{"id":1356,"date":"2026-05-14T14:03:27","date_gmt":"2026-05-14T14:03:27","guid":{"rendered":"https:\/\/www.pederkarlsson.com\/?page_id=1356"},"modified":"2026-06-08T18:11:41","modified_gmt":"2026-06-08T18:11:41","slug":"exercise-tapas","status":"publish","type":"page","link":"https:\/\/www.pederkarlsson.com\/sv\/exercise-tapas\/","title":{"rendered":"Exercise Tapas"},"content":{"rendered":"
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PLAY IT BY VOICE<\/h5>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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EXERCISE TAPAS<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Quick reference to exercises done in Peder’s workshop at Aarhus Vocal Festival 2026<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Click at a question mark to open a text box.<\/p>\n

Click Tab to move to the next text box.<\/p>\n

Click Shift+Tab to move to the previous text box.<\/p>\n

Click on an exercise title to close the text box.<\/p>\n

\n <\/div>\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n
<\/td>\n What<\/td>\n How<\/td>\n When<\/td>\n Why<\/td>\n Source<\/td>\n <\/tr>\n
<\/td>\n <\/tr>\n
Learning system<\/td>\n <\/tr>\n
\n Play It By Voice\n <\/td>\n \n
\n
\n
\n Play It By Voice<\/em> is a learning system,\n
developed by Peder Karlsson, for musical practice,\n
creativity, and social innovation in groups of people\n
who sing together.\n\n

Play It By Voice<\/em> is intended to be a learning system\n
open to input \u2013 a framework that provides space\n
for several different types of mutually reinforcing\n
competence, and for adaptation to your group,\n
its repertoire and its individuals.\n\n

Play It By Voice<\/em> materials include\n
\u2022 practice module tutorials\n
\u2022 learning principles\n
\u2022 maps of learning processes\n

These materials provide a starting point for\n
learning, to be adapted by students to fit their\n
circumstances.\n\n

The practice modules are designed for a combina-\n
tion of collective and individual practice.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Singers acquire practical knowledge<\/em> of essential\n
musical factors, generally speaking, through:\n\n
\u2022 Learning from music itself\n
\u2022 Learning by doing\n
\u2022 Learning by understanding<\/em> (rather than by instruction)\n\n

Understanding<\/em> follows from first doing something specific,\n
and then reflecting together on what was just done.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Feel free to begin with a few practice modules\n
and exercises, and then add bits and pieces\n
according to your circumstances, preferences\n
and priorities.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Core purposes of Play It By Voice<\/em>:\n
\u2022 to learn by playfulness\n
\u2022 to become aware of the power of co-creation\n
\u2022 to explore and learn about the creative power\n
  by exploration of the potential of the total\n
  musical intelligence of your group\n\n

Why<\/span> adapt learning materials to fit your\n
circumstances? Well\u2026 when a map doesn’t match the\n
territory anymore, then I assume that you prefer to\n
change the map, rather than trying to change the territory.\n\n

Why<\/span> combine singer-centered and\n
group-centered methodology?\n
\u2022 Because singers make the sounds that we hear,\n
  in the moment when the actual music is made\n
\u2022 Because there is a lack of understanding, within vocal\n
  music culture as a whole, about what singers do while singing\n

Through singer<\/span>-centered practice, you may get\n
a fantastic sound, driven by motivation.\n

Through group<\/span>-centered practice, you may experience\n
a sense of purpose in your music-making.\n

Through a combination of singer-centered\n
and group-centered practise, individual and<\/span> collective\n
motivation can be brought into alignment.\n\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n What is the source of Play It By Voice<\/em> pedagogy?\n\n

Music is my teacher.\n\n

Everything I have learned about vocal music\n
is the result of observations of musical and\n
social interactions, combined with input from\n
numerous people that I have made music together with.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
<\/td>\n <\/tr>\n
Learning principles<\/td>\n <\/tr>\n
\n Experience first, theory and reflection later\n <\/td>\n \n
\n
\n
\n This is a general principle for the order of\n
activities in learning processes.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Let the music speak for itself first.\n
Then you can talk, or leave it to the group\n
to reflect on their experience of what they just did.\n\n

