So I recently posted about reading text in rehearsal (and outside of rehearsal), but even more importantly is Sight Reading.
...pause for effect...
Sight Reading is the single most important thing that you can have your choir do. Strive to have them pick up new pieces without plunking out every part. The essence of your choir is reading music. I have witnessed choirs with amazing abilities that do not read well. At the end of the day, the students will only be able to go as far as their 'rote' learning will allow. This will alienate any piece that you yourself do not know well as well as any piece that you don't have a recording of. Why handcuff yourself?
The answer is simple. Sightread, Sightread, and sightread. Find a system that works for you. Give your choir new music on a daily or weekly basis. You will be amazed.
Monday, October 5, 2009
Reading in Rehearsal, Pt 1
With the added pressure of increasing test scores, many choral directors are faced with new dilemmas. There is no doubt that reading is great for every person, especially our students. But what can we assign to read in Concert Chorale or Chamber Singers?
This is a new challenge that we are facing. While some look at it as invasive and annoying, I look at it as yet another chance to enhance the musicianship of our students. Assigning readings that correlate with pieces that your choir is currently doing can greatly change their relationship with that particular song. Another good idea is to assign readings that research the composers of songs in your program. Hold a program note contest and have the students research the pieces and composers to see who can write the best paragraphs. The winners will be put into the actual program. This really helps to raise reading scores and the musicianship level in your choir.
This is a new challenge that we are facing. While some look at it as invasive and annoying, I look at it as yet another chance to enhance the musicianship of our students. Assigning readings that correlate with pieces that your choir is currently doing can greatly change their relationship with that particular song. Another good idea is to assign readings that research the composers of songs in your program. Hold a program note contest and have the students research the pieces and composers to see who can write the best paragraphs. The winners will be put into the actual program. This really helps to raise reading scores and the musicianship level in your choir.
Risers vs. Chairs
How we rehearse is how we will perform. So should we rehearse on risers everyday so the choir will be comfortable in performance. Is this practical?
I believe the answer is yes and no. I think that you should devote a good amount of time learning to sing on risers. The sound is different. The acoustics are different It is virtual suicide to leave risers out until the dress rehearsal. However, with that said, I think that it is not practical to have risers out everyday for rehearsal. First of all, depending on the class length (85 minutes in the case of my choirs) standing the entire time is out of the question and sitting on the risers is sure to promote terrible posture.
So set them up in the back and have chairs set up as well. Move frequently between the two and your choir will learn to be flexible and hopefully Sicut Cervus will be less likely to fall apart on the concert!
Choral Literature
Choral Literature...what's right for your choir? Well, that all depends. Picking music for your choir is quite possibly the most important thing that you will do. If you're like me, this process is usually done far away from the rehearsal room in the middle of the summer. Here are some tips that will help you to have stress-free music selection process:
1. Know your singers- Know the ranges and limitations of the singers in your choir. Early in the year, avoid extreme vocal ranges in the music you pick. As the year goes on, your choir will be better-conditioned to sing music with those extreme ranges in them. If you are in the position where you are unsure of the ranges of your singers (you may not have auditions until the beginning of the year), stay safe with your literature. Use songs that teach concepts such as complex rhythm or call-and-response in the process.
2. Program a variety of songs- Make sure to take time and care in programming a concert. Open and close with attention-grabbing songs. Use concept songs in the middle of the program. Other techniques would be section-based programming. This would be opening the program with a set of madrigal pieces, then two or three contemporary pieces in the middle, and ending with a suite of spiritual songs.
3. Build confidence- Giving a choir too much challenging literature can damage morale. Make sure to leave room for some pieces that will come together easier to build their confidence. These pieces can also be used for extreme polishing techniques. Use them to show the rehearsal process as well.
4. Challenge- Don't just use watered down arrangements. Go for it sometimes! Don't shy away from the greats of choral literature. Give your choir Palestrina and Brahms, where else are they going to get it from?
Most of all, be flexible. You may think a piece is going to work and it may not work. Your choir may master a song with little rehearsal. Being flexible and having backup ideas is a must. Enjoy and happy listening.
1. Know your singers- Know the ranges and limitations of the singers in your choir. Early in the year, avoid extreme vocal ranges in the music you pick. As the year goes on, your choir will be better-conditioned to sing music with those extreme ranges in them. If you are in the position where you are unsure of the ranges of your singers (you may not have auditions until the beginning of the year), stay safe with your literature. Use songs that teach concepts such as complex rhythm or call-and-response in the process.
2. Program a variety of songs- Make sure to take time and care in programming a concert. Open and close with attention-grabbing songs. Use concept songs in the middle of the program. Other techniques would be section-based programming. This would be opening the program with a set of madrigal pieces, then two or three contemporary pieces in the middle, and ending with a suite of spiritual songs.
3. Build confidence- Giving a choir too much challenging literature can damage morale. Make sure to leave room for some pieces that will come together easier to build their confidence. These pieces can also be used for extreme polishing techniques. Use them to show the rehearsal process as well.
4. Challenge- Don't just use watered down arrangements. Go for it sometimes! Don't shy away from the greats of choral literature. Give your choir Palestrina and Brahms, where else are they going to get it from?
Most of all, be flexible. You may think a piece is going to work and it may not work. Your choir may master a song with little rehearsal. Being flexible and having backup ideas is a must. Enjoy and happy listening.
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