1291 APPLIED VOICE LESSONS
SPRING 2004
SYLLABUS
Dr. Elisa Fraser Wilson
747-8708; 433-5035 ewilson@utep.edu
COURSE OBJECTIVES:
At the completion of this course, the student should be able to:
 Sing major and minor scales, ascending and descending, with accuracy of pitch and appropriate tone quality.
 Sing assigned scale patterns and arpeggios on various vowels/syllables with accuracy of pitch and appropriate tone quality.
 Sing 4 songs with accuracy of pitch, rhythm, and diction, appropriate tone quality, and musical expression.
 Identify, discuss, and demonstrate consistent practice of primary vocal concepts of posture, respiration, phonation, and resonation.
 Identify and discuss basic problems of respiration, phonation, and resonation using appropriate terminology.
 Develop and utilize research skills through the process of character analysis/preparation.
In order to achieve these objectives, the student will:
 Practice at least 1 hour daily, using vocalization exercises assigned in lessons and assigned repertoire.
 Prepare 4 songs for performance on solfège syllables and Eastman counting syllables with appropriate tone quality.
 Memorize 4 songs for performance on recital and for juries.
 Sing twice in recital class, Tuesdays 3:00-4:00 P.M. Sing a memorized midterm jury and subsequent practice jury.
 Self-evaluate videotapes of midterm and practice juries.
 Critique performances of other singers, both recorded and live.
 Tape all lessons (cassette tape) for review.
 Turn in copies of all scholarly work, including IPAs, translations, character research/analysis, and self-evaluations.
REPERTOIRE: Required: 4 songs - 2 music theatre songs in contrasting styles; 1 classical art song or aria, any language; 1 French art song (see attached list of representative repertoire)
GRADING: Grades will be based on the following criteria:
20%: Weekly lesson grades. Based on:
 attendance: only 1 free absence, no make-ups; on time, please;
 preparation: assignments completed, songs prepared, evidence of consistent practice, mastery of basic concepts
20%: Videotaped midterm, songs 1-3 memorized.
 Grading criteria include: pitch and rhythmic accuracy, mastery of basic technique concepts (breathing/support, tonal focus [i.e. consistency of forward resonance], alignment [i.e. consistency of timbre on each pitch and vowel], posture, diction, interpretation [i.e. dynamics, phrasing, tempo, character portrayal]
20%: 2 performances on area recital: one before midterms, the other after.
 Performance dates will be assigned; grades will be lowered if dates must be reassigned due to lack of preparation.
30%: Final jury grade. Average of 4 grades assigned by studio teachers. Grading criteria same as midterm criteria (see above).
10%: Written work, including:
 2 critiques of student performances on vocal area recital
 2 self-evaluations
 all other assigned scholarly work (as defined above)

NOTE: According to the UTEP Vocal Area Handbook, all performance and/or coaching opportunities outside the UTEP Vocal Area must be approved by Dr.
Wilson. This includes: Dinner Theater, Theatre Dep’t. productions, professional choirs (ex. Bruce Nehring, El Paso Chorale), Viva!, master classes with guest artists or local teachers. AUDITION FOR EVERYTHING, just check with Dr. Wilson before accepting anything. This is for your protection – you want vocal longevity!

1391 APPLIED VOICE LESSONS
SPRING 2004
SYLLABUS
Dr. Elisa Fraser Wilson
747-8708; 433-5035 ewilson@utep.edu
COURSE OBJECTIVES:
At the completion of this course, the student should be able to:
 Sing major and minor scales, ascending and descending, with accuracy of pitch and appropriate tone quality.
 Sing assigned scale patterns and arpeggios on various vowels/syllables with accuracy of pitch and appropriate tone quality.
 Sing 5 songs with accuracy of pitch, rhythm, and diction, appropriate tone quality, and musical expression.
 Identify, discuss, and demonstrate consistent practice of primary vocal concepts of posture, respiration, phonation, and resonation.
 Identify and discuss basic problems of respiration, phonation, and resonation using appropriate terminology.
In order to achieve these objectives, the student will:
 Practice 1-2 hours daily, using vocalization exercises assigned in lessons and assigned repertoire. Total practice per week: 7-9 hrs.
 Prepare 5 songs for performance on solfège syllables and Eastman counting syllables with appropriate tone quality.
 Memorize 5 songs for performance on recital and for juries.
 Sing twice in recital class, Tuesdays 3:00-4:00 P.M.
 Sing a memorized midterm jury and subsequent practice jury.
 Self-evaluate videotapes of midterm and practice juries.
 Critique performances of other singers, both recorded and live.
 Tape all lessons (cassette tape) for review.
 Turn in copies of all scholarly work, including IPAs, translations, character research/analysis, and self-evaluations.
REPERTOIRE: Required: 5 songs from standard classical and music theatre repertory, to be assigned by Dr. Wilson with student input (see attached list of representative repertoire).
GRADING: Grades will be based on the following criteria:
20%: Weekly lesson grades. Based on:
 attendance: only 1 free absence, no make-ups; on time, please;
 preparation: assignments completed, songs prepared, evidence of consistent practice, mastery of basic concepts
20%: Videotaped midterm, songs 1-3 memorized.
 Grading criteria include: pitch and rhythmic accuracy, mastery of basic technique concepts (breathing/support, tonal focus [i.e. consistency of forward resonance], alignment [i.e. consistency of timbre on each pitch and vowel], posture, diction, interpretation [i.e. dynamics, phrasing, tempo, character portrayal]
20%: 2 performances on area recital: one before midterms, the other after.
 Performance dates will be assigned; grades will be lowered if dates must be reassigned due to lack of preparation.
30%: Final jury grade. Average of 4 grades assigned by studio teachers. Grading criteria same as midterm (see above).
10%: Written work, including:
 2 critiques of student performances on vocal area recital
 2 self-evaluations
 all other assigned scholarly work (as defined above)