Example questions for reflection:\n
\u2022 What did we do?\n
\u2022 What did we learn?\n
\u2022 What did we know already?\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n I suggest that you follow this principle each time\n
that you do an exercise. Sometimes you may need\n
to frame the purpose of an exercise before doing it.\n
In such cases, I recommend keyword communication<\/em>.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When you initiate musical activities and exercises\n
without first establishing any fixed ideas\n
about purposes or intended results, then you may\n
inspire a mindset of openness and curiosity<\/em>\n
towards musical exploration \u2013 free from\n
presumptions or prejudice.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The Real Group \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n Four modes of learning\n <\/td>\n \n
\n
\n
\n Inspiration, feeling, physical awareness\n
and logic.\n\n

Inspiration<\/span> and feeling<\/span> are intuitive modes of\n
learning, where knowledge is assimilated\n
through subjective<\/em>, qualitative experience.\n\n

In learning based on physical awareness<\/span> and\n
logic<\/span>, knowledge is assimilated through\n
objective<\/em>, quantitative experience.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Inspiration<\/span>\n
Having fun together is an important starting point\n
for any group activity, and a very powerful source\n
of motivation.\n\n

Feeling<\/span>\n
Learning can be effortless and easy in an inspirational\n
and emotionally safe space, where singers are free to\n
express their feelings spontaneously \u2013 within limits\n
based on mutual respect.\n\n

Physical awareness<\/span>\n
Through embodied learning and physical, musical\n
understanding, the learning process becomes\n
a tangible reality for the singers.\n\n

Logic<\/span>\n
After having established playfulness, inspiration, motivation,\n
feeling, and embodied understanding as a foundation for your\n
activities, logical frameworks may emerge organically:\n
methods, guidelines and agreements that make sense,\n
according to the purposes of your group activities.\n

Logical and purpose-based structures may in turn provide\n
a clear direction forward, as individuals and as a team,\n
which feeds into inspiration and motivation \u2013 and thus the\n
learning cycles continue.\n\n\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Logic<\/span> (music theory, methodology etc) and\n
physical awareness<\/span> (physical skills) can be practised\n
according to a schedule and a timeline.\n\n

Inspiration<\/span> and feeling<\/span> emerge here and now.\n
If you try to push or coerce these learning modes\n
into a year plan or into a rehearsal plan,\n
then your plan is not going to work out for you\n
in the real world.\n\n

Moments of fun and feeling emerge spontaneously.\n
There is no way for you to apply control or command\n
over these things. But you can learn through experience\n
how to encourage and reinforce fun and feeling in the moment.\n\n

Considering all of this, it is very important\n
to leave space in your plans to be influenced\n
by what happens in the moment.\n
Also known as \u201cSwiss Cheese structure\u201d.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Balance<\/span> between the four modes of learning\n
is crucial for fulfilment and satisfaction.\n\n

Without inspiration<\/span>, you probably will end up\n
singing alone, sooner or later.\n
Or not sing at all.\n\n

Without feeling<\/span>, there may be vibrations in the air,\n
but there won\u2019t be a lot of music.\n\n

Without physical awareness<\/span>, your music won\u2019t\n
be beautiful.\n\n

Without logic<\/span>, you probably won\u2019t find a sense\n
of purpose in your practice, nor find a clear\n
direction forward for your group.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Ancient wisdom traditions; animism, taoism, ayurveda\n
\u2013 just to name a few.\n\n

Inspiration -> Fire<\/span>\n
Feeling -> Water<\/span>\n
Physical awareness -> Earth<\/span>\n
Logic -> Air<\/span>\n\n\n

Even we who are children of the \u201cmodern world\u201d\n
may understand intuitively the core meaning of the four elements\n
through direct experience in personal, subjective processes.\n\n

Pieces of advice:\n
\u2022 Keywords may be useful for intuitive understanding\n
  of the four elements and their relevance in daily life.\n

\u2022 You may experience a high degree of uncertainty\n
  when you attempt to bridge the gap between subjective\n
  and objective means of understanding.\n\n

\u2022 Since words have different meanings in different languages,\n
  and since the meaning of words often change over time,\n
  symbolic<\/em> or creative (as opposed to literal<\/em>) interpretation\n
  is recommended when you read contemporary literature\n
  based on ancient wisdom traditions.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n One focus area at a time\n <\/td>\n \n
\n
\n
\n There are five main focus areas:\n
Rhythm, Intonation, Sound & Blend, Expression\n
and Stage presentation.\n

