"Our real discoveries come from chaos, from going to the place that looks wrong and stupid and foolish."
-Chuck Palahniuk
Conductors are all control freaks to some extent. We have an idealized version of the score in our head, and our rehearsal goals are usually oriented toward getting our ensembles to realize that perfect performance that we hear internally. While there's certainly something to be said for attracting people to your vision and persuading them to work toward a common artistic goal, in doing so we must be sensitive to the danger of treating our choristers simply as a means to some utopian artistic end.
In his wonderful book "Text & Act", musicologist Richard Taruskin writes at length about the dehumanizing effects of the "authenticity" movement (sometimes referred to as "historically-informed performance"). Taruskin contends, quite compellingly, that the exaltation of a musical "text" over the humans who perform it is not unlike the obsessive quest for utopia, and the rooting out of human flaws that such a quest entails:
Text-fetishism, the exaltation of scores over those who read or write them, has seriously distorted contemporary performance practice.
Taruskin goes on to exhort the reader:
It may be time for some countermilitancy - against authority, against utopia, against purity- on behalf of tradition... cumulative, multiply authored, open, accommodating, above all messy, and therefore human.
Are you comfortable with the idea of "messy"? Where are you on the spectrum of "allowing" versus "controlling" with your ensemble? Can you permit a little chaos?
**
KIRSTEN: This school year, I began working in a fabulous public school system teaching chorus to grades 5-8. My 5th Grade Chorus is made up of almost 70 excited young singers, who come into the classroom right from recess with tons of energy and totally ready to sing. Last week, we began rehearsal by listening to the Glenn Miller Orchestra recording of "Chattanooga Choo Choo" (since we have been working on a 2-part arrangement of the piece in class.) As they all gathered their music and sat in their seats, they began to organically clap along to the beat of the recording, swaying to the music. We then stood together and energetically began warm-ups with breathing, stretching, and then singing a major scale with hand signs. Hands went flying in the air as I asked for a volunteer "group leader" to lead us in hand signs as we sang the scale. After completing our first round, hands flew in the air again. "Really?" I asked the group of 5th graders. "Would you like to try this in two parts?"
"YES!" They yelled. "We can do it!"
This pattern continued to four parts, when I finally drew a line and told them it was time to move on to rehearsing "Chattanooga." They giggled and continued, applauding themselves for their recent major-scale success. I began the piano accompaniment to "Chattanooga," and they started the opening lyrics with so much confidence that the sound was almost a brash yell-sing.
In that moment, however, I felt more pure joy in the choral classroom from my students than I had ever felt. Could I have stopped them immediately and told them to sing with a better tone, and not to push or sing too loud? Sure. In fact, I have several choral colleagues who would probably reprimand me for not doing so, insisting that singing with "poor technique" could become a "habit" for the young singers. However, in that moment I knew that the basic human lessons being taught outweighed the musical quality lessons by a long shot. These students were singing wholeheartedly, full-bodied, and with confidence. For a short moment in time, they were not aware of what others were thinking, but were rather so caught up in singing with their biggest voice that they just didn't notice anything else in the room.
Stopping them and correcting their vocal technique would have quickly demolished several human lessons that the students were learning. Had any choral conductor walked in my classroom during that rehearsal, they probably would have reprimanded me for allowing the students to sing as brashly as they were singing that day. However, I can confidently say that I wouldn't have changed it for the world.
KRISHAN: When I first began working with a professional ensemble, I was obsessed with "running a tight ship". I wouldn't take questions in rehearsal, and was an absolute stickler about time, often glossing over legitimate chorister concerns in the interest of adhering to my rehearsal plan. As I've matured, I've grown less rigid in my approach. Though I still run a tight ship, I have begun to recognize the benefits of a little healthy chaos in my rehearsals. Whereas in my early days I would get frustrated if choristers began talking amongst themselves during rehearsal- thinking that I'd "lost control" of the room- I've now become open to allowing a more organic musical process to unfold. It's still my overarching musical vision that is driving the rehearsals, but my choristers are more active in the process of guiding each other, rather than all of the direction coming from the "top down". So when I pause in rehearsal, and choristers immediately begin talking to each other, pointing out passages that they missed, asking each other questions about the score, etc., I allow that "chaos" to unfold. As long as their overlapping conversations are about the music, we're still making progress toward our common goals.
**
The pursuit of musical excellence is a noble one, and worth committing to with every fiber of our being. But choral music is also about affirming people, meeting them where they're at, and allowing individuals to express themselves in an environment where mistakes are encouraged, and unique voices celebrated. Our most enduring successes will always be the ones that we reach through empowering others. When we're able to do this - often by refraining from judging or overly controlling- we ultimately release a potential that leads to far greater results than we could ever achieve on our own.
Sunday, October 23, 2016
Sunday, October 16, 2016
Perception Is Persuasion
"A brand is no longer what we tell the consumer it is - it is what consumers tell each other it is."
-Scott Cook
Humans are social animals, and singing is a social activity. Our success as choral directors depends, to a large extent, on our ability to convince people that the activity we're offering is worth their time. Usually, in order to accomplish this, we need to also demonstrate that other people are engaged in our activity (and the more, the better). In the study of persuasion techniques, this is known as "social proof"- people want to get to know you, if they feel like everybody else already knows you.
Therefore it's imperative that we constantly work to build the social proof of our "brand". A successful conductor usually has multiple people singing his or her praises to their respective social circles on a daily basis. This kind of social proof is money in the bank (i.e., it "works for you while you sleep"), but it doesn't happen by magic. We have to constantly work on enhancing our own reputation in order to maintain and build our brand. By doing so, we can increase excitement and membership in our ensembles.
This takes thoughtful planning, and a bit of showmanship. It's a variation on "act as if"- the ability to run our organizations and ensembles as if they're already as wildly successful as we hope they'll be.
In practice, this means first and foremost getting folks in the door, by hook or by crook. But a successful approach requires a bit more nuance and creativity. Here, then, are some practical tips for enhancing your brand.
1. GET THE RIGHT PERFORMANCE VENUE
Expecting an audience of 200? Book a performance venue that seats 175. You want a "standing room only" crowd at your concert. We've seen performances where the presenters boast via e-blast that "tonight is sold out!" or "last night we had to turn people away!". They neglect to mention that the venue only seats 75 people, but hey, give them credit for successfully "framing" a small crowd as a capacity audience.
2. GET THE RIGHT REHEARSAL VENUE
In our work with church choirs, we've become absolutely persuaded that rehearsals in the sanctuary are a bad idea. Rehearsing every week with a small group of 16 or even 24 singers in a dark, cavernous space is a morale-killer. Instead, opt for a small room that feels crowded even if there are only 12-15 people present. And no matter what kind of ensemble you direct, if at all possible opt for a highly visible rehearsal space- one where non-choristers will be walking by and eavesdropping on what a great time you all are having. In fact, during particularly raucous rehearsals, make sure to leave the door open.
3. MAKE SURE THERE'S A LINE AT AUDITIONS
We've run countless auditions, and have never regretted having too little time to hear individual singers. Downtime is the worst thing that can happen at your auditions. You want there to be a line out the door, and a steady stream of people coming and going. Therefore, you should invite anyone who's interested to come audition, even if you suspect they may not make the cut. And if you're only expecting 10 singers to show up for auditions, schedule them all within the same half hour. Would you want to sing for a group if you felt that you were the only one auditioning?
4. HAVE A CAP
"Accepting new singers until October 1st!"
"Only 3 new singer slots available this season!"
People want what they can't have. Creating a hard and fast line or rule for new singers gives auditionees or new registrants the idea that their participation would be special and select. The "come one, come all, at anytime" approach works only to an extent. If people believe that they can join at any time, they may put it off forever. Giving deadlines for new singers allows them to feel a small amount of good pressure. Good pressure is better than no pressure!
5. FRAME YOUR SOCIAL MEDIA POSITIVELY
Social media provides us all with an unprecedented opportunity to manufacture our own marketing juggernaut, at no financial expense. But we need to use social media strategically in order to see results in this area. Posting 20 pictures from a rehearsal may do as much harm as good; in addition to that one great shot, you've got images of people looking bored, staring into space, singing with bad posture, etc. Instead, find that one great picture where everyone is singing with a unified "ah" vowel and looking out of their music (crop out the one guy who isn't doing it), and let that be your rehearsal photo. *One* picture says a thousand words!
**
In his book "Me, Inc.", rock star Gene Simmons of the band KISS relays several amusing anecdotes about his manipulation of perceptions to achieve stardom. In one of these stories, Simmons tells about how, when they were still unknown, KISS landed a gig opening for a successful local punk act called The Brats. Knowing there would be a big crowd there to see The Brats, Simmons sent out several press releases saying "Heavy Metal Masters Kiss Perform 9:30-10:30pm". There was no mention of The Brats in the press release. This being in the days before the internet, several talent scouts responded to Simmons's press release, and showed up to see a huge crowd present (unaware that the crowd wasn't there to see KISS). Immediately after their set, Simmons grabbed the talent scouts and whisked them away to another venue, so that they could speak in private. KISS ended up getting several takers that very night.
As we work on the humdrum day-to-day tasks of our profession, it can be easy to forget that as conductors, we're also entertainers. Perceptions matter, and they have a real effect on our success. There's nothing wrong with faking it as you work toward making it.
-Scott Cook
Humans are social animals, and singing is a social activity. Our success as choral directors depends, to a large extent, on our ability to convince people that the activity we're offering is worth their time. Usually, in order to accomplish this, we need to also demonstrate that other people are engaged in our activity (and the more, the better). In the study of persuasion techniques, this is known as "social proof"- people want to get to know you, if they feel like everybody else already knows you.
