The Pitch Pipe - January 2009 - (Page 3A) ance. They need to show the right character, set the tempo and allow the singers to navigate these musical trap “spots” with ease and confidence. Don’t be afraid to keep the moves simple and use the musical plan to help you define where and when to move. The singers need to grow through each held chord and have an exit out of each chord that helps them finish each word together and go on to the next event. Clip #5 is Perth Harmony Chorus (Region 34) singing When The Red, Red Robin Goes Bob, Bob, Bobbin’. The intro is short but filled with moves that match the held chords and reflect the dynamics well. The first few moves in the verse set up the tempo and help the singers kick off the song with energy and unity. The line “pack my cares in a whistle and blow them all away” is a wonderful example of a fluid move that promotes connected singing followed by a visual ripple that brings the lyrics to life. The moves on the phrase “as happy as a queen with everything I’m happy as queen ‘cuz the robin’s gonna make me sing ” are well designed to promote expressive singing through this section. The choreography is not complicated but very appropriately designed for this performance. reography in these spots helps them stay in sync and keeps the song driving. Watch the risers on the first “Dixie! All aboard the boat for Dixie” at the beginning of the clip, and “goodbye, good-bye, so long, so long, farewell, farewell” near the end of the clip. The “Dixie” spot has no riser choreography. The front row dances through that phrase which helps the riser singers launch into the song with a well-established tempo. The “goodbye” phrase near the end of the clip is difficult musically. The front row is featured which helps the riser singers accomplish these complicated rhythms. Both moments go by very quickly, but they are designed with the music and the singers in mind. When you create choreography make sure you are totally familiar with the arrangement so you can choreograph with all parts in mind. Make it easy for the chorus to sing their best and they will love doing choreography! Trading Off Between Front Row and Risers Scottsdale uses an important device to set and maintain their tempo in All Aboard For Dixie Land. They have two key places in the following clip that have the front row dancing and the risers using facial and physical involvement without choreography included. The absence of planned cho- Including Your Director An important decision in the creative process is choosing whether or not to involve the director in the choreography plan. There are a few main factors to consider when making this decision: musical unity, director com- fort doing choreography, and length of featuring the director. There is no rule that the director has to face the audience and dance. It’s imperative that the decision whether or not to do it is based on the effect it has on the music. Our arrangements typically present us with the perfect spot to have the director turn around and face the audience and dance, which is often right when the chorus needs its director, the most. The entrance into the stomp is the toughest place to stay together, increase energy, change keys and dance. Carefully decide if this is the very moment you want your director to turn away from the chorus. If you always seem to have problems at the stomp, consider having your director start the stomp tempo facing the chorus and then turn towards the audience. Another key decision is exactly how and when the director is going to turn back to the chorus. It often falls at a tempo change or right after a held chord and it needs to be a spot that allows the director to facilitate those musical events easily. In order for any of this to be effective your director needs to feel comfortable doing it. As soon as he or she turns around all eyes will be on him or her, and the audience will watch the director throughout that sequence. If the director is the focal point for too long it can steal the impact of the moment because the audience is focusing on one person instead of the whole chorus. Choose wisely and use your director in the plan where it fits easily, helps the music to stay together, and acts as a visual embellishment instead of a “featurethe-director” moment. Alamo Metro Chorus (Region 10) has a beautiful sequence involving their director. She turns to face the audience on the last word of the preceding phrase and seamlessly joins the choreography. The chorus and director are all doing the same moves, which support the musical Allow the creativity of other performing ensembles to ignite your imagination. Digital Edition Feature 3A
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