ œ œ
Oh
& œ.
why
& œ.
why
no
no
œ
no why
why,
œ œ œ œ œ
œ
duh dye dye
doh
doh
oh
no
no
,
no why,
œ
J
oh
œ œ œ œ œ œ œ
oh
no
no
no
why
doh,
œ
no
œ œ 
no
no.
doh,
œ
œ

œ œ œ œ œ œ
duh dye dye
œ œ œ.
œ œ
Michael Kemp
no
no
,
why,
no.
2 Part Simple Starter #4
Vertical Vowels
VocalVBrilliance
4. Vand
ertical
owels and Vocal Brilliance
b
& b 22 œ œ œ œ
b 2
&b 2
8
Oh
I
know
I
œ œ
œ
œ
.
know,
.
,
Michael Kemp
œ œ œ. œ œ œ œ œ œ
œ w
,yes I know I know I know I know I know.
œ œ œ. œ œ œ œ œ
œ œ w

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