Therefore it's imperative that we constantly work to build the social proof of our "brand". A successful conductor usually has multiple people singing his or her praises to their respective social circles on a daily basis. This kind of social proof is money in the bank (i.e., it "works for you while you sleep"), but it doesn't happen by magic. We have to constantly work on enhancing our own reputation in order to maintain and build our brand. By doing so, we can increase excitement and membership in our ensembles.
This takes thoughtful planning, and a bit of showmanship. It's a variation on "act as if"- the ability to run our organizations and ensembles as if they're already as wildly successful as we hope they'll be.
In practice, this means first and foremost getting folks in the door, by hook or by crook. But a successful approach requires a bit more nuance and creativity. Here, then, are some practical tips for enhancing your brand.
1. GET THE RIGHT PERFORMANCE VENUE
Expecting an audience of 200? Book a performance venue that seats 175. You want a "standing room only" crowd at your concert. We've seen performances where the presenters boast via e-blast that "tonight is sold out!" or "last night we had to turn people away!". They neglect to mention that the venue only seats 75 people, but hey, give them credit for successfully "framing" a small crowd as a capacity audience.
2. GET THE RIGHT REHEARSAL VENUE
In our work with church choirs, we've become absolutely persuaded that rehearsals in the sanctuary are a bad idea. Rehearsing every week with a small group of 16 or even 24 singers in a dark, cavernous space is a morale-killer. Instead, opt for a small room that feels crowded even if there are only 12-15 people present. And no matter what kind of ensemble you direct, if at all possible opt for a highly visible rehearsal space- one where non-choristers will be walking by and eavesdropping on what a great time you all are having. In fact, during particularly raucous rehearsals, make sure to leave the door open.
3. MAKE SURE THERE'S A LINE AT AUDITIONS
We've run countless auditions, and have never regretted having too little time to hear individual singers. Downtime is the worst thing that can happen at your auditions. You want there to be a line out the door, and a steady stream of people coming and going. Therefore, you should invite anyone who's interested to come audition, even if you suspect they may not make the cut. And if you're only expecting 10 singers to show up for auditions, schedule them all within the same half hour. Would you want to sing for a group if you felt that you were the only one auditioning?
4. HAVE A CAP
"Accepting new singers until October 1st!"
"Only 3 new singer slots available this season!"
People want what they can't have. Creating a hard and fast line or rule for new singers gives auditionees or new registrants the idea that their participation would be special and select. The "come one, come all, at anytime" approach works only to an extent. If people believe that they can join at any time, they may put it off forever. Giving deadlines for new singers allows them to feel a small amount of good pressure. Good pressure is better than no pressure!
5. FRAME YOUR SOCIAL MEDIA POSITIVELY
Social media provides us all with an unprecedented opportunity to manufacture our own marketing juggernaut, at no financial expense. But we need to use social media strategically in order to see results in this area. Posting 20 pictures from a rehearsal may do as much harm as good; in addition to that one great shot, you've got images of people looking bored, staring into space, singing with bad posture, etc. Instead, find that one great picture where everyone is singing with a unified "ah" vowel and looking out of their music (crop out the one guy who isn't doing it), and let that be your rehearsal photo. *One* picture says a thousand words!
**
In his book "Me, Inc.", rock star Gene Simmons of the band KISS relays several amusing anecdotes about his manipulation of perceptions to achieve stardom. In one of these stories, Simmons tells about how, when they were still unknown, KISS landed a gig opening for a successful local punk act called The Brats. Knowing there would be a big crowd there to see The Brats, Simmons sent out several press releases saying "Heavy Metal Masters Kiss Perform 9:30-10:30pm". There was no mention of The Brats in the press release. This being in the days before the internet, several talent scouts responded to Simmons's press release, and showed up to see a huge crowd present (unaware that the crowd wasn't there to see KISS). Immediately after their set, Simmons grabbed the talent scouts and whisked them away to another venue, so that they could speak in private. KISS ended up getting several takers that very night.
As we work on the humdrum day-to-day tasks of our profession, it can be easy to forget that as conductors, we're also entertainers. Perceptions matter, and they have a real effect on our success. There's nothing wrong with faking it as you work toward making it.
Tuesday, October 11, 2016
Leggo My Ego
"The main ingredient of stardom is the rest of the team."
-John Wooden
We live in a culture of musical celebrity. At the top of the pop heap are "artists"- photoshopped, auto-tuned individuals whose hits are usually penned by professional songwriters (whose names remain buried in the credits somewhere). Our overarching cultural paradigm of a singer is one who stands front and center and blows the audience away with the sheer bravura of his or her presence. While this particular model has some historical precedent, there was a time when the culture of celebrity was less dominant.
The advent of the recording industry in the early twentieth century influenced the change of our perception from music as a participatory art to one of entertainment. Prior to the wide dissemination of recorded performances, most individuals heard music primarily through their own participation in it- whether in a church choir, a singing society, a community band or an amateur orchestra. There is still a generation alive today who remembers a time when every respectable household had a piano. Bestselling music anthologies included piano reductions of popular classics, sentimental ditties and patriotic songs- and sheet music publishers couldn't crank this stuff out fast enough. Of course, people always went to concerts to hear the "stars" perform, but often the audiences were going to hear professionals perform what they themselves had been working on at home or in their musical club.
With the dominance of the recording industry came a fundamental change in the way that we as a society think about music. "Canned" music is now literally everywhere; you can't walk into a business establishment (or even fill up at the gas station) without being aurally assaulted by a tinny performance of the latest Top 40 hit. Music has shifted from a predominantly participatory activity to one in which a "professional" stands and performs for an audience, whose job it is to remain mute and passive. Certainly, the atmosphere at classical music concert enforces this- and many of us see this same dynamic in our churches, where the choir and cantors are actually performers, and the congregation is afraid to join in, lest they "mess up the performance".
Although choral music remains a thriving art, with more Americans than ever participating in some kind of choral organization, we've found that this paradigm of the "star singer" is still a stumbling block for many potential choristers. Every choral conductor has had the experience of approaching a potential recruit, only to be told, "Oh, you don't want me- I can't sing!". In recruiting for church and school choirs, we've found that many people are astonished when told that they don't need to have a beautiful or trained voice to participate. They hear our choir singing beautifully and assume that everyone participating has a beautiful instrument. Many individuals of varying abilities coming together to create something of transcendental beauty- this is the fundamental choral paradigm, but sadly, it's one seldom promoted by our contemporary culture.
Those of us who work with young singers (Pre-K through 12th grade) must battle the "star singer" mentality on a daily basis. Younger and younger, singers (and parents) are choosing to take private voice lessons, instead of participating in school or community youth choirs. We've had students as young as eight years old, with their parents' approval, elect to take private voice lessons rather than work with a choir of several students their age. Thanks to four-year-old jazz singers starring on Ellen and eleven-year-old winners of America's Got Talent, our society continues to reinforce children's voices mimicking those of adults, while being in the spotlight before an adoring audience.
Yet, if a seven- or eight-year-old told their parents that they would rather play soccer alone and get a private coach, rather than play on a team with other kids their age, they would be scoffed at. In almost every other activity, students are required to learn on a team or in a class filled with other kids their age (learning extremely important social skills and teamwork along the way). Later, in middle or high school, they're encouraged to focus on a particular activity. Perhaps, at that point, they decide to get private coaching to hone their skills individually, while still participating with a group. Students may need to learn how to hit the ball or shoot a basket individually, but it still represents and supports a team effort to win the game and perform well.
In the same way, choirs teach young singers basic vocal technique skills, while also teaching them the ability to work together to create a beautiful sound. Sacrificing this for the "star mentality" and encouraging our young vocalists to prioritize individual coaching over group singing only impedes their ability to work together with other musicians in the future.
As choral conductors, a key component of our job is to be evangelists for choral singing, encouraging everyone to participate, regardless of training or ability. We must also cultivate the patience and skill set to work with amateur singers, and those who may be developmentally challenged. Producing a beautiful choral sound with individuals of widely disparate abilities is no mean feat, but success in this area is one of the most satisfying experiences a conductor can have.
-John Wooden
We live in a culture of musical celebrity. At the top of the pop heap are "artists"- photoshopped, auto-tuned individuals whose hits are usually penned by professional songwriters (whose names remain buried in the credits somewhere). Our overarching cultural paradigm of a singer is one who stands front and center and blows the audience away with the sheer bravura of his or her presence. While this particular model has some historical precedent, there was a time when the culture of celebrity was less dominant.
The advent of the recording industry in the early twentieth century influenced the change of our perception from music as a participatory art to one of entertainment. Prior to the wide dissemination of recorded performances, most individuals heard music primarily through their own participation in it- whether in a church choir, a singing society, a community band or an amateur orchestra. There is still a generation alive today who remembers a time when every respectable household had a piano. Bestselling music anthologies included piano reductions of popular classics, sentimental ditties and patriotic songs- and sheet music publishers couldn't crank this stuff out fast enough. Of course, people always went to concerts to hear the "stars" perform, but often the audiences were going to hear professionals perform what they themselves had been working on at home or in their musical club.
With the dominance of the recording industry came a fundamental change in the way that we as a society think about music. "Canned" music is now literally everywhere; you can't walk into a business establishment (or even fill up at the gas station) without being aurally assaulted by a tinny performance of the latest Top 40 hit. Music has shifted from a predominantly participatory activity to one in which a "professional" stands and performs for an audience, whose job it is to remain mute and passive. Certainly, the atmosphere at classical music concert enforces this- and many of us see this same dynamic in our churches, where the choir and cantors are actually performers, and the congregation is afraid to join in, lest they "mess up the performance".