RHYTHM is physical movement with a sense of\n
pulse,and with a bodily feeling of groove.\n
Rhythm is not an application of mathematics.\n

INTONATION is a sequence of focused activities,\n
with the goal to sing in tune.\n
Singers can learn how to do this with confidence.\n
Intonation skills is not a talent that you either have\n
or don’t have.\n\n

Different music styles require different types\n
of SOUND. BLENDING is the combined activity\n
of all singers to adapt their sound to the\n
expression of others, while singing.\n

EXPRESSION is how you approach your songs\n
with personality, interpretation and attitude,\n
and how the combined intentions of all singers\n
becomes a collective musical output.\n\n

STAGE PRESENTATION is about connection with\n
each other and with the audience. It begins with\n
preparation through focused practice.\n\n

When you enter the stage, all preparation is over.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When your focus is rhythm, for example,\n
then all the other focus areas are not subject\n
to evaluation. In other words: even if the intonation\n
may suffer, don\u2019t pay attention to that,\n
while the rhythm is the focus target.\n\n

And vice versa, when intonation is\n
the focus area, then rhythm is of no concern.\n\n

Eventually, singers may learn how to shift attention\n
between all the focus areas, while singing,\n
through a continuous activity to move their target point\n
of focused attention between different musical factors.\n\n

To move the target for your musical attention\n
is also referred to as moving your inner spotlight<\/em>.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When you want to achieve musical progress.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When everyone in the choir are focusing on\n
improvement of the same musical parameter,\n
then improvement with that focus area will happen.\n
For this to work out, it is important to\n
temporarily ignore the other main focus areas.\n\n

Your choir or vocal group won\u2019t function\n
as a very strong musical team until all singers\n
are comfortable with each of the five main focus areas:\n
Rhythm, Intonation, Sound & Blend, Expression\n
and Stage performance.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Royal Academy of Music in Stockholm, Sweden\n
\/ The Real Group \/ RAMA Vocal Center\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n \n
\n One rehearsal item at a time\n <\/td>\n \n
\n
\n
\n A reminder for you to practise one musical\n
parameter at a time, and to give feedback\n
to one rehearsal item at a time.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Choose a short musical excerpt from your\n
known repertoire; this excerpt is now\n
the current rehearsal item\n\n

2. Apply the principle of a Play It By Voice<\/em>\n
practice module to the rehearsal item\n\n

3. Repeat a few times until you hear progress\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When a musical challenge requires a concrete solution\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Progress happens when all singers focus on\n
the same musical parameter at the same time.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Royal Academy of Music in Stockholm, Sweden\n
\/ The Real Group\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n See, hear and touch\n <\/td>\n \n
\n
\n
\n A reminder for you to create exercises\n
that activate more than one of the senses\n
at the same time\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Feel free to set up exercises where\n
change is applied to one musical parameter at a time,\n
and where the change is referenced by visual,\n
audiotory and tactile input.\n

Example exercise: Pitch glide up-down –> unison<\/em>\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 When you want to practice in a way\n
that leads to singers practical knowledge\n
reaching a permanent state.\n
In other words: that singers remember\n
what they have learned.\n\n

\u2022 When you want to do a fundamental reset\n
of singers\u2019 perception of a musical parameter\n\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Change of a musical parameter combined with\n
multiple types of sensory activation\n
leads to deep and physical understanding\n
of the musical parameter currently being\n
the focus target.\n\n

When multiple senses are activated,\n
while musical change is also applied,\n
then singers may unlock their potential<\/em>\n
for embodied knowledge, in a way that simply isn\u2019t\n
accessible through static types of focus.\n

This type of practice is very efficient\n
and leads to high levels of singers’ retaining\n
their learning experiences after a practice session.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n
<\/div>\n <\/td>\n <\/tr>\n
Practice modules and exercises<\/td>\n <\/tr>\n
<\/td>\n <\/tr>\n
\n About practice modules\n <\/td>\n \n
\n
\n
\n WHAT?<\/span>\n

A Play It By Voice<\/em> practice module is a\n
very short musical process, typically with a\n
duration of 1-3 minutes, that focuses on a\n
specific musical skill, usually within\n
one of the main focus areas.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n HOW?<\/span>\n

