Altered Version 1: Details

Problem: The pitch drops at the repeated notes in bar 5 and bar 7.

Possible Solutions:

• As music theorist Per-Gunnar Alldahl observes: ‘if sung too passively a repeated tone has a tendency to be lower’ (Alldahl, Choral Intonation, Gehrmans Musikförlag, 2008, p. 9). With this in mind, the conductor guides the singers with awareness of the need for care and momentum in singing repeated notes, and uses fluent, supportive gestures in conducting this motif.
• The conductor cultivates a strong foundation in feeling the fifth (so) in relation to the key note (do) and the third degree (mi) through triad exercises in the teaching process, and encourages the singers to shape these notes with energy and sensitivity to help create momentum and tonal connection throughout the melody.
• The conductor uses supportive gestures and facial expression to encourage a good breath prior to bar 5 and energy throughout the repeated notes.

Altered Version 2: Details

Problem: Flat entry at bar 5 and further drop in pitch in bar 6.

Possible Solutions:

• Following the advice of Alldahl: ‘Remember to always make the fifth degree sufficiently bright.’ (Choral Intonation, 12), the conductor teaches the singers to feel the connection between the fifth degree (so), the key note (do), the third (mi), and the overall major tonality using preparatory exercises, accurate sung demonstration, and precise feedback.
• As part of the teaching process, the conductor holds two pedal notes, do and so (either separately or together) on an instrument, while the singers sing the descending motif s - f - m - r - d, paying keen attention to the relationship of each note to the pedal notes.
• The conductor uses supportive gesture and facial expression to encourage momentum, energy, and good tuning on the descending line.