Although choral music remains a thriving art, with more Americans than ever participating in some kind of choral organization, we've found that this paradigm of the "star singer" is still a stumbling block for many potential choristers. Every choral conductor has had the experience of approaching a potential recruit, only to be told, "Oh, you don't want me- I can't sing!". In recruiting for church and school choirs, we've found that many people are astonished when told that they don't need to have a beautiful or trained voice to participate. They hear our choir singing beautifully and assume that everyone participating has a beautiful instrument. Many individuals of varying abilities coming together to create something of transcendental beauty- this is the fundamental choral paradigm, but sadly, it's one seldom promoted by our contemporary culture.
Those of us who work with young singers (Pre-K through 12th grade) must battle the "star singer" mentality on a daily basis. Younger and younger, singers (and parents) are choosing to take private voice lessons, instead of participating in school or community youth choirs. We've had students as young as eight years old, with their parents' approval, elect to take private voice lessons rather than work with a choir of several students their age. Thanks to four-year-old jazz singers starring on Ellen and eleven-year-old winners of America's Got Talent, our society continues to reinforce children's voices mimicking those of adults, while being in the spotlight before an adoring audience.
Yet, if a seven- or eight-year-old told their parents that they would rather play soccer alone and get a private coach, rather than play on a team with other kids their age, they would be scoffed at. In almost every other activity, students are required to learn on a team or in a class filled with other kids their age (learning extremely important social skills and teamwork along the way). Later, in middle or high school, they're encouraged to focus on a particular activity. Perhaps, at that point, they decide to get private coaching to hone their skills individually, while still participating with a group. Students may need to learn how to hit the ball or shoot a basket individually, but it still represents and supports a team effort to win the game and perform well.
In the same way, choirs teach young singers basic vocal technique skills, while also teaching them the ability to work together to create a beautiful sound. Sacrificing this for the "star mentality" and encouraging our young vocalists to prioritize individual coaching over group singing only impedes their ability to work together with other musicians in the future.
As choral conductors, a key component of our job is to be evangelists for choral singing, encouraging everyone to participate, regardless of training or ability. We must also cultivate the patience and skill set to work with amateur singers, and those who may be developmentally challenged. Producing a beautiful choral sound with individuals of widely disparate abilities is no mean feat, but success in this area is one of the most satisfying experiences a conductor can have.
Wednesday, September 28, 2016
They Can't Always Get What They Want
"A leader takes people where they want to go. A great leader takes people where they don't necessarily want to go, but ought to be."
-Rosalynn Carter
One of the most difficult skills for a leader to perfect is the ability to keep pushing people forward when they want to quit. It takes tremendous discipline and strength of character for a leader to insist on moving forward when the going gets tough- especially when people start complaining vocally. As choral directors, we love our ensembles and want what's best for them; we want them to be happy. When they're complaining about having to stand for so long, or having to push through another 30 minutes of rehearsal, our instinct is often to let them off the hook. They're volunteers, after all, and we can't force them to do anything. Wouldn't your choristers like choir more if the conductor just let them do what they feel like doing?
The answer is usually no. No matter what you do, choristers will complain- it's one of the ways that they bond as a group. Usually, those complaints are just people blowing off steam, so it's important not to attribute too much meaning to them. (Occasionally, your choristers will have legitimate, overarching complaints that need to be sincerely addressed- but that's not what we're talking about today.) Gently bitching about our superiors is a time-honored pastime, and one that virtually all humans in groups occasionally indulge in. So let your choristers complain when they need to, but don't cave to those complaints.
A leader needs to be able to see and work toward the big picture; this sometimes means being unpopular in the moment. Of course, there are times when driving a group forward mercilessly does more harm than good, and we need to have enough empathy and social awareness to identify those times. But if the choir is making progress, it's often best to slog ahead, even if the rehearsal process is occasionally grueling.
**
KRISHAN: During my first semester of doctoral study at Boston University, I was asked to lead several rehearsals of Stravinsky's Perséphone with the B.U. Symphonic Chorus, in the absence of the ensemble's director, Dr. Scott Jarrett. I had the unenviable task of teaching this difficult piece (with its extremely unidiomatic application of sung French) to a large chorus made up of students, faculty, staff and B.U. alums. No one in the group had sung Perséphone before, and I had been given carte blance as to how I wanted to teach it. Since Dr. Jarrett had tasked me with covering large swaths of the piece in a relatively short time, I did what I do best: simply plowed through the choral sections, count-singing and drilling and slowing things down to a glacial pace when necessary. Toward the end of my first rehearsal with the chorus, I could tell that people were exhausted- they'd been singing almost non-stop, I was using every last minute of rehearsal time (which they weren't used to), and it had been a slog. But I could also tell that the choristers weren't giving up- many of them were on the edge of their chairs, tapping pencils and giving other visual cues that their brains were still engaged. So I elected to push forward. At the end of the rehearsal, there was an almost audible sigh of relief. But later that night, and during the next week, several choristers approached me and thanked me for pushing them through this difficult piece. After that night, the piece no longer seemed so daunting.
KIRSTEN: One can internalize this lesson best when working with middle or high school students. With these students, there is almost always too much homework for them to be focused on singing. They want to sit down and do nothing because they are too tired or too stressed. They are notoriously bad at "checking it at the door" and bring last period's failed science test with them to chorus. If every middle or high school chorus teacher gave their choristers the option to do what they felt like doing in the moment, rarely would these choruses ever sing!
Often, I have had students come up to me at the end of class, and explain that they were having a bad day, but they feel better after singing in chorus. Singing releases endorphins and helps to relieve stress and release emotions through a specific channel. For many students, even if they don't feel like singing in the moment, they feel better once they are "forced" to sing. As their teacher and conductor, I have to see the future and encourage them through their complacency. They may not even feel better that day, but could look back a week later and realize that they are glad that they decided to sing that day.
**
A conductor's character is revealed over time; it's not something that can be gauged in one rehearsal. Not every rehearsal will be spectacular, and your choristers won't always leave the rehearsal walking on air. But our goal should always be to give our choristers a sense of satisfaction at the end of rehearsal, and a feeling that they've accomplished something worthwhile. There will be times when the mood needs to be light, when you need to be self-deprecating and when you absolutely should let your singers leave early. But there will also be rehearsals when you simply have to buckle down and work hard, if you want to impart the kind of success that really changes lives.
-Rosalynn Carter
One of the most difficult skills for a leader to perfect is the ability to keep pushing people forward when they want to quit. It takes tremendous discipline and strength of character for a leader to insist on moving forward when the going gets tough- especially when people start complaining vocally. As choral directors, we love our ensembles and want what's best for them; we want them to be happy. When they're complaining about having to stand for so long, or having to push through another 30 minutes of rehearsal, our instinct is often to let them off the hook. They're volunteers, after all, and we can't force them to do anything. Wouldn't your choristers like choir more if the conductor just let them do what they feel like doing?
The answer is usually no. No matter what you do, choristers will complain- it's one of the ways that they bond as a group. Usually, those complaints are just people blowing off steam, so it's important not to attribute too much meaning to them. (Occasionally, your choristers will have legitimate, overarching complaints that need to be sincerely addressed- but that's not what we're talking about today.) Gently bitching about our superiors is a time-honored pastime, and one that virtually all humans in groups occasionally indulge in. So let your choristers complain when they need to, but don't cave to those complaints.
A leader needs to be able to see and work toward the big picture; this sometimes means being unpopular in the moment. Of course, there are times when driving a group forward mercilessly does more harm than good, and we need to have enough empathy and social awareness to identify those times. But if the choir is making progress, it's often best to slog ahead, even if the rehearsal process is occasionally grueling.
**
KRISHAN: During my first semester of doctoral study at Boston University, I was asked to lead several rehearsals of Stravinsky's Perséphone with the B.U. Symphonic Chorus, in the absence of the ensemble's director, Dr. Scott Jarrett. I had the unenviable task of teaching this difficult piece (with its extremely unidiomatic application of sung French) to a large chorus made up of students, faculty, staff and B.U. alums. No one in the group had sung Perséphone before, and I had been given carte blance as to how I wanted to teach it. Since Dr. Jarrett had tasked me with covering large swaths of the piece in a relatively short time, I did what I do best: simply plowed through the choral sections, count-singing and drilling and slowing things down to a glacial pace when necessary. Toward the end of my first rehearsal with the chorus, I could tell that people were exhausted- they'd been singing almost non-stop, I was using every last minute of rehearsal time (which they weren't used to), and it had been a slog. But I could also tell that the choristers weren't giving up- many of them were on the edge of their chairs, tapping pencils and giving other visual cues that their brains were still engaged. So I elected to push forward. At the end of the rehearsal, there was an almost audible sigh of relief. But later that night, and during the next week, several choristers approached me and thanked me for pushing them through this difficult piece. After that night, the piece no longer seemed so daunting.
KIRSTEN: One can internalize this lesson best when working with middle or high school students. With these students, there is almost always too much homework for them to be focused on singing. They want to sit down and do nothing because they are too tired or too stressed. They are notoriously bad at "checking it at the door" and bring last period's failed science test with them to chorus. If every middle or high school chorus teacher gave their choristers the option to do what they felt like doing in the moment, rarely would these choruses ever sing!
Often, I have had students come up to me at the end of class, and explain that they were having a bad day, but they feel better after singing in chorus. Singing releases endorphins and helps to relieve stress and release emotions through a specific channel. For many students, even if they don't feel like singing in the moment, they feel better once they are "forced" to sing. As their teacher and conductor, I have to see the future and encourage them through their complacency. They may not even feel better that day, but could look back a week later and realize that they are glad that they decided to sing that day.
**
A conductor's character is revealed over time; it's not something that can be gauged in one rehearsal. Not every rehearsal will be spectacular, and your choristers won't always leave the rehearsal walking on air. But our goal should always be to give our choristers a sense of satisfaction at the end of rehearsal, and a feeling that they've accomplished something worthwhile. There will be times when the mood needs to be light, when you need to be self-deprecating and when you absolutely should let your singers leave early. But there will also be rehearsals when you simply have to buckle down and work hard, if you want to impart the kind of success that really changes lives.
