Singing in tune
by Fred King, international coach
(from Dundalk Md Charivari, Tom Wheatley, editor)
Chapter VII - Song effects considerations
If you are coaching or involved with a chorus that tends to go flat, here are some things you can look for in the composition of the song.
- Most choruses sing more in tune when they are singing major keys, rather than in minor ones. This infers that accustomed hearing affects pitch since we are used to hearing and singing in major keys. Therefore, it is a good idea to have a chorus vocalize in minor keys as well as in the major ones.
- If the chorus has pitch difficulties, avoid pieces filled with chromatic progressions. Stick to the diatonic scale.
- If the vowels in the text are predominantly EH, IH, or EE, this may contribute to flatting since many choruses and quartets control these vowels poorly.
- If the tessitura (average range of the melodic line or voice part) of one or more parts lies consistently in its high register, this could cause flatting.
- The tessitura of one or more of the voice parts that fall consistently in the "break" area will cause flatting. Singers sometimes have only one area of two or three tones that are sung off-pitch habitually. This is most frequent on the several notes just below the break.
- Melodies that descend and suddenly turn upward are harder to keep in tune.
- Intervals that are repeated in sequence tend to lose their proper interval relationship in a short time.
- Many diphthong combinations can cause flatting.
To Tuning Chapter Eight
| don gray
| three rules
| tuning and pitch
| more pitch
| song selection
| tuning 1
| tuning 2
| tuning 3
| tuning 4
| tuning 5
| tuning 6
| tuning 7
| tuning 8
| tuning 9