Then another choir member put my mind at rest by this post:

“The EWTN network has a website, and they address the issue.  Maybe [the Latin teacher] would accept that as a source.”

“A characteristic difference would be the pronunciation of regina coeli. In Classical Latin the “g” is hard and the “c” sounds like “k”. In Ecclesiastical Latin, which is defined as: Latin spoken as Italian would be pronounced in Rome, the “g” is soft and the c has a “ch” sound.”

You can view the rest of it here:

http://www.ewtn.com/expert/answers/ecclesiastical_latin.htm

So, my classical Latin friend was correct, but only in her milieu; what singers have learned is correct in ours. Give the website a look, if you’re concerned; the vowel pronunciations are great if you’re learning or teaching how to sing a diphthong.

We’ll be using this melody I made up for the occasion:

I Will Praise Your Name

I loved knowing a bit about his early years.  I am the first to admit that I know very little about Patrick Henry Hughes so comments from you are encouraged!  I am going to research his music training, but for the record…I am truly amazed.

The above video I found on my MSN home page today;  I decided to do some research, and found links to the source: The Vienna Vegetable Orchestra.  For those of you who have your students make their own orchestra instruments, this is a trip!

Here is a sample of their concert work:

An innovative way of making music….as music teachers, finding a way to “serve up” the orchestra can be dry. Our responsibility is to motivate; this is a fine choice for teaching the instruments, and for an extension of teaching “found sound”.  Enjoy!

Robert Shaw, the incomparable American conductor, said, “To create a smooth legato line, sing vowels only until the vowels align with the beat. Then add the consonants back in “on top” of the vowel line“.

This is a very short way of stating my earlier blog on unison vowel production and legato line; but if short and sweet works better for you, then I am happy to include his words.  I do tend to belabor a point, I have been told….

Anyway, you can hear the success of using this technique in the Robert Shaw Chorale rendition of  “Shenandoah”.  I cannot think of a lovelier example of legato singing.

Here’s a wonderful video that went viral this summer; it was recently sent to me again for the third time….I figure that means there are still folks who haven’t seen it.  I smile every time I see it, so for those of you who haven’t viewed it yet, I’m including it here.  The Sound of Music was a really big deal in my family when I was growing up, and when I saw this video for the first time, there were tears in my eyes.  I just figured it was because I was tired from a long week, but my sister (who sent it to me) said she, too, felt her eyes fill up as she viewed it!

A reader left an excellent comment: 

 ”Dear Michelle,
I have some issues with how to pronounce final consonants, because I learn different things from language/speech teachers than in music. For example, in speech/language sessions, I was taught not to dentalize or aspirate “d” or “t” endings, but it seems that this is what is taught in music.
As I am not a professional musician, I realize I may be missing something. Can you help out? Thanks.”

The way you articulate in vocal music is definitely different than you would in speech; it’s  as if you must be fluid in two different languages.  In making music, I strongly advocate putting a “shadow vowel” after an explosive consonant (like a D or a T).  Robert Shaw said “Two consonants in succession (p/l, d/b, t/f, etc.) require a neutral “uh” vowel to be rhythmically inserted between them. Two words, one ending in a consonant and the next beginning with one, frequently require this neutral vowel (or “schwa,” or “shadow vowel”) for clarity of articulation“

I would further recommend having your choir put this “shadow vowel” on an explosive consonant (D, T, P, etc) that happens at the end of a phrase:  In his treatment for choral singing , ” The Chorale Singers Cheat Sheet” , Sean Boulware says, “Explode consonants, don’t implode them. Audiences may love us for our vowels, but they respect (and pay) us for our consonants.”  You must have your choir execute “shadow vowels” so that the text is clearly understood by the audience.  Now, if the ”schwa” is just too much, either have the choir as a whole back off a little bit, or just cut back on the number of choir members who are to perform the “shadow vowel“.  Remember, you want to have enough so the choir is easily understood, but not so much that you turn off your listeners! 

It’s a bit like “terrace dynamics“:  even though that means to go from one dynamic level to another (piano to forte)  with no graduations of volume (no diminuendos or crescendos), this was often accomplished in the Baroque era by suddenly eliminating instruments to achieve a quiter sound until it was time to play more loudly again.

This requires more than just a conductor giving cues for ending a phrase; singing in and around an “S” requires group practice.

Many times, especially with an older group, I have found that an elongated “sss” is not uncommon; often I find that choir members who do this consistently are actually trying very hard to follow my directions.  If you can isolate the offenders, I recommend asking for ‘help’ from them, and a few others, in this area by asking them to help out by “lisping” when an “S” comes along.

I myself always use a lisp when I am a choir member; in this way, I am not contributing to the problem! It helps that I actually had a mild lisp as a child; my youngest sister had one, too, and we went to the “speech teacher” at our elementary school.  I was able to overcome my problem pretty easily (turns out I was “lazy”…Me!  Can you believe it?  Maybe that’s why I am such a stickler now…)

This helps with elongated “S”, but it’s up to you as the conductor to make sure that your choir holds off on closing their syllable; they’ll need to close their “S” all at the same time to avoid any “hisssssing” that might result from individuals closing to pronounce the “S” at different times.

Next time, a nice change of pace for us…don’t miss this video!