Wednesday, September 21, 2016
Your Choir Should Always Sing Loud
"When in doubt, sing loud."
-Robert Merrill
This fall, both of us began new choral positions in Massachusetts- Krishan at Stonehill College, and Kirsten at Ahern Middle School. As we get to know our new ensembles, we've been reminded once again of the importance of having our choruses sing LOUD. We've also noticed that this is a revolutionary concept for many choral singers. With other directors, they've been chastised for ignoring dynamics (even during the first read-through), for not "blending", or for not listening. Many choristers experience a sense of liberation when a conductor invites them to consistently sing loud.
Singing is a full-body experience. Like any other physical activity, repetition precedes accuracy. Singing out fully and making loud mistakes is a necessary step in a chorister's growth, and an important one at every level: student, amateur, and professional. Just as a basketball player has to practice free throws, just as a weightlifter has to work up to a goal, so too do choristers need to engage with their entire body as they work toward accuracy in singing. Doing it half-heartedly may actually do more harm than good in the long run.
By singing loud, we're not advocating singing poorly. Quite the opposite: choristers should be fully connected to their breath and sing with their whole bodies at all times. But they shouldn't worry about dynamics, or even necessarily vowel shape during the initial stages of learning a piece. In fact, focusing on these things early on can inhibit your choristers, and may lead to them singing with poor technique.
Across the board, we believe that choruses should sing loud. Of course, there are times when the repertoire calls for dynamic nuance, and maybe even a dramatic pianissimo- but if your chorus habitually sings full out, those places will be all the more exceptional.
Here, then, are some applications for this concept in a variety of settings.
SCHOOL
We have both worked with children in various settings, and have found that being encouraged to sing loud is incredibly important for their development. When given a direction such as "please ensure to sing this the first time through with your fullest, most beautiful voice" students learn good singing habits, and feel comfortable to try new techniques. In a social world where we are consistently asking children to be calm and quiet, they feel liberated when given focused direction on using their full voice. If a conductor immediately instructs children to sing quietly, or to "blend" with the student next to them, that conductor risks losing the strong voices of confident students, and allowing shy students to fall into the piano dynamic without ever learning to sing supported and with a full breath. Students excel when they learn notes and rhythms first by singing loud, and then can be instructed as a whole to sign a particular dynamic when the time is right.
AMATEUR
We recently gave this direction to one of our volunteer church choirs: sing loud, all the time. They're a relatively small group (12-16 singers most Sundays), and their primary function is to reinforce the congregation's singing of hymns. One of our new choristers (a gentleman whose previous experience is limited to what he learned in school some four decades ago) was pleasantly shocked when told that he should always sing out. He had learned to sing under his breath until he was confident about how the notes go. His problems matching pitch went away once he began to consistently sing out.
PROFESSIONAL
When we worked regularly with SACRA/PROFANA in California (Krishan as conductor, Kirsten as an alto), we always got a kick out of the audience's reaction at the beginning of our concerts. Whenever we performed in an intimate venue (50-100 seats), we'd see all the folks in the front row turning down their hearing aids during the first number. They weren't expecting a chamber choir of 20 singers to blow the hair off their heads.
**
A word about "blend": we generally avoid using this word in choral rehearsals, because it's too vague in its application to be of any real use. When conductors instruct singers to "blend" with each other, they're not giving the choristers any useful information. What the conductor is usually looking for is a unified vowel- one that probably needs to be demonstrated, and then tweaked with each individual chorister. It can be a laborious process (although it gets easier over time as the ensemble begins to gel). Telling an ensemble to "blend" just doesn't cut it, and this instruction can send the wrong message to younger students; eventually it can result in individual voices not learning to support their instrument. Matching vowels and encouraging group dynamics (after notes and rhythms are learned) is an alternate way to achieve the sought-after "blended" sound without risking poor individual vocal technique.
We've said it before, and we'll say it again: singing is a full-body experience. A chorus singing a piano section loudly while they're learning the notes isn't "practicing wrong", any more than a basketball player missing a free-throw is "practicing wrong". Have your chorus sing out with their full instruments and get sound in the room- then you have something to work with. You can't begin to refine the nuances until you can hear your singers confidently singing the correct notes and rhythms.
-Robert Merrill
This fall, both of us began new choral positions in Massachusetts- Krishan at Stonehill College, and Kirsten at Ahern Middle School. As we get to know our new ensembles, we've been reminded once again of the importance of having our choruses sing LOUD. We've also noticed that this is a revolutionary concept for many choral singers. With other directors, they've been chastised for ignoring dynamics (even during the first read-through), for not "blending", or for not listening. Many choristers experience a sense of liberation when a conductor invites them to consistently sing loud.
Singing is a full-body experience. Like any other physical activity, repetition precedes accuracy. Singing out fully and making loud mistakes is a necessary step in a chorister's growth, and an important one at every level: student, amateur, and professional. Just as a basketball player has to practice free throws, just as a weightlifter has to work up to a goal, so too do choristers need to engage with their entire body as they work toward accuracy in singing. Doing it half-heartedly may actually do more harm than good in the long run.
By singing loud, we're not advocating singing poorly. Quite the opposite: choristers should be fully connected to their breath and sing with their whole bodies at all times. But they shouldn't worry about dynamics, or even necessarily vowel shape during the initial stages of learning a piece. In fact, focusing on these things early on can inhibit your choristers, and may lead to them singing with poor technique.
Across the board, we believe that choruses should sing loud. Of course, there are times when the repertoire calls for dynamic nuance, and maybe even a dramatic pianissimo- but if your chorus habitually sings full out, those places will be all the more exceptional.
Here, then, are some applications for this concept in a variety of settings.
SCHOOL
We have both worked with children in various settings, and have found that being encouraged to sing loud is incredibly important for their development. When given a direction such as "please ensure to sing this the first time through with your fullest, most beautiful voice" students learn good singing habits, and feel comfortable to try new techniques. In a social world where we are consistently asking children to be calm and quiet, they feel liberated when given focused direction on using their full voice. If a conductor immediately instructs children to sing quietly, or to "blend" with the student next to them, that conductor risks losing the strong voices of confident students, and allowing shy students to fall into the piano dynamic without ever learning to sing supported and with a full breath. Students excel when they learn notes and rhythms first by singing loud, and then can be instructed as a whole to sign a particular dynamic when the time is right.
AMATEUR
We recently gave this direction to one of our volunteer church choirs: sing loud, all the time. They're a relatively small group (12-16 singers most Sundays), and their primary function is to reinforce the congregation's singing of hymns. One of our new choristers (a gentleman whose previous experience is limited to what he learned in school some four decades ago) was pleasantly shocked when told that he should always sing out. He had learned to sing under his breath until he was confident about how the notes go. His problems matching pitch went away once he began to consistently sing out.
PROFESSIONAL
When we worked regularly with SACRA/PROFANA in California (Krishan as conductor, Kirsten as an alto), we always got a kick out of the audience's reaction at the beginning of our concerts. Whenever we performed in an intimate venue (50-100 seats), we'd see all the folks in the front row turning down their hearing aids during the first number. They weren't expecting a chamber choir of 20 singers to blow the hair off their heads.
**
A word about "blend": we generally avoid using this word in choral rehearsals, because it's too vague in its application to be of any real use. When conductors instruct singers to "blend" with each other, they're not giving the choristers any useful information. What the conductor is usually looking for is a unified vowel- one that probably needs to be demonstrated, and then tweaked with each individual chorister. It can be a laborious process (although it gets easier over time as the ensemble begins to gel). Telling an ensemble to "blend" just doesn't cut it, and this instruction can send the wrong message to younger students; eventually it can result in individual voices not learning to support their instrument. Matching vowels and encouraging group dynamics (after notes and rhythms are learned) is an alternate way to achieve the sought-after "blended" sound without risking poor individual vocal technique.
We've said it before, and we'll say it again: singing is a full-body experience. A chorus singing a piano section loudly while they're learning the notes isn't "practicing wrong", any more than a basketball player missing a free-throw is "practicing wrong". Have your chorus sing out with their full instruments and get sound in the room- then you have something to work with. You can't begin to refine the nuances until you can hear your singers confidently singing the correct notes and rhythms.
Wednesday, September 7, 2016
Do's & Don't Of Job Interviews
"It takes 500 small details to add up to one favorable impression."
-Cory Grant
In the past few years, we've had several opportunities to sit on both sides of the hiring table. We've both had to hire new employees for organizations that we've founded. And we've both interviewed for jobs ourselves, petitioning our more well-established colleagues for advanced positions. Through these experiences, we've gathered the following reflections on some seemingly small things that can make or break your job interview.
DO: Dress your absolute best. Ok, maybe not a tuxedo for you guys. But you should strive for the highest level of acceptable dress in the business world. For gentlemen, this probably means a suit and tie. For women, a nice suit or dress that might actually be too dressy for a regular rehearsal is not necessarily too much for an interview.
DON'T: Wear rehearsal or street clothes. Even if you're a snazzy dresser daily, make sure your interview outfit is a few steps up from your normal daytime clothes. Dress to impress!
DO: Arrive 30 minutes early to be 15 minutes early. Arrive at your interview location no later than a half hour before the interview takes place. Use 15 minutes (at least) to do some final work as you wait in your car; re-read e-mail conversations with your potential employer on your phone, touch up your makeup, and make sure every hair is in place. Scarf down a breath mint, then head into the building to ensure you are 15 minutes early to your interview.
DON'T: Not know where you're going / get lost on the way there / have issues with public transportation. Do a test run, leave obnoxiously early, borrow a car from a friend- do what you need to do in order to get yourself there with enough time to settle and be the best you can be. If you're late to the interview, no one really cares why- they just see a future unreliable employee.