You can either do a Play It By Voice<\/em>\n
practice module as a stand-alone exercise,\n
as presented in a class session or a workshop with me,\n
as well as in the tutorial section of the\n
Play It By Voice<\/em> podcast and blog at Substack\n
(to be launched in Sept\/Oct 2025)\n\n

\u2013 or you can use the principle of a\n
Play It By Voice<\/em> practice module and adapt it\n
into a solution to a specific musical challenge\n
with your repertoire.\n
(See above under One rehearsal item at a time<\/em>)\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n WHEN?<\/span>\n\n

Most Play It By Voice<\/em> practice modules are set up\n
to be used either during the warmup\n
at the beginning of a rehearsal, or as a\n
pre-exercise to the next song being practised\n
during a rehearsal of known repertoire.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Doing the practice modules develops singers’\n
abilities and skills; one musical factor at a time.\n\n

The intention with most practice modules\n
is to develop singers\u2019 musical skills\n
as well as their social skills.\n\n

Over time, singers will gradually develop\n
abilities and skills to be sufficiently prepared musically\n
for the activities of their group.\n\n

TIP: this process has no end.\n
Musical practice is an ongoing type of activity.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n SOURCE?<\/span>\n Where do the practice modules come from?\n\n

A common scenario is that new methods emerge\n
organically, when people interact musically.\n
In such cases there is no individual creator.\n\n

I have learned these practices from various\n
people, situations and places. A person that I\n
have learned something from may have learned it\n
from someone else that I don’t know about.\n\n

In some cases, I don’t know anything about\n
from whom or from where a practice module originates.\n\n

See respective info under Source<\/em>.\n\n

Some practice modules were created by myself,\n
usually after contemplation about things that\n
didn’t work out in a coaching session, for example.\n
Later on, in another coaching session, I would try\n
a new method that requires a new practice module.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
<\/td>\n <\/tr>\n
\n RAMA Choral Center joint session on Thu, Aug 28th:\n <\/td>\n <\/tr>\n
\n Rhythm Exercise #1\n <\/td>\n \n
\n
\n
\n A 6\/8 \u201dpoem\u201d in five verses;\n
rhythm exercise.\n

You find the score in Moodle.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Pre-exercise:\n
  Clap pulse, say the poem; each verse twice\n
  1. One-two-three-four-five-six\n
  2. Uh – uh – uh\n
  3. Digidage digidage digidage\n
  4. One-and-a-two-and-a-three-and-a-four-and-a\n
  5. One – – two – – three – – four – –\n