NOTE: According to the UTEP Vocal Area Handbook, all performance and/or coaching opportunities outside the UTEP Vocal Area must be approved by Dr.
Wilson. This includes: Dinner Theater, Theatre Dep’t. productions, professional choirs (ex. Bruce Nehring, El Paso Chorale), Viva!, master classes with guest artists or local teachers. AUDITION FOR EVERYTHING, just check with Dr. Wilson before accepting anything. This is for your protection – you want vocal longevity!

3391 APPLIED VOICE LESSONS
SPRING 2004
SYLLABUS
Dr. Elisa Fraser Wilson
747-8708; 433-5035 ewilson@utep.edu
COURSE OBJECTIVES:
At the completion of this course, the student should be able to:
 Sing major and minor scales, ascending and descending, with accuracy of pitch and appropriate tone quality.
 Sing assigned scale patterns and arpeggios on various vowels/syllables with accuracy of pitch and appropriate tone quality.
 Sing 7 songs with accuracy of pitch and rhythm, appropriate tone quality, and musical expression.
 Identify, discuss, and demonstrate consistent practice of primary vocal concepts of posture, respiration, phonation, and resonation.
 Identify and discuss basic problems of respiration, phonation, and resonation using appropriate terminology.
In order to achieve these objectives, the student will:
 Practice 2 hours daily, using vocalization exercises assigned in lessons and assigned repertoire.
 Prepare 7 songs for performance on solfège syllables and Eastman counting syllables with appropriate tone quality.
 Memorize 7 songs for performance on recital and for juries.
 Sing twice in recital class, Tuesdays 3:00-4:00 P.M. Sing a memorized midterm jury and subsequent practice jury.
 Self-evaluate videotapes of midterm and practice juries.
 Critique performances of other singers, both recorded and live.
 Tape all lessons (cassette tape) for review.
 Turn in copies of all scholarly work, including IPAs, translations, character research/analysis, and self-evaluations.
REPERTOIRE: Required: 7 songs from standard classical and music theatre repertory, to be assigned by Dr. Wilson with student input (see attached list of appropriate representative repertoire).
GRADING: Grades will be based on the following criteria:
20%: Weekly lesson grades. Based on:
 attendance: only 1 free absence, no make-ups; on time, please;
 preparation: assignments completed, songs prepared, evidence of consistent practice, mastery of basic concepts
20%: Videotaped midterm: songs 1-3 memorized, song 4 prepared on text.
 Grading criteria include: pitch and rhythmic accuracy, mastery of basic technique concepts (breathing/support, tonal focus [i.e. consistency of forward resonance], alignment [i.e. consistency of timbre on each pitch and vowel], posture, diction, interpretation [i.e. dynamics, phrasing, tempo, character portrayal]
20%: 2 performances on area recital: one before midterms, the other after.
 Performance dates will be assigned; grades will be lowered if dates must be reassigned due to lack of preparation.
30%: Final jury grade. Average of 4 grades assigned by studio teachers. Grading criteria same as midterm (see above).
10%: Written work, including:
 2 critiques of student performances on vocal area recital
 2 self-evaluations
 all other assigned scholarly work (as defined above)

NOTE: According to the UTEP Vocal Area Handbook, all performance and/or coaching opportunities outside the UTEP Vocal Area must be approved by Dr.
Wilson. This includes: Dinner Theater, Theatre Dep’t. productions, professional choirs (ex. Bruce Nehring, El Paso Chorale), Viva!, master classes with guest artists or local teachers. AUDITION FOR EVERYTHING, just check with Dr. Wilson before accepting anything. This is for your protection – you want vocal longevity!