DO: Your homework. The internet is an incredible thing. Dedicate a good amount of time to researching the organization and the people involved. Find out about them, take notes, and come up with questions about what you discover.
DON'T: Not know what you're interviewing for. This may seem far-fetched, but is applicable more than you'd think (which we've discovered first-hand.) Sometimes there are important pieces of information that can't be found in the job description. Read mission statements, staff bios, and know the previous repertoire and rehearsal/performance schedule.
DO: Optimize your online presence. When someone Googles you, it is likely that your Facebook or Twitter feed will show up on the first page of results. Like it or not, this is the first part of your interview. Employers are looking for how you present yourself online. There's nothing wrong with having some fun personal pictures online, or sharing a link to a funny cat video. However, it's best to refrain from positing anything inflammatory, dramatic, or negative.
DON'T: Use your e-mail address from a decade ago. Once upon a time, it was cute that your e-mail address was chubbybunny23@hotmail.com. However, no longer is that acceptable. Use your name, and use Gmail. Unless you are using an institutional e-mail address, Gmail is the professional standard. Insisting on sticking with hotmail, yahoo, or AOL suggests (whether accurately or not) that you're not technologically savvy. And in today's professional environment, that's a drawback.
DO: Rearrange your schedule to make the interview work. Your potential employer writes you an e-mail, requesting that you come in for an interview at a random time three weeks from now. There is no better answer than "Yes. I'll be there." Prioritize your interview, and it shows that you will prioritize your new position as well. Employers are looking for someone who wants the position, not someone who has other things to do.
DON'T: Reschedule. Did something else pop up? Oh well. Say no. The act of rescheduling demonstrates to employers that you have difficulty balancing commitments, and that you have other priorities.
The job market is a competitive one, and we want you to have every advantage when you go out there job-hunting (unless we're interviewing for the same position :-) Paying attention to these kinds of details will help you to put your best foot forward. Good luck!
-Cory Grant
In the past few years, we've had several opportunities to sit on both sides of the hiring table. We've both had to hire new employees for organizations that we've founded. And we've both interviewed for jobs ourselves, petitioning our more well-established colleagues for advanced positions. Through these experiences, we've gathered the following reflections on some seemingly small things that can make or break your job interview.
DO: Dress your absolute best. Ok, maybe not a tuxedo for you guys. But you should strive for the highest level of acceptable dress in the business world. For gentlemen, this probably means a suit and tie. For women, a nice suit or dress that might actually be too dressy for a regular rehearsal is not necessarily too much for an interview.
DON'T: Wear rehearsal or street clothes. Even if you're a snazzy dresser daily, make sure your interview outfit is a few steps up from your normal daytime clothes. Dress to impress!
DO: Arrive 30 minutes early to be 15 minutes early. Arrive at your interview location no later than a half hour before the interview takes place. Use 15 minutes (at least) to do some final work as you wait in your car; re-read e-mail conversations with your potential employer on your phone, touch up your makeup, and make sure every hair is in place. Scarf down a breath mint, then head into the building to ensure you are 15 minutes early to your interview.
DON'T: Not know where you're going / get lost on the way there / have issues with public transportation. Do a test run, leave obnoxiously early, borrow a car from a friend- do what you need to do in order to get yourself there with enough time to settle and be the best you can be. If you're late to the interview, no one really cares why- they just see a future unreliable employee.
DO: Your homework. The internet is an incredible thing. Dedicate a good amount of time to researching the organization and the people involved. Find out about them, take notes, and come up with questions about what you discover.
DON'T: Not know what you're interviewing for. This may seem far-fetched, but is applicable more than you'd think (which we've discovered first-hand.) Sometimes there are important pieces of information that can't be found in the job description. Read mission statements, staff bios, and know the previous repertoire and rehearsal/performance schedule.
DO: Optimize your online presence. When someone Googles you, it is likely that your Facebook or Twitter feed will show up on the first page of results. Like it or not, this is the first part of your interview. Employers are looking for how you present yourself online. There's nothing wrong with having some fun personal pictures online, or sharing a link to a funny cat video. However, it's best to refrain from positing anything inflammatory, dramatic, or negative.
DON'T: Use your e-mail address from a decade ago. Once upon a time, it was cute that your e-mail address was chubbybunny23@hotmail.com. However, no longer is that acceptable. Use your name, and use Gmail. Unless you are using an institutional e-mail address, Gmail is the professional standard. Insisting on sticking with hotmail, yahoo, or AOL suggests (whether accurately or not) that you're not technologically savvy. And in today's professional environment, that's a drawback.
DO: Rearrange your schedule to make the interview work. Your potential employer writes you an e-mail, requesting that you come in for an interview at a random time three weeks from now. There is no better answer than "Yes. I'll be there." Prioritize your interview, and it shows that you will prioritize your new position as well. Employers are looking for someone who wants the position, not someone who has other things to do.
DON'T: Reschedule. Did something else pop up? Oh well. Say no. The act of rescheduling demonstrates to employers that you have difficulty balancing commitments, and that you have other priorities.
The job market is a competitive one, and we want you to have every advantage when you go out there job-hunting (unless we're interviewing for the same position :-) Paying attention to these kinds of details will help you to put your best foot forward. Good luck!
Saturday, September 3, 2016
The Power Of No
"The difference between successful people and really successful people is that really successful people say no to almost everything."
- Warren Buffett
Choral Conductors are always looking for opportunities to increase their ensemble's visibility. Any chance to perform beyond the confines of the church or concert hall should cause an enterprising conductor to perk up and take notice. We're always interested in gaining access to those folks who would never otherwise know that we exist- so the opportunity to sing at a sporting event or a state fair, for example, should not go unexamined.
But when we evaluate these opportunities, we must consider the experience of our choristers as the deciding factor. Will the choristers enjoy the experience? Will they leave there feeling better about themselves and the ensemble? While we certainly want to avail ourselves of any chance to reach a broader audience, there are times when these performance experiences actually do more harm than good.
**
KRISHAN: I once worked for an organization serving youth choristers, where my responsibilities included leading an ensemble of high school-age singers. For the Spring Concert at the end of each season, there was a tradition of the high school ensemble performing a short "set" in the lobby of the concert hall, before the concert began. When I was made aware of this tradition during my first year, I balked; I couldn't picture an effective performance taking place in a lobby full of young parents, who were more concerned with getting to their seats than giving their attention to the performers in the lobby. However, I reluctantly acquiesced to this arrangement, all the while thinking, "I've got a bad feeling about this." When the performance day arrived, my fears were justified. My ensemble was situated in a corner of the lobby, with a small crowd (mostly my singers' families) assembled around us. Beyond our small audience was a sea of chattering parents, who (quite understandably) were unconcerned with our performance. If I'd had the courage to respond with an adamant "no" when first presented with this scenario, my ensemble would have had a more rewarding performance experience, and the full attention that they deserved.
KIRSTEN: The number of performances is a huge factor when deciding on the calendar for your ensemble. When working for a children's chorus organization, I found that there were far too many performances on the calendar to aptly prepare the children for each performance. On top of that, several of the choristers were involved in different performances personal mission and philosophy. It was clear to me that "no" was the correct answer for these several small group opportunities. I would have rather had my students performing one unbelievable choral concert at the end of the semester, working together and building friendships and a team-based mentality, than have the students involved in all of these different and exciting opportunities, followed by a less than stellar end-of-the-year concert.
**
We all want to say "yes" to as many opportunities as possible, but when evaluating potential performances scenarios for our choirs, there are several factors that must be kept in mind:
1. Will the ensemble have the undivided attention of all present while they're singing? Performing "The Star-Spangled Banner" at a football game, for example, gives the ensemble a decent chance of singing without interruption.
2. Will your choristers be recognized in front of the audience, and is there a way to market the ensemble further through this opportunity?
3. Will the ensemble sound good in the venue? If the natural acoustic isn't favorable, is sound enhancement technology an option?
4. Will the ensemble look their best? Will they be confused as to what they are supposed to be doing? Are there logistical issues that are going to prevent your singers from having a truly positive experience?
5. Is the rehearsal time needed to prepare the piece proportional to the value of the event? For example, could pieces being prepared for another event be used in order to save rehearsal time? If not, how much rehearsal time would need to be allotted for the new event, and would it take away from a more prominent performance?
6. Is the proposed repertoire something that your ensemble wants to do, and can they do it well? Weddings and funerals, for example, can be very tricky to navigate if your church choir is asked to perform something unpalatable.
Through experience, we've learned to ask a million questions any time we're invited to enter unchartered territory with one of our ensembles- whether it be a new venue, a new collaborating partner, or unusual performance logistics. Thinking through all possible scenarios (and keeping in mind Murphy's infamous Law), our ultimate goal is to make the wonderful people in our ensembles sound, look and feel their absolute best.
- Warren Buffett
Choral Conductors are always looking for opportunities to increase their ensemble's visibility. Any chance to perform beyond the confines of the church or concert hall should cause an enterprising conductor to perk up and take notice. We're always interested in gaining access to those folks who would never otherwise know that we exist- so the opportunity to sing at a sporting event or a state fair, for example, should not go unexamined.
But when we evaluate these opportunities, we must consider the experience of our choristers as the deciding factor. Will the choristers enjoy the experience? Will they leave there feeling better about themselves and the ensemble? While we certainly want to avail ourselves of any chance to reach a broader audience, there are times when these performance experiences actually do more harm than good.
