A concert of HONOR

I am embarking on a project that is very close to my heart. The project is to form a mixed choir to perform a concert (in July or August). Now I know that I am not fully-trained yet as a choral conductor, but I am putting for a great effort, because this concert is to honor my mother (Darlene Davis) since she passed away on March 20th 2010 with cancer.

I realize that it will be a tough process to get the choir prepared for the music, since my rehearsal skills (outside of being a section leader) are at a beginning conductors level.
So far the process has been somewhat smooth. I have found 25-30 singers, and will continue to seek another 10-15 singers (for a near total of 45). I have begun to score study the music (with rehearsals starting in a couple of weeks (rehearsing weekly on sunday evenings from 6-8) with music that will be at a medium level, because my choir is new and a lot of singers have not sung in a couple of years (all singers ranging in age from 18-27).
Now to aquire a rehearsal space is still an obstacle. I have called and asked a dozen churches if they could host this choir project only until our concert (and then the choir will dissolve), but I have been met with "NO" from all of them.

However, if luck is on my side, today I will have a church to host these choir rehearsals.
Also, since I am a young/beginner conductor, I have found that asking for advice from my professors at Pacific Lutheran University, and other conductors I have met over the past 10 years has been rather helpful. Advice for choral literature, rehearsal techniques and forming a program, has been the main focus of these conversations. Now, I just hope everything can fall into place, so the choir and I can begin this "Choral Journey".

What we say....

I have in my many years as a choral singer performed under the direction of 12 different conductors. Each conductor has their own style and all get great sounds out of their choirs. However when I was observing some student conductors lately who were rehearsing choirs, I found them saying (more often than not) a lot of contradictory comments to the choirs. Here are some examples:

Choir finishes singing through a piece and the student conductor says
"Ok, soprano's, this next time through the piece could you FOLD into the sound without singing QUIETER.

After the student said that and then moved forward with the rehearsal I began to think about what was asked of the sopranos.
1. They were asked to FOLD into the sound. Folding, usually consists of diminished something by halves or fourths (depending on how you would fold a napkin).
2. They were asked to NOT sing QUIETER in order to blend with the choir (which I believe not singing quieter and yet folding the sound are contradictory to one another).

After observing some more student conductors I found a lot more contradictory comments. This lead me to ask myself,
how often do we sit back as conductors and analyze what we say to our choirs and if what we say is being understood (the way we want it to be)?

Americas Choral Journey Video #2

John Finley Williamson and the beginning of The Westminster Choir College. How they brought Choral/Symphonic Music to the public and gained a worldwide reputation.

The video does include an excerpt from the German Requiem by Brahms.

Please comment if you like it. Thank you

My New Series of Posts

I am starting a Series of Posts called "Americas Choral Journey" which timelines the big events in the forming of today's choral traditions and education. It follows from 1900 to today. Covering 15 Video's averaging 5 mins each. ALL VIDEOS WILL HAVE SOUND INCLUDED.

I will cover several topics within these videos, but to not give any of that information now, will leave you suspense and curiousity. So please return as my new videos shall be every week or every couple of weeks.

Its a long series, so I do hope that you continue to watch them. The choral history of this country I believe has great value to present day conductors.

Its a map of where we've been and could help lead us to where we can go, while still keeping our core traditions.

Hope you enjoy and have many comments.

High School Tenors

On friday (Feb 8th) I got to c0-help lead a sectional rehearsal for High School tenors, who came to the school for a Men's choir festival. About 7 schools from across the state had their men's choirs show up to the festival. At the beginning of the rehearsal I noticed alot of the boys were standing with their hands in their pockets or wearing the sweater hoods. So as a choir member I asked those boys to take off their hoods and take their hands out of their pockets. Now after doing so in a polite way I still had to remind a few boys. Then I noticed that the few boys that I was asking to "stand in a proper singing posture" had an attitude look about their faces for the first 25 minutes of out 50 minute rehearsal.

We were working on Loch Lomond (arr. Ralph Vaughn Williams), then when we finished running the piece 3 times after all the corrections of vowels and unified english pronunciation. So we took a break and the boys sat down for about 3 minutes. During the 3 minutes I wanted to explain the background to the next song we were singing Rise-Up, which is a spiritual. So I was informing them of our pronunciation for the words; lord (lawd), and rise (roz).