\u2022 Exercise:\n
  Clap the poem, say the pulse;\n
  (reversed pulse reference) each verse twice\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 During the warmup\n
\u2022 or as a pre-exercise to a song with rhythm issues\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Get comfortable with polyrhythmic patterns\n
\u2022 Improve your ability to instantaneously\n
  change your perception of pulse\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n Visualize the room\n <\/td>\n \n
\n
\n
\n Exercise for visual and audiotory imagery\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Observe items in the room\n
2. Close your eyes and visualise the items in the room\n
3. Imagine music that has been played in this room before\n
4. Imagine that you are making this music\n
    with your voice and your body\n
5. (count off:) three-four\n
6. Everybody makes their sounds\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Before doing the exercise Silence – Imagine – Prepare voice – Sing!<\/em>\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Get comfortable closing your eyes\n
while others are also singing\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Eckhart Tolle \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n Silence \u2013 Imagine \u2013 Prepare voice \u2013 Sing!\n <\/td>\n \n
\n
\n
\n Practice module for audiotory imagery\n
(audiation)\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Imagine that you hear silence\n
2. Imagine a note coming in to this silence,\n
    singing with the vowel [VOWEL]\n
3. Imagine that you are singing this note\n
4. Sing it! – three, four –\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 During the warmup\n
\u2022 or as a pre-exercise to a song with intonation issues\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Audiotory and physical preparation\n
\u2022 Internal reference to intonation\n
\u2022 Development of intonation skills independent of\n
  what you hear from the other singers\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n
<\/div>\n <\/td>\n <\/tr>\n
\n Class session on Fri, Aug 29th:\n <\/td>\n <\/tr>\n
\n <\/td>\n <\/tr>\n
\n Intro\n <\/td>\n <\/tr>\n
\n Walk around in the room: stop, start\n <\/td>\n \n
\n
\n
\n Group communication practice module\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. The leader explains the premise that the floor can tilt,\n
    and therefore everyone must make sure that there is\n
    an even distribution of people on the floor.\n
2. Walk around\n
3. When the leader claps (once), then everybody stops\n
    walking\n
4. When the leader claps twice, then everybody starts\n
    walking again\n
5. A guide person stops and starts the walking\n
6. No leader (or everyone leads); stop and start walking\n
    again \u2013 as a collective\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 In the beginning of a rehearsal\n
\u2022 This is a type of exercise that can begin on time,\n
  even if a few singers haven\u2019t yet showed up.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Get familiar with the room\n
\u2022 Establish a safe space\n
\u2022 Practise group awareness by paying\n
  attention to everyone else at the same time\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n I don’t remember from whom I learned it.\n
It’s probably a theatre exercise.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n\n
\n Check in: Talking Stick\n <\/td>\n \n
\n
\n
\n Icebreaker\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. I am [NAME]\n
2. [Share something]\n
3. I have spoken\n
4. Ho\n
5. Give the talking stick to the next person\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When everyone has arrived to a group session\n
(rehearsal\/meeting etc)\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Establish that one person at a time speaks\n
\u2022 Get an idea about the current mood of everyone\n
\u2022 \u201cHo\u201d = \u201cWe see you\u201d\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Native American gathering practice\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n <\/td>\n <\/tr>\n\n\n
\n <\/td>\n <\/tr>\n
\n Rhythm exercises\n <\/td>\n <\/tr>\n
\n Step One\n <\/td>\n \n
\n
\n
\n Physical movement with a\n
pulse reference in your body\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Repeat this:\n
\n 1. Right foot forward\n
\n 2. Left foot on the spot\n
\n 3. Right foot backward\n
\n 4. Left foot on the spot\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When singers need a pulse reference in their own body\n
(internal pulse reference)\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Establish a physical reference to the pulse,\n
\n with which to synchronise one\u2019s singing\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Jim Daus Hjern\u00f8e\n
– after observing many groups\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n\n
\n Step Two\n <\/td>\n \n
\n
\n
\n Physical movement with a\n
pulse reference in your body\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Repeat this:\n
\n 1. Right foot to the right\n
\n 2. Left foot to the right\n
\n 3. Left foot to the left\n
\n 4. Right foot to the left\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When singers need a pulse reference in their own body\n
\n (internal pulse reference)\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Establish a physical reference to the pulse,\n
\n with which to synchronise one\u2019s singing\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Jim Daus Hjern\u00f8e\n
– after observing many groups\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n
\n Sense of gravity\n <\/td>\n \n
\n
\n
\n A practice module that brings awareness\n
to gravity as a reference to rhythm\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Do Step One<\/em> with a bounce\n
2. Do Step One<\/em> without a bounce\n
3. Acknowledge the difference\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When you want to establish an understanding\n
of gravity as a reference to rhythm, and\n
the importance of physical movement as a\n
reference for timing when you sing.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Physical awareness of gravity and its relation\n
to rhythm is a key element of grounding<\/em>.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u00c5sa Simma, artistic director of\n
Giron S\u00e1mi Theatre in Kiruna, Sweden\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n\n
\n What is rhythm?\n <\/td>\n \n
\n
\n
\n Song \/ Spoken word \/ Dance\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n verse 1<\/em>\n
What is rhythm\n
Rhythm is physical movement\n
What is rhythm\n
Down-up-down-up-down-up-down (right foot)\n
\n
verse 2<\/em>\n
same as verse 1, except finish with left foot\n
\n
bridge<\/em>\n
Get your ass down (monkey step, six times)\n
take it again, take it again, take it again-gain\n
Get your ass down (monkey step, six times)\n
one, two, one, two, three, four\n
\n
verse 3<\/em>\n
What is rhythm\n
Rhythm is physical movement\n
What is rhythm\n
Down-up-down-up-down-up-down (right foot)\n
Get your ass down\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n During the warmup\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Have fun\n
\u2022 Establish step one and step two in context\n
\u2022 Establish downbeat and upbeat\n
\u2022 Challenge social conformity\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n\n
\n Reversed pulse reference\n <\/td>\n \n
\n
\n
\n Rhythm practice module;\n
internal pulse reference\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Walk or clap the pulse,\n
    while doing a rhythm with your voice\n\n