**
KRISHAN: I once worked for an organization serving youth choristers, where my responsibilities included leading an ensemble of high school-age singers. For the Spring Concert at the end of each season, there was a tradition of the high school ensemble performing a short "set" in the lobby of the concert hall, before the concert began. When I was made aware of this tradition during my first year, I balked; I couldn't picture an effective performance taking place in a lobby full of young parents, who were more concerned with getting to their seats than giving their attention to the performers in the lobby. However, I reluctantly acquiesced to this arrangement, all the while thinking, "I've got a bad feeling about this." When the performance day arrived, my fears were justified. My ensemble was situated in a corner of the lobby, with a small crowd (mostly my singers' families) assembled around us. Beyond our small audience was a sea of chattering parents, who (quite understandably) were unconcerned with our performance. If I'd had the courage to respond with an adamant "no" when first presented with this scenario, my ensemble would have had a more rewarding performance experience, and the full attention that they deserved.
KIRSTEN: The number of performances is a huge factor when deciding on the calendar for your ensemble. When working for a children's chorus organization, I found that there were far too many performances on the calendar to aptly prepare the children for each performance. On top of that, several of the choristers were involved in different performances personal mission and philosophy. It was clear to me that "no" was the correct answer for these several small group opportunities. I would have rather had my students performing one unbelievable choral concert at the end of the semester, working together and building friendships and a team-based mentality, than have the students involved in all of these different and exciting opportunities, followed by a less than stellar end-of-the-year concert.
**
We all want to say "yes" to as many opportunities as possible, but when evaluating potential performances scenarios for our choirs, there are several factors that must be kept in mind:
1. Will the ensemble have the undivided attention of all present while they're singing? Performing "The Star-Spangled Banner" at a football game, for example, gives the ensemble a decent chance of singing without interruption.
2. Will your choristers be recognized in front of the audience, and is there a way to market the ensemble further through this opportunity?
3. Will the ensemble sound good in the venue? If the natural acoustic isn't favorable, is sound enhancement technology an option?
4. Will the ensemble look their best? Will they be confused as to what they are supposed to be doing? Are there logistical issues that are going to prevent your singers from having a truly positive experience?
5. Is the rehearsal time needed to prepare the piece proportional to the value of the event? For example, could pieces being prepared for another event be used in order to save rehearsal time? If not, how much rehearsal time would need to be allotted for the new event, and would it take away from a more prominent performance?
6. Is the proposed repertoire something that your ensemble wants to do, and can they do it well? Weddings and funerals, for example, can be very tricky to navigate if your church choir is asked to perform something unpalatable.
Through experience, we've learned to ask a million questions any time we're invited to enter unchartered territory with one of our ensembles- whether it be a new venue, a new collaborating partner, or unusual performance logistics. Thinking through all possible scenarios (and keeping in mind Murphy's infamous Law), our ultimate goal is to make the wonderful people in our ensembles sound, look and feel their absolute best.
Monday, August 22, 2016
Eat All The Fruitcakes
"The Master stays behind; that is why she is ahead.
She is detached from all things; that is why she is one with them."
- Lao Tzu
At your next rehearsal, take a look around the room. Every single person there has invested in you and your vision; their presence is a vote of confidence in you. When you think about the people in that room, who is the person with whom you've spent the least amount of time? Nurturing your relationship with that individual should be one of your top priorities.
Much of the work of a choral director is done off the podium. The planning, preparation and, most importantly, the building of relationships, has to happen before the ensemble is ready to perform in public. And the more you've devoted to each area, the more effective your ensemble will be. We've all experienced choral groups who have sung with each other forever, where the level of personal trust is so high that it's literally palpable to the audience. This kind of ensemble has an effectiveness that a pick-up choir, no matter how stellar, can never match. And a chorus that has absolute trust in its conductor is a much different animal (and, we would argue, a more attractive one) than a professional group working with a guest conductor.
There are no shortcuts to building trust with our choristers. It has to be won through our consistent attention to professionalism, excellence and basic goodness. We also have to work at being impartial, which means treating all of our choristers equally.
That's why socializing as a conductor is work, not play. In a previous post, we discussed the perils of being overly friendly with your choristers. Although a friendship dynamic with choristers may seem innocuous, it invariably leads to the perception that the conductor is "playing favorites". For those of us who lead ensembles of our peers (church choirs, for example), it's important to try and socialize equally with every chorister (if we're going to socialize at all!).
This kind of socializing is "on the clock"- it's socializing in an official capacity. It's a much different game than going to a party and hanging out in the corner all night, talking to your one buddy who you totally vibe with. This is "working the room", "pressing the flesh"- whatever you want to call it. It's not unlike the job of a church pastor, who has to engage every soul in his community, and hopefully expand his flock in the process.
For some of us, this takes real work. Here, then, are some suggestions to help you get started:
1. EAT ALL THE FRUITCAKES - It should go without saying that your presence at the Choir Holiday Party is mandatory. And yes, you must try everyone's fruitcake, and act like it's the greatest thing you've ever tasted. You have to attend functions like these as the conductor - which means you have no opinions of your own, when it comes to food. You like everything! Seconds? Yes, please!
2. DON'T PLAY FAVORITES - While enjoying your twelfth piece of fruitcake with the altos at the kitchen table, don't forget about the sopranos in the dining room. Before too much time has passed, make sure you get up and pay them a visit. They want "face time" with you, too.
3. YOU ARE ALWAYS "ON" - Three days earlier when you're at the grocery store shopping for your fruitcake contribution, make sure you put on a happy face in case you run into someone from your school or congregation. Sure, you may be having a bad day, or perhaps you just came from the gym and are really hoping to avoid being seen- but guess what? Conductors are public figures, which means we have to be "on" whenever we're out in public.
There will always be singers in our ensembles for whom we seem to feel a natural affinity. By the same token, there are likely to be those choristers who present us with more challenges. But remember, every singer in the ensemble has given us a vote of confidence by their very presence. It's our job, then, to set an example by creating a welcoming, inclusive environment for all of our singers.
She is detached from all things; that is why she is one with them."
- Lao Tzu
At your next rehearsal, take a look around the room. Every single person there has invested in you and your vision; their presence is a vote of confidence in you. When you think about the people in that room, who is the person with whom you've spent the least amount of time? Nurturing your relationship with that individual should be one of your top priorities.
Much of the work of a choral director is done off the podium. The planning, preparation and, most importantly, the building of relationships, has to happen before the ensemble is ready to perform in public. And the more you've devoted to each area, the more effective your ensemble will be. We've all experienced choral groups who have sung with each other forever, where the level of personal trust is so high that it's literally palpable to the audience. This kind of ensemble has an effectiveness that a pick-up choir, no matter how stellar, can never match. And a chorus that has absolute trust in its conductor is a much different animal (and, we would argue, a more attractive one) than a professional group working with a guest conductor.
There are no shortcuts to building trust with our choristers. It has to be won through our consistent attention to professionalism, excellence and basic goodness. We also have to work at being impartial, which means treating all of our choristers equally.
That's why socializing as a conductor is work, not play. In a previous post, we discussed the perils of being overly friendly with your choristers. Although a friendship dynamic with choristers may seem innocuous, it invariably leads to the perception that the conductor is "playing favorites". For those of us who lead ensembles of our peers (church choirs, for example), it's important to try and socialize equally with every chorister (if we're going to socialize at all!).
This kind of socializing is "on the clock"- it's socializing in an official capacity. It's a much different game than going to a party and hanging out in the corner all night, talking to your one buddy who you totally vibe with. This is "working the room", "pressing the flesh"- whatever you want to call it. It's not unlike the job of a church pastor, who has to engage every soul in his community, and hopefully expand his flock in the process.
For some of us, this takes real work. Here, then, are some suggestions to help you get started:
1. EAT ALL THE FRUITCAKES - It should go without saying that your presence at the Choir Holiday Party is mandatory. And yes, you must try everyone's fruitcake, and act like it's the greatest thing you've ever tasted. You have to attend functions like these as the conductor - which means you have no opinions of your own, when it comes to food. You like everything! Seconds? Yes, please!
2. DON'T PLAY FAVORITES - While enjoying your twelfth piece of fruitcake with the altos at the kitchen table, don't forget about the sopranos in the dining room. Before too much time has passed, make sure you get up and pay them a visit. They want "face time" with you, too.
3. YOU ARE ALWAYS "ON" - Three days earlier when you're at the grocery store shopping for your fruitcake contribution, make sure you put on a happy face in case you run into someone from your school or congregation. Sure, you may be having a bad day, or perhaps you just came from the gym and are really hoping to avoid being seen- but guess what? Conductors are public figures, which means we have to be "on" whenever we're out in public.
There will always be singers in our ensembles for whom we seem to feel a natural affinity. By the same token, there are likely to be those choristers who present us with more challenges. But remember, every singer in the ensemble has given us a vote of confidence by their very presence. It's our job, then, to set an example by creating a welcoming, inclusive environment for all of our singers.
Wednesday, August 10, 2016
If You Build It, They Will NOT (Necessarily) Come
"'Build it and they will come' only works in the movies. Social media is 'build it, nurture it, engage them, and they may come and stay.'"
-Seth Godin
The 1989 Kevin Costner film Field of Dreams rests on a fantastical premise: Ray Kinsella, an Iowa farmer, begins hearing mysterious voices in his cornfield, instructing him to plow over his corn and build a baseball field on his land. Against all logic and sense, Kinsella proceeds, becoming the laughingstock of his neighbors. But the ghostly voice intoning "if you build it, they will come" is just too persuasive to resist. Ultimately, Kinsella's leap of faith is powerfully validated; his ball field becomes a kind of conduit of spirits, providing redemption for thousands of people, and even reuniting Kinsella with a young version of his long-dead father in the film's poignant final scene.
Field of Dreams received widespread acclaim, and its famous catch phrase- if you build it, they will come- has become a maxim for entrepreneurial endeavors of all kinds. Though the film is nearly 30 years old, that one line survives in pop culture as an encapsulation of the pure optimism needed for a true leap of faith. If you build it, they will come.
The problem, though, is that Field of Dreams is a fairy tale. A wonderfully uplifting, heartfelt and inspiring fairy tale- but a fairy tale all the same.