After the breif break I had the group stand up and get some energy for the Rise up song. At this point I had them all do some "jump up downs" which is a great energy booster ( and you can play redlight-greenligh with it). Then we crouched down to the floor then jump as high as we could off of the ground 3 times, then the boys were ready to go to work on the song. This made great differences in their sound from Loch Lomond to Rise Up. During the second song all the guys had a great amount of energy and were smiling and asking great questions.

At the end of the 50 minute rehearsal we were not quite done with the piece and the boys were about to go to lunch, so I asked them if they would be willing to stay a few minutes longer to run the piece all the way through again, and all of them were really excited to stay and finish our work. I could see how proud they were about their rehearsal and their hard work. I think that even though it seemed to them as if I was playing the "mean guy" at the beginning, I am glad they realized I am a "good guy" and I was only trying to help their singing. After all of this the boys went off to lunch, and later I got to sit and chat with most of them during the lunch break, and they all were saying great things about the rehearsal.

Now I can understand how some teachers have to start out "stern" in rules and then lighten up alittle more, that way the students dont take advantage of the teachers or show disrespect. The rehearsal time with the boys was so much fun I wish that I could rehearse a Tenor section every day. I am now even more excited for my student teaching time.

OLD BUT NEW (FOR ME)

I have found a treasure of a choral techniques book. I was browsing through ebay looking at 16th century music manuscripts that were being sold, and I stumbles upon a book titled "The Art of the Choral Conductor" written by Father William J Finn and published in 1939. It covers some wonderful topics like: Choral Musicianship, Accurate Pitch, Dramatic Voices, The Color Scheme, Changing voices and Men's Voices, Blend and Balance of Parts, Diction, Sightreading and more. I looked through some of the chapters and found that some of the chapters contain more information on some topics in the book than most choral technique books do today.

Eventhough the book is old, I find it a treasure to look into the type of training that choral conductors sought 60+ years ago. I also believe that the U.S. has a superb history of choral music and I think all conductors should know as much about U.S. choral music and the history of the conductors that come before us.

Here is a brief part of Father William J Finn's Biography I found online:

The best U.S. interpreter of Palestrina is an Irish-American named Father William J. Finn, former choirmaster of Manhattan's Church of St. Paul the Apostle, who has behind him nearly 50 years of high musical achievement.

To read more about Father William J Finn check out the following Link:

http://www.time.com/time/magazine/article/0,9171,791586,00.html

I'm glad I found this book from a 65 year old lady in West Virginia, and even though the book has only some pencil underlining it is in great shape. It also has a handwritten list of the chapters that the previous owner was tested on while in undergraduate school on the east coast.

:)

Expressive Choral Singing

In Choral Rehearsals I have seen multiple Choral Conductors use words to get their choirs to show emotions for a phrase or a word in a piece of choral music. An example would be when a conductor tells his/her choir to feel “longing” for a phrase or “loss” for this phrase. Then there is times when conductors use scenes to get emotive singing from their choirs, for instance; when a conductor says “to end this phrase make it as if it were a sunset with the sun slowly fading, then its gone”. This can work well for some choirs, but my main thought is that not every has seen the same sunset(s), not everyone feel longing or loss in the same ways.

Since thnking about all this I have come up with some variations on what conductors can do in a rehearsal to help get emotive singing from their choir(s). For a sunset “ending of a phrse”, literally blow up a COLOR picture of a sunset or use a video (with no sound) to show to your choir, and as they see this, read them a poem and use it as an example of how to give a “sunset ending”. Another one of my ideas would be for emotion would be; play a movie without sound ( a love scene or death scene, etc) and have the choir sing their (love emotions or loss emotions) while watching the scene (as if the choir was the soundtrack).

These can be useful to help gain expressive/artistic/emotive singing from a HS/MS/College and possibly a professional/community choir. It wouldnt hurt to try something new. I have seen it work well at the college level. I also have more example that can be used in a choral rehearsal. I just feel that saying (sing this phrase with the color red or brown or purple, etc) can only go so far. Unison Expression in a Choir is what a group is about.