Romanian Sample Project - Spinning bees / Sezatoare

Community Choir / Folklore Ensemble

A Spinning Bees / Sezatoare rehearsal/ session plan

Participants: About 30, total

  • Vocal group – 12
  • Dance group- 12
  • Fiddlers – 6

Singers and fiddlers are disposed in an arc of circle, under choir conductor’s coordination.

Dance group, under choreographer’s coordination it’s disposed in “circle” or “pairs”- as per the theme of dance.

The whole group it’s coordinated, at the end, by the choir conductor.

1.Opening and warming up

In the introduction speech conductor is asking for 2 musical scores for a two hours session , while fiddlers (which are singing only “by ear”) are preparing their instruments ( usually: accordion, violin, trumpet, dulcimer, contrabass). The musical scores’ choice is made by musician by considering one easier (one voice tune, associated with dance- e.g. Ciuleandra)and one more complicate (4 voices- e.g. Mama-Mother) (one joyful song and one sad) to avoid a boring session. Because it’s the second rehearsal for these songs, he’s explaining the actual status and what kind of progress he’s expecting during this session.

Warming up includes: Body & breath and vocal exercises; the first two categories being more physical ( for arms, legs head, shoulders, lungs,), while the last more musical (major or minor ascending or descending game, echo, canon, with the text replaced by vocals)

2. Rehearsing song, tune and dance

Majority of the members of choral group are singing by imitation, while one soprano and one tenor are able to sing by notes (under conductor’s supervision). Majority of the members can orientate on musical score considering the rhythm, tone and length of notes. Being aware of this situation, the conductor is insisting at the four voice song on alto and bass (by repeating shorter passages), passing faster (with longer passages) over soprano and tenor. In the four voice song, soprano has a soloist part which is linked with chorus parts. Here the polyphonic capabilities of vocal group are fully exploited.

When everything it’s ok from melodic and pronunciation of text point of view conductor insists on linking different parts and expressiveness.

As per one voice tune, conductor is looking mainly on coordination of vocal group with fiddlers first; then the dancers are invited to join. The group of dancers was prepared previously by choreographer, using an audio recording. The only problem it’s now that vocal group and fiddlers- under conductor’s supervision, to keep the same rhythm as in audio recording.

To avoid dancers to be tired (Romanian dances are demanding – sometimes- a very good physical condition) the conductor alternates by time to time the second subject of rehearsal with the first.

If the first subject it’s demanding for the vocal group, the second it’s for dancers.

3. Reflective practice

After each partial rehearsal there’s a reflective practice of conductor, choreographer and the representatives of each part/voice of vocal group, fiddlers and dance group. Conductor is the coordinator in this too, but the atmosphere it’s relaxed. In the end he decides if these two subjects can go directly to the final rehearsal or one more partial rehearsal it’s needed. During reflective practice they are looking too for ways to involve the audience during performance.

The performances can be:

  1. In Cultural Center
  2. In Residential Center ( here the group it’s reduced to 4+4, the conductor replacing the fiddlers)

This couple of song + tune + dance can be eligible for case A, because needs good / very good psychological and movement properties from beneficiaries, for involvement.

4. Traditional dinner

After a successful performance, final rehearsal or some special partial rehearsal , like this, we can have a common traditional dinner which is an opportunity to practice some traditional songs which are suitable for both cases B & A.

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Last modified: Thursday, 11 October 2018, 6:28 AM