The reality is that it takes more- much, much more- to get people to show up. Just because you build it, doesn't mean that they will come. In fact, if you build it, they will probably ignore it. Only when you make it impossible for them to ignore it- when you bombard them with the sheer awesomeness of your endeavor, so that they can't possibly avoid it- when you circumnavigate every excuse that they can think of, and twist their arm to give it a shot- then, they just might come. And when they do, they'll find out that it's the greatest thing ever, and they'll wonder how they ever lived without it. And they'll thank you profusely for changing their lives, and post about you on Facebook and send you happy emoji texts.
But none of that will happen if you just set up shop and wait for the crowds to magically appear, like Ray Kinsella in Field of Dreams. You have to go out there and pound the pavement (sometimes literally), pitching your idea- your product- to anyone and everyone who will give you the time of day.
Many will shut the door in your face. Many will not respond to your e-mails. But most people will simply be unaware that you exist- and that is the first thing you'll need to change. Your top priority, then, is to let people know that you're here, you're open for business, and you're offering an experience that is amazing and life-changing.
Your second priority is to make sure that the experience truly is amazing and life-changing. If you tell folks that your product is life-changing, and they walk away with an experience that was "fine", then they might not return. However, if you are able to give them the experience promised, it's almost guaranteed that they will shout from the mountaintops about what you were able to give them, and they will bring others with them for the ride the next time around.
The Ogunquit Playhouse production of Disney's The Hunchback of Notre Dame (for which we served as Chorus Managers) recently finished its four-week run. Although we worked on recruiting the 60-voice choir for this production - an experience that we documented in a previous post- because of our travel schedules, we didn't actually get to see the show until the night before it closed.
When we watched the performance with a totally full house last Friday evening, we were absolutely amazed at the end product. More surprising, though, was the overwhelming response from the choir that we received as the show closed. We began to see emotional and heartfelt Facebook posts about the life-changing experience of performing in the show's 32-voice onstage choir. Choristers began thanking us profusely, both in person and in writing, for allowing them through the audition process to sing on the journey.
After the show closed on Saturday night, the members of the choir got together to celebrate their closing. Their dynamic Music Director, B-A Huffman, led them through a very emotional "final sing" of the show's "Entr'acte". This challenging 8-part arrangement, which opens the show's second act, is a true choral showcase- and it was the first piece that the Hunchback choir began mastering during their initial rehearsals back in June. At the closing night party, the choir sang through the piece a cappella, and from the videos that circled via social media, it was an incredibly meaningful ritual for all involved.
With the help of B-A, Chorus Master Wendell Purrington, and the Ogunquit Playhouse staff, we were able to create a streamlined process for these choristers. We promised them a life-changing experience from start to finish - when they signed up to audition, the first choral rehearsal, the first tech rehearsal, the first show, and the last get-together. We are happy to say that we were able to provide these singers with such a memorable experience. But the big takeaway for us was how hard we had to work to sign people up for an experience that really did change their lives.
-Seth Godin
The 1989 Kevin Costner film Field of Dreams rests on a fantastical premise: Ray Kinsella, an Iowa farmer, begins hearing mysterious voices in his cornfield, instructing him to plow over his corn and build a baseball field on his land. Against all logic and sense, Kinsella proceeds, becoming the laughingstock of his neighbors. But the ghostly voice intoning "if you build it, they will come" is just too persuasive to resist. Ultimately, Kinsella's leap of faith is powerfully validated; his ball field becomes a kind of conduit of spirits, providing redemption for thousands of people, and even reuniting Kinsella with a young version of his long-dead father in the film's poignant final scene.
Field of Dreams received widespread acclaim, and its famous catch phrase- if you build it, they will come- has become a maxim for entrepreneurial endeavors of all kinds. Though the film is nearly 30 years old, that one line survives in pop culture as an encapsulation of the pure optimism needed for a true leap of faith. If you build it, they will come.
The problem, though, is that Field of Dreams is a fairy tale. A wonderfully uplifting, heartfelt and inspiring fairy tale- but a fairy tale all the same.
The reality is that it takes more- much, much more- to get people to show up. Just because you build it, doesn't mean that they will come. In fact, if you build it, they will probably ignore it. Only when you make it impossible for them to ignore it- when you bombard them with the sheer awesomeness of your endeavor, so that they can't possibly avoid it- when you circumnavigate every excuse that they can think of, and twist their arm to give it a shot- then, they just might come. And when they do, they'll find out that it's the greatest thing ever, and they'll wonder how they ever lived without it. And they'll thank you profusely for changing their lives, and post about you on Facebook and send you happy emoji texts.
But none of that will happen if you just set up shop and wait for the crowds to magically appear, like Ray Kinsella in Field of Dreams. You have to go out there and pound the pavement (sometimes literally), pitching your idea- your product- to anyone and everyone who will give you the time of day.
Many will shut the door in your face. Many will not respond to your e-mails. But most people will simply be unaware that you exist- and that is the first thing you'll need to change. Your top priority, then, is to let people know that you're here, you're open for business, and you're offering an experience that is amazing and life-changing.
Your second priority is to make sure that the experience truly is amazing and life-changing. If you tell folks that your product is life-changing, and they walk away with an experience that was "fine", then they might not return. However, if you are able to give them the experience promised, it's almost guaranteed that they will shout from the mountaintops about what you were able to give them, and they will bring others with them for the ride the next time around.
The Ogunquit Playhouse production of Disney's The Hunchback of Notre Dame (for which we served as Chorus Managers) recently finished its four-week run. Although we worked on recruiting the 60-voice choir for this production - an experience that we documented in a previous post- because of our travel schedules, we didn't actually get to see the show until the night before it closed.
When we watched the performance with a totally full house last Friday evening, we were absolutely amazed at the end product. More surprising, though, was the overwhelming response from the choir that we received as the show closed. We began to see emotional and heartfelt Facebook posts about the life-changing experience of performing in the show's 32-voice onstage choir. Choristers began thanking us profusely, both in person and in writing, for allowing them through the audition process to sing on the journey.
After the show closed on Saturday night, the members of the choir got together to celebrate their closing. Their dynamic Music Director, B-A Huffman, led them through a very emotional "final sing" of the show's "Entr'acte". This challenging 8-part arrangement, which opens the show's second act, is a true choral showcase- and it was the first piece that the Hunchback choir began mastering during their initial rehearsals back in June. At the closing night party, the choir sang through the piece a cappella, and from the videos that circled via social media, it was an incredibly meaningful ritual for all involved.
With the help of B-A, Chorus Master Wendell Purrington, and the Ogunquit Playhouse staff, we were able to create a streamlined process for these choristers. We promised them a life-changing experience from start to finish - when they signed up to audition, the first choral rehearsal, the first tech rehearsal, the first show, and the last get-together. We are happy to say that we were able to provide these singers with such a memorable experience. But the big takeaway for us was how hard we had to work to sign people up for an experience that really did change their lives.
Tuesday, August 2, 2016
Diversity Must Embrace The Inexperienced
"Strength lies in differences, not in similarities."
-Stephen Covey
“Diversity” is a bit of a buzzword in modern choral circles,
and with good reason. As the demographics of our country continue to evolve, so
too must the demographics
of our choruses. As choral leaders, we should strive for
true inclusivity, reaching out to choristers of diverse backgrounds- ethnic,
socioeconomic and experiential.
We can all agree on the benefits of promoting diversity in
the choral field, whether we direct professional, community or school choirs.
But many choral directors turn around and slam the door on large segments of
the population by creating an audition process that reeks of exclusivity.
As conductors who work with many high school and college
students, we have both been appalled at the number of “selective” choral
programs for students. Discriminating on the basis of “experience” may be the
last acceptable form of prejudice.
Conductors who offer auditioned choral programs where
enrollment is “limited”, “selective” or “competitive” cannot expect to recruit
a truly diverse group of choristers. While the choristers passing such
auditions may be an ethnically diverse group, they will not be representative
of the diverse backgrounds of experience that make up a truly inclusive chorus.
And one of a conductor’s chief joys- one might even say responsibilities- is
the ability to open the door of learning to those who might not otherwise have
access to it. In doing so, we open our ensembles to the passionate engagement
of choristers with diverse experiential backgrounds.
**
KIRSTEN: The most important example for me of diversity
being truly inclusive is through the Summer Choral Intensive program that I
built first in tandem with SACRA/PROFANA in 2014, and then through the South
Shore Children’s Chorus on Boston’s South Shore in 2016. Since the first conception
of the program in late 2013, I knew that inclusivity would be a huge part of
the program model, and no audition or choral experience would be required for
students to participate.
Over the past 3 years (and 4 runs) of the program, I have
come to believe that this is the main reason why the program is so successful.
Mostly, this is due to the “Voice Placement” model that I implemented in year one.
The Voice Placement is a required aspect of the program. When registering for
the program, the students are sent a short excerpt (about 1 min) of a choral
piece, along with a rehearsal track of a professional singer singing their
part. (Note: the track isn’t just of a piano playing notes, but rather of a
singer singing the words. This is an incredibly helpful tool for those students
who have great natural vocal talent, but little training in music literacy.) Students
attend the Voice Placements in groups of their voice part. They come in and
sing together, and then sing the excerpt one by one for the Choral Intensive
Staff (while the other students wait outside).
This model is successful because:
·
It does not rely on a student’s music reading or
piano playing ability to learn how their part goes. But it does put the sole
responsibility on the student to learn their part, since they are given all of
the appropriate tools to learn the excerpt.
·
It does not alienate those students who may not
be able to afford private instruction, or students who may have no choral
experience. Much like listening to the radio, students can memorize the parts
by ear if that is what suits their strengths.
·
It allows students to sing the piece together
with other students with a diversity of experiences before having to sing the piece alone, which reduces nerves for
most students.