2. Do the rhythm with your feet or hands,\n
    while doing the pulse with your voice.\n
    Then repeat 1. and 2.\n\n

3. (optional) Walk the pulse and clap the upbeat,\n
    while doing a rhythm with your voice\n
4. Walk the pulse and do the upbeat with your voice,\n
    while clapping the rhythm\n\n

Please note: it\u2019s not important to try to be perfect\n
when you reverse the pulse reference.\n
What\u2019s important is to try.\n
The learning happens when you return to \u201cnormal\u201d.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 During the warmup\n
\u2022 As a pre-exercise to a song with rhythmical issues\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Become physically aware of the relation\n
  between pulse and subdivisions\n
\u2022 Address eventual issues with unstable tempo\n
\u2022 Develop body awareness\n
\u2022 Develop physical flexibility \u2013 in terms of\n
  pulse reference\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Andr\u00e9 Ferrari \/ Jim Daus Hjern\u00f8e\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n\n
\n Variable tempo with rotated leadership\n <\/td>\n \n
\n
\n
\n Rhythm exercise;\n
external pulse reference\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Loop a short rhythmic phrase from your known repertoire,\n
along with Step One or Step Two.\n

The guide makes gradual changes to the tempo,\n
to be copied and cloned in real time by the other singers.\n

Rotate the guide role.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When it\u2019s time to improve singers\u2019 synchronization\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When a guide singer changes the tempo,\n
then the value of synchronization between singers\n
becomes obvious.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n <\/tr>\n\n\n\n
\n <\/td>\n <\/tr>\n
\n Intonation exercises\n <\/td>\n <\/tr>\n\n
\n Three notes, two notes, one note\n <\/td>\n \n
\n
\n
\n Intonation exercise module;\n
internal pitch reference\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Repeat a few times:\n
\u2022 Play three notes on the piano\n
\u2022 Show the audiation sign\n
\u2022 Singers audiate the three notes\n
\u2022 Singers sing the three notes, on \u201coo”\n\n

2. Repeat a few times:\n
\u2022 Play two notes on the piano\n
\u2022 Show the audiation sign\n
\u2022 Singers audiate the two notes\n
\u2022 Singers sing the two notes, on \u201coo”\n\n

3. Repeat a few times:\n
\u2022 Play one note on the piano\n
\u2022 Show the audiation sign\n
\u2022 Singers audiate the note\n
\u2022 Singers sing the note, on \u201coo”\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 During the warmup\n
\u2022 or as a pre-exercise to a song with intonation issues\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 activate intonation focus\n
\u2022 make a distinction between audiation of\n
  harmony<\/em> and audiation of separate notes<\/em>,\n
   in a concrete way\n\n

The latter is important because singers often are\n
unaware of the audiation phenomenon, and therefore\n
confuse different types of audiation. With the effect\n
that they may be unable to differentiate between a root,\n
a fifth and a third of a chord, for example.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n
\n Pitch Darts\n <\/td>\n \n
\n
\n
\n Intonation practice module\n
for micro-second preparation\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Play a staccato note on the piano\n
2. Singers sing the same note; syllable: “Pa”\n\n

Then repeat 1. and 2.\n\n

Be mindful about the speed between notes\n
that singers are able to accomplish. Try with\n
larger and larger intervals between notes.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 During the warmup\n
\u2022 or as a pre-exercise to a song with\n
  intonation issues\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n In this exercise, it is impossible for singers\n
to think and evaluate, while singing, the note\n
or phrase that they just sang.\n\n

Purpose of this exercise: to develop singers\u2019 habit\n
to constantly have their attention directed forward,\n
towards the next note or phrase:\n
Aim – Sing – Forget\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n
\n Pitch glide up-down –> unison\n <\/td>\n \n
\n
\n
\n Intonation practice module\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The leader sings on \u201cmm\u201d a note\n
whose pitch glides up and down between\n
a low and a high pitch, while also showing\n
the pitch change with the hand and the arm.\n\n

All singers sing along with the leader.\n\n

The leader stops singing at a sustained note\n
sung in unison by everyone.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 During the warmup\n
\u2022 or as a pre-exercise to a song with\n
  intonation issues\n
\u2022 or as an intro to the exercise Big cluster,\n
  small cluster<\/em>\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Changing the pitch activates singers’\n
physical awareness of pitch, especially\n
when given simultaneous references to pitch:\n
visual, audiotory and tactile (see<\/em>, hear<\/em>,\n
and touch<\/em>).\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Joakim Jennefors\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n\n\n\n
\n Big cluster, small cluster\n <\/td>\n \n
\n
\n
\n Intonation practice module\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Two ways to start:\n
1 – start from a unison note sung by everyone.\n
2 – start from a big cluster, then slowly move\n
    your hands to indicate a unison note.\n
    Singers will have to negotiate which note\n
    to be sung in unison.\n\n

