Book Review: Choral Vocal Technique, by Sabine Horstmann (2009, GIA Publications Inc., ISBN 978-579997373)
The teaching of vocal technique to “amateur” singers, writes James Jordan in his forward to Sabine Horstmann’s book on choral warm-up technique, should be a joyful and humane experience, not an intimidating one. Jordan states that Horstmann knows how to allow people to sing and to get them to sing with both honesty and beauty. He goes on to suggest that this volume will quickly become one of the profession’s most trusted and admired resources.
Translated from German into English by Béatrice Mohar, Choral Vocal Technique begins with an introduction by Horstmann, who believes that choral vocal technique is a most important element of working with a choir. She believes that everyone can sing and that singing is a natural expression of well-being and joy. In her years of work at Chorstudio Wilhelm Ehmann, Horstmann has developed, and shared through her writing, a valuable resource for the choral instructor. The main objective is to encourage healthy, effortless, relaxed sound. Horstmann is a proponent of natural singing without excessive exertion in a choral setting.
Following the introduction, which includes philosophies on choral-based vocal production, Horstmann lays out a well organized, clear, and simple approach to her choral techniques. The book begins with a concise synopsis of the vocal instrument, posture, breathing, and sound—and includes illustrated anatomy that is understandable at a glance. She also explains her views of registers and which vowels best support a healthy sound in each register.
Horstmann follows this with body movement and sound exercises, prefaced with the suggestion that singers should have enough individual space to be able to move freely without hindering the singer on either side. The exercises are designed to build the instrument as a whole in an effortless manor. Each exercise is explained in detail, including instruction on what the singer should be experiencing muscularly and kinesthetically. The exercises are grouped into sets that focus on relaxation, posture, breathing, and resonance.
Methodical vocal exercises are presented next, each accompanied by a statement on what the singer should focus on while practicing the vocalise, such as “Let the sound flow with pleasure; your breastbone up.” Many of the exercises can be sung in a round or cannon to allow collaboration among the choir during the suggested warm-up period of 15-20 minutes.
The book includes 94 vocalises of a wide variety. The exercises are grouped into sections which focus on developing and strengthening various aspects in the choral singer, such as equalization of vowels, register exercises, high- and low-range development, rhythm, diction, and dynamics. A few of the vocalises include accompaniments. And each section is prefaced with Horstmann’s pedagogical suggestions and instructions.
Of particular interest to choral instructors or voice teachers of children is a vocal warm-up presented in the form of a story entitled “The Adventures of White Eagle.” In this story, presumably to be told by the instructor, a little Indian boy named White Eagle “leaves his tent one night to meet his friend so they could have a great adventure.” As White Eagle and his friend live their adventure, the choir is to make the sounds of the story: calling “yoo-hoo,” “shh”-ing through the tall reeds, and mimicking a woodpecker’s “pa-pa-pa-pa.” Children will delight in making the sounds of this story and not even be aware that they have just warmed up the major aspects of their voices in preparation for choir practice.
Horstmann ends her choral vocal technique book with some general remarks for success for the choral conductor. A bibliography and resource listing offer additional information and research help.
Anyone who works in a choral setting or private voice teaching will find this book a valuable tool. Horstmann’s approach of ease, encouragement, and joy makes Choral Vocal Technique easy to read, understand, and put quickly into use.