REPRESENTATIVE LIST OF APPROPRIATE REPERTOIRE
E. WILSON STUDIO
REVISED 3/2004
The following presents a list of appropriate repertoire for college voice study. Within each category, repertoire is listed from easiest to most difficult. Beginning students, therefore, should choose anthologies from the beginning of the list. Standard collections that all students should own are marked with an asterisk
(*).
General:
*First Book (and Second Book) of Soprano, Mezzo-Soprano/Alto, Tenor, Baritone/Bass Solos, ed. Joan Boytim
(G. Schirmer)
Great Art Songs of Three Centuries (G. Schirmer)
New Imperial Edition: Soprano, Contralto, Mezzo-Soprano, Tenor, Baritone, Bass Songs
Sing Solo Soprano/Mezzo-Soprano/Tenor/Baritone (Boosey and Hawkes)
Italian:
*26 Italian Songs and Arias (Alfred)
Anthology of Italian Song of the 17 th and 18 th Centuries (G. Schirmer)
Italian Art Songs of the Romantic Era (Alfred)
French:
*French Song Anthology (Hal Leonard)
40 French Songs, 2 vols. (International)
German:
Favorite German Art Songs (Hal Leonard)
*Gateway to German Lieder (Alfred)
50 Selected Songs of Schubert, Schumann, Brahms, Wolf, Strauss (G. Schirmer)
English:
English Songs Renaissance to Baroque (Hal Leonard)
Songs by 22 Americans (G. Schirmer)
20 th Century Art Songs (G. Schirmer)
Contemporary Songs in English (Carl Fischer)
Heritage of 20 th Century British Songs, 4 vols. (Boosey and Hawkes)
Spanish:
*Anthology of Spanish Song (Hal Leonard)
Canciones de España (Union Musical Ediciones)
Zarzuela! (Union Musical Ediciones)
Opera:
*Opera Arias for Soprano/Mezzo-Soprano/Tenor/Baritone/Bass, ed. Larsen (G. Schirmer)
Operatic Anthology, ed. Adler (G. Schirmer)
Celebrated Opera Arias, ed. Spicker (Patelsons)
Anthology of Italian Opera (Ricordi)
Music Theatre:
*First Book of Broadway Solos (Hal Leonard)
Singer’s Musical Theatre Anthology, 3 vols. (Hal Leonard)

The following are exercises to be done each day. They are vital preparation for the physical/vocal demands of productive practice.
1.
Stretching; Alexander Resting Position a.
Back b.
Head / Neck c.
Arms
2.
Posture check a.
Head - axis b.
Shoulders - relaxed c.
Arms, wrists, hands - relaxed d.
Torso – over hip base e.
Feet – even distribution of weight f.
Knees – unlocked
Choose one exercise from each of the following categories each day:
3.
Breathing
a. Breathe/suspend: b. Pulsing: c. Sustain d. Staccato
[ f ], [ s ]; to count of 4, 8, 12, 16
[ f ], [ s ]; to count of 8, 12, 16, 20, 24
[ s ], [hi]; ll: d-m-d-m-d :II
4. Focus a.
[ ng ] Siren slide b.
[ b-m-m ] Lip trill; d-r-m-r-d, d-r-m-f-s-f-m-r-d c.
[ ng ], [njae] Nasal slide; s-f-m-r-d d.
[bi ], [ mm ] Single pitch e.
[ bi ], [ mi ] ll: d-r-m-r-d :ll, ll: d-r-m-f-s-f-m-r-d :ll, d-s-d-l-d-D-d f.
[ bi-u ] s-f-m-r-d
5. Alignment a.
[ i-e-a-o-u ] single pitch b.
c.
d.
e.
[ i, e, a ]
[ u, o, a ]
[ a, o, u ]
[ a, e, i ]
||: d-r-m-r-d :||, ||: d-r-m-f-s-f-m-r-d :||, d-s-d-l-d-D-d
“ “ “
“
“
“
“
“
“ f.
[ i-e-a-o-u ] slide d-s-d, d-s-d-l-d-D-d g.
[ i, e, a, o, u ] < > ( messa di voce ) h.
any vowel d-D-s-m-d i.
any vowel d-m-r-f-m-s-f-l-s-t-l-d-t-r-d m-d-r-t-d-l-t-s-l-f-s-m-f-r-d
NOTE: You may also begin each group with most consonants. Avoid those that create excess tension for you. ANY PATTERN MAY BE SUNG ON [ng].

Wilson Studio Daily Warm-Up
Page 2
6. Diction (Most multi-pitch patterns can accommodate the following) a.
Thee – They b.
Bee – Vay c.
See – Zoo d.
Cool the Moon e.
Row the Boat f.
Make My Day g.
Mine is Fine h.
Where Shall I Go Today? i.
Thin is nice j.
Please bring ice k.
Others?
7. Flexibility
Increasing speed and range while maintaining accuracy and alignment will improve your flexibility. START SLOWLY – accuracy at a steady tempo will establish the skills; THEN you may go faster.