Big cluster: one hand held high, the other hand\n
held low. Singers pick a random note, high or low.\n
Then you move your hands to the same level,\n
indicate that a previously agreed target note\n
shall be sung in unison.\n\n

Small cluster: a small movement with the fingers\n
on both hands that indicate for singers to sing\n
slightly out of tune; sharp or flat, within\n
a quarter note or so. Then return to\n
both hands held flat, to indicate that the agreed\n
target note shall be sung in unison.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 During the warmup\n
\u2022 or as a pre-exercise to a song with intonation issues\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 Reinforcement of internal reference to pitch\n
\u2022 Reinforcement of individual responsibility\n
  for intonation\n
\u2022 Heightened awareness and reinforced ability\n
  for precise, fine-tuned intonation\n\n

To hold a reference note in your audiation\n
(the target unison note), while singing a different note\n
as part of a cluster, emphasises the importance\n
of audiation and preparation as an ongoing task\n
in the moment of music-making.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Katarina Henryson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n\n
\n Open doors, closed doors\n <\/td>\n \n
\n
\n
\n Intonation practice module for knowing\n
what audiation is\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Sing a whole song, or a part of it,\n
that singers know well; unison, homophonic\n
or polyphonic.\n\n

One person indicates with their arms \u201copen doors\u201d\n
or \u201cclosed doors\u201d.\n\n

When the doors are open, everyone sings their part.\n
When the doors are closed, nobody sings \u2013\n
but the song continues.\n\n

After having sung, ask \u201cwhere does the music go\n
when you don\u2019t sing?\u201d\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n \u2022 The first time that you do this exercise,\n
then the main purpose is typically to initiate\n
awareness of audiation as an intonation tool\n
available to each individual singer.\n\n

\u2022 When singers are aware of their capacity\n
for audiation, then this exercise module is useful\n
to strengthen singers\u2019 skills in terms of precise intonation,\n
as practised through specific excerpts\n
from your current repertoire.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n To reinforce audiotory and physical preparation,\n
in each singer, with the goal to reach a high \n
degree of singing in tune, and to end the song\n
without having gone flat or sharp.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n A music teacher from Sundsvall, Sweden\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n
\n <\/td>\n<\/tr>\n
\n Sound & Blend exercises\n <\/td>\n<\/tr>\n
\n Floor-Roof practice\n <\/td>\n \n
\n
\n
\n A basic method for exploration and\n
embodied understanding of musical parameters\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Singers make changes of a musical parameter\n
between minimum and maximum values.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Whenever you want to direct singers\u2019 attention\n
to a specific musical parameter.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Without change, there will be status quo,\n
which is antithetical to musical progress.\n

Floor Roof practice ensures that singers\n
get to experience what musical change means,\n
in a concrete way, one parameter at a time.\n
Learning by doing.\n\n

Through exploration of specific musical\n
parameters, singers acquire practical knowledge\n
and musical understanding \u2013 one musical\n
parameter after another.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The Real Group \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n
\n Guide singer practice\n <\/td>\n \n
\n
\n
\n A basic method for rotation of\n
initiative and support\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n One singer is given the role of providing\n
musical initiative \u2013 the Guide singer\n
\u2013 while everyone else are assigned the role\n
of providing musical support.\n\n

The role of Guide singer is rotated\n
between the singers of the choir.\n

Ultimately, all singers will have experienced\n
the task of providing musical initiative.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n A common scenario is to combine\n
Guide singer practice\n
with Floor-Roof practice.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Without musical initiative, the music stops.\n\n

Someone must take initiative. Without any\n
guidelines or methods for how to take musical\n
initiative, chances are that very few group\n
members will be given this role \u2013 which potentially\n
may lead to status quo, lack of progress, and lack\n
of inspiration.\n\n

Experience has shown that rotated initiative\n
and support has a positive effect on singers\u2019\n
social skills, as well as on the unfolding\n
of constructive group culture.\n\n

