The Pitch Pipe - January 2009 - (Page 2A) choreographer, and use them to help bring your newest choreography plan to life. Grab some paper and a pencil and let’s get started! Staging Stockholm City Voices (Region 32) used staging and costuming to immediately set their scene. From the moment they begin it is obvious the audience is in for something special. The staging is simple, creative and powerful. Near the end of the clip you will see them move to their riser positions from their opening pose. It is timed perfectly with the musical plan and supports it so well. It looks natural and the audience is able to remain involved in the performance. If you are using planned moves in your ballads make sure they flow naturally, make sense to the story and look comfortable on your chorus. flourishes are just right for them. Watch the way the moves match the vocal inflections and provide a solid platform for this section. The moves on “hang” and “that old line” are clever and filled with character. The next line, “know I’ve been a liar,” has a smooth move to one side that helps them sing the phrase smoothly. It is followed by “nothin’ but a liar,” which is embellished with a sharp percussive move to accentuate “nothing.” The final phrase, “doggone cheatin’ life” includes moves designed just right for the attitude they are presenting! ance and excitement about the parade. Their joy is obvious! How Much Is Enough? The decision about how much choreography to include is an age-old issue that all choreographers have to address. Sometimes the members feel that there is too much or too little choreography, and many times the director removes sections of the plan because the chorus sounds better when they don’t dance! The job of the choreographer is to bring the director’s musical vision to life through visual embellishments that support the musical and lyrical vocal line. Great Lakes Chorus (Region 2) used just the right amount of choreography in the following clip to allow their vocal skills to shine and their comedic and character Comparing Two Different Performances Comparing two different performances of the same song is a great way to learn how to adapt a song to your own style and attitude. Both of the following groups have structured their performances around the way they feel Alexander’s Ragtime Band. Wellington City Chorus (Region 35) exudes energy before they even start singing! They are pulsing their bodies and look ready to entertain. Their visual plan supports the dynamic levels being sung. They start at a softer dynamic with only the middle of the chorus moving. As the intro continues they add visual volume to match the musical plan. The repeats of “hear” are matched by the moves that grow as they sing louder. As the tempo picks up they feature their front row as the “band” and support this with moves on the risers that involve the riser singers in the story. This performance is filled with exuber- Pacific Empire Chorus (Region 12) performed Alexander’s Ragtime Band with a very different style, which also works very well. Their opening has very little moves but the style and energy they use while they are singing really shows off their personality. They are definitely IN this performance! The pulse and drive of the approaching band is palpable. They exude confidence and every rhythmic embellishment is experienced viscerally. The vocal inflections are supported by their moves and their excitement about the band shows very well. Choreography for Intros and Starting the Verse Planning choreography for intros and the start of the verse are typically tough spots to design, and are both very important to the success of the perform- Digital Edition Feature 2A
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