When support is given by the whole group to the\n
Guide singer, then instantaneous musical phrasing\n
and expression is reinforced, along with the current\n
direction given by the Guide singer.\n\n

This type of practice provides a starting point\n
for musical co-creation, which is a cornerstone\n
of Play It By Voice<\/em> pedagogy.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The Real Group \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n
\n Dynamics (quiet\/loud)\n <\/td>\n \n
\n
\n
\n Floor-Roof practice module\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Sing a short song example as quiet as you can,\n
    either a unison melody, or a homophonic arrangement.\n\n

2. Then sing the same example as loud as you can.\n
    Before singing loud, say: \u201cPay attention to how it\n
    feels in your voice. If it hurts \u2013 do something else.\n
    If it doesn\u2019t hurt \u2013 sing louder.\u201d\n\n

Say: \u201cthe guide singer is always perfect, by definition\u201d.\n\n

3. A guide singer makes changes between\n
    quiet and loud (\u201cfloor\u201d and \u201croof\u201d) and everyone else\n
    copies the expression of the guide singer,\n
    in real time.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When you have issues with dynamics,\n
blending or intonation.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n This practice makes it impossible not to\n
pay attention. Singers simply must listen\n
to the guide singer and make changes\n
with their voice.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The Real Group \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n\n
\n Voice timbre (dark\/bright)\n <\/td>\n \n
\n
\n
\n Floor-Roof practice module\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n 1. Sing a short song example with a very bright sound.\n
2. Then sing the same example with a very dark sound.\n
3. Then a guide singer makes changes between dark and\n
    bright (\u201cfloor\u201d and \u201croof\u201d) and everyone else copies the\n
    expression of the guide singer, in real time.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When you have issues with sound, blend\n
and voice timbre.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n This is a very effective exercise for achieving\n
a fantastic blend.\n\n

With this practice module especially, singers are\n
likely to find themselves \u201coutside of the box\u201d\n
in terms of sound & blend.\n\n

Chances are that singers\u2019 attention will be\n
targeted on how weird it sounds, and that they\n
won\u2019t notice the extent to which they are adjusting\n
the shape of their voice instruments, which often\n
can be loaded with physical habits and a static\n
self-image in terms of how one shapes one’s sounds.\n\n

Point is: to change the shape of one’s voice instrument\n
is a necessary skill for attainment of unique group sounds.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The Real Group \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n\n
\n Vowel pronunciation\n <\/td>\n \n
\n
\n
\n Blending practice module\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n When you hear that singers are spontaneously\n
matching their pronunciation of vowels\n
with each other, then point out that\n
they are doing this.\n\n

And then ask them to match their vowels\n
\u2013 on purpose.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n At some point when doing Dynamics,\n
Voice timbre, or Articulation\n
Floor-Roof exercises.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n To syncronize pronunciation of vowels\n
is essential for attaining a fantastic blend.\n
Singers must adapt the shape of their\n
voice instruments to achieve this \u2013 which\n
typically happens when you do Floor-Roof\n
exercises, especially the Voice timbre or\n
Articulation practice modules.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The Real Group \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n
\n <\/td>\n<\/tr>\n
\n Expression exercise\n <\/td>\n<\/tr>\n
\n Real time cloning\n <\/td>\n \n
\n
\n
\n Expression practice module\n
with a guide singer\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n Ask the guide singer to sing with her\n
natural voice, and ask everyone else\n
to copy and clone the dynamics, voice timbre\n
and vowel pronunciation of the guide singer.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n I recommend that you don\u2019t do this exercise\n
without first having done a few Floor-Roof\n
exercises, with focus on specific parameters.\n\n

Why? Because experience has shown that\n
singers may be ready to focus on several\n
musical parameters simultaneously only after\n
having done a few Floor-Roof practice modules\n
in the same rehearsal session.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n This practice module provides a concrete\n
and spontaneous framework for how to build\n
a unique \u201clibrary of sounds\u201d for your choir\n
or vocal group, based on the voices, sounds and\n
expressions of the individual singers of your choir.\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n
\n
\n
\n
\n The Real Group \/ Peder Karlsson\n <\/div>\n <\/div>\n ?<\/span>\n <\/div>\n <\/td>\n<\/tr>\n
\n
<\/div>\n <\/td>\n <\/tr>\n <\/table>\n