Most importantly, the Voice Placement does not determine the student’s acceptance into the summer program. By
the time the Voice Placement comes around, the student is already registered
and accepted into the program. I have had several students attend who are
nervous or underprepared for the Voice Placement experience. However, giving
them an opportunity a month before the program to be nervous or underprepared also
gives them an opportunity to have a
second chance to do better. When we audition, often we give our musicians
(regardless of the level) a one-time-shot – you’re in or you’re out, based on
this moment. Countless times I had students who were completely underprepared
for their Voice Placement, only to later
attend the Choral Intensive week totally prepared, knowing every note and
rhythm in the collegiate-level music they were singing.
This model gives each student a blank slate. Depending on their
experience and understanding of music, they may have to spend a lot of time in
preparation, or just a few hours. However, every
student has the ability to participate.
Several students who have participated in the Summer Choral
Intensive program would have never “made it” into an auditioned program based
on experience, vocal quality, music reading skills, or cost. (Oh, did I mention that this program costs
only $200-$250 per student? Check back soon for a blog post about effective
budgets for your arts organization.) Had these students auditioned for a
program and been rejected in their early stages of singing (14-18 years old),
they may never try to sing again. But the model that we implemented produced
the opposite reaction: several students began to take singing more seriously,
or decided to join, commit, and dedicate themselves to their school choral
programs because they felt like they “could do it.”
The only way we are going to build choral music into the
future is by avoiding the creation of elitist choristers. Teach musicians to
see strengths in everyone around them – not just strengths in vocal quality or
sight-reading skills. Dedication, leadership, commitment, and attitude are all
qualities in choristers that add an incredible amount of worth to a choral team
– both musically and non-musically. Most of the time, these singers who have
strengths outside of the musical realm are the singers that will change the
face of your choral group.
KRISHAN: SACRA/PROFANA, the California-based professional
choir that I direct, has always made diversity a cornerstone of its mission. This
focus on inclusivity encompasses programming and community outreach, but also
the actual makeup of the choir. As Artistic Director, I have always endeavored
to include singers whom other choral conductors may have passed over. In
recruiting these singers, I have often sensed that what the individual might
lack in experience, he or she would more than compensate for in passion,
enthusiasm and commitment. Time after time, this practice of hiring those who
may lack professional choral experience has been powerfully affirmed when the
individual singer has risen to the challenge, bringing a unique perspective and
unmatched loyalty to the ensemble.
In the summer of 2013, just before the start of
SACRA/PROFANA’s 6th Season (which was to be our most intense season
yet), I found myself in need of a new tenor for our 20-voice professional Core
Group, when one of our previous singers unexpectedly dropped out. Our
Operations Manager recommended an acquaintance from her church, a young man who
had limited choral experience, but a wonderful instrument, magnetic stage
presence, impressive raw talent and a great work ethic. While I was slightly
concerned about his lack of choral experience, particularly given the
enormously challenging music that we were tackling that year (including an a cappella performance of Schoenberg’s Friede Auf Erden), I was convinced that
this tenor would be a net positive for the ensemble. His performance over the
next several months surpassed my expectations. In discussing this with him
recently, he recounted:
“Prior to SACRA/PROFANA, my choral experience was limited to my
Indeed, this singer whose lack of choral experience would
have made other professional choral ensembles inaccessible to him, became one
of our most valued and musically reliable singers. Far from being a drawback,
his lack of previous experience ended up being a huge plus for the ensemble, in
that it motivated him to set a strong example of commitment and
professionalism.
**
Our philosophy in this regard can be encapsulated by the
maxim: Meet them where they’re at- then
raise the bar. Get people in the door by creating a welcoming, inclusive
environment. But once they are there, let them know that you have high
standards- and give them the tools to
meet (and exceed) your expectations.
This is not to say that auditions should never be a part of
our process. Some choirs, like SACRA/PROFANA, will always be auditioned.
However, no one should ever be turned away without receiving guidance, and a
chance to improve themselves for the next time around. With SACRA/PROFANA,
those who can’t be accepted into the Core Group are often invited to join the
Auxiliary Chorus, a large volunteer contingent that supplements the
professional Core for larger performances. Even those who aren’t ready for the
volunteer group are given a recommendation to other local choruses, where they
might gain some choral experience. It’s not uncommon for singers to audition
for SACRA/PROFANA repeatedly, often coming back several years in a row as their
skills improve. In some cases, those who come back to audition have eventually
been accepted into the professional Core.
Rather than bemoan the lack of interest in our endeavors, lets get creative in our recruiting efforts and make sure that we're truly creating a place where people of all backgrounds can work together in mutual affirmation.
Wednesday, July 27, 2016
It's Lonely At The Top
"A fool gives full vent to his anger, but a wise man keeps himself under control."
-Proverbs 29:11
In a previous post, we discussed professionalism and its many manifestations in the choral realm. This week we explore a similar topic: the importance of maintaining professional distance from your choristers.
As leaders, we are always set slightly apart from our choristers. We should never be aloof or inaccessible to them- in fact, we've discussed at length the importance of establishing personal relationships with those whom we lead- but, at some point, we need to identify the line of appropriate relationships with our choristers.
It is easy to draw this line when working in a school setting. Almost intuitively, most of us can recognize the need to be disciplined in our communication with students, whether they're undergraduates, high school students, or younger. In dealing with students, we should aim to be as objective as possible, only sharing information that they need to know, and never "playing favorites". Professionalism in a school setting also requires that we maintain a positive front, avoiding the temptation to share our frustrations with our students. We would certainly never dream of taking a student into our confidence in order to "vent" about another student, teacher, or staff member.
It becomes more difficult to maintain this distance when directing a chorus of our peers. An ensemble comprised of singers who are of our same age and demographic group presents a wonderful opportunity for social networking- but this type of scenario can be fraught with peril if we become tempted to share too much with individual choristers. It takes remarkable self-control to withhold our personal feelings and opinions when socializing with our choristers. We are human, after all, and we all crave a sympathetic ear. Surely no one would begrudge us five minutes of venting about that one know-it-all baritone, or that perennially frazzled alto.
The problem, though, is that people talk, and taking a chorister into our confidence in this way can have serious repercussions down the line. Therefore, we've come to believe in Stephen Covey's rule of thumb: "Defend those who are absent".
This, of course, is easier said than done, and we cannot claim to have a perfect track record in this department. But the higher we rise on the leadership scale, the more careful we need to be with our words. As we gain more influence, we also gain more responsibility to use that influence prudently.
**
KRISHAN: When I founded SACRA/PROFANA in 2009, I had recently moved to San Diego and didn't really have a network of friends in the city. As my fledgling choir began to develop, I naturally formed social bonds with many of the singers. I recall a conversation I had at that time with Peter Rutenberg, director of the Los Angeles Chamber Singers. Peter told me of the early days of LACS, and how that group had gradually morphed from a group of friends into a unionized chorus. Peter recounted that as the group became more structured, his leadership position prevented him from fraternizing intimately with the members of the ensemble.
In my youthful optimism, I was sure that this would never happen with me and my circle of friends. But as SACRA/PROFANA began obtaining higher-profile performance opportunities, the level of professionalism in the chorus rose, and I found myself in the uncomfortable position of having to "manage" my friends, who were now paid singers in the choir. More and more, we were operating in high-stakes environments with visiting conductors watching our every move. It eventually became untenable for me to continue intimate friendships with professional choristers whom I was directly responsible for overseeing- particularly when disciplinary action was necessary due to missed rehearsals, etc. Stepping back from those friendships for the sake of professional consistency was one of the hardest things I ever had to do. I still socialize with choristers, but I'm careful now to keep the conversation light and focused on my choristers, rather than sharing my own opinions and feelings.
KIRSTEN: In several of the high schools where I've taught, the theater and music programs have been at odds with one another. These two programs often shared space for shows and rehearsals, which could easily become a source of frustration. Every year, I would mark my concerts and dress rehearsals in the school calendar at the very beginning of each semester. However, without fail each year some scheduling/space issue would pop up with the theater programs, and I would have to work around difficult situations due to the other department's lack of proper planning. While I enjoyed the company of the theater teachers, and often even encouraged my students to be a part of their department, I did occasionally feel the urge to complain or roll my eyes at the situation facing my students.
One year, I intentionally set my spring concert date for the week after the school musical. I anticipated that the theater club would have plenty of time to strike the set before our dress rehearsal, and we wouldn't have set pieces in the way. However, when the theater teacher decided to push the show dates back by one weekend (citing the need for more rehearsal time), he also neglected to realize the true conflict: the sets for his show were drilled to the stage- the same stage that my choir was planning to use for a concert that week.
Even though my students knew who was to blame for the situation, I had to make sure that I remained professional, and refrained from venting about this frustrating teacher to my students. It would have been easy to do, and my students already knew what the reality of the situation was. However, by not vocalizing my frustrations, working around the problem, and handling it professionally I was able to maintain the respect of my students and colleagues.
**
Many choral conductors have few social outlets beyond the ensembles that they direct. This is a problem in and of itself. As difficult as it may be, we must cultivate friendships beyond our ensembles, so that we have appropriate outlets to express our feelings about our work.
In the 1998 war film "Saving Private Ryan", the soldiers under the command of Captain John Miller (played by Tom Hanks) spend much of the film speculating about his personal life: what his profession was before the war, whether or not he's married with a family, etc. This theme provides some running comic relief throughout the film; the soldiers even have a pool going on the Captain. Not until late in the film, when they're facing almost certain death at the hands of an approaching Nazi brigade, does Captain Miller choose to share some personal info about himself. The underlying subtext is clear: only by setting himself slightly apart from the soldiers under his command, can he effectively lead them through difficult circumstances.
Avoid the temptation to wear your heart on your sleeve in the company of those whom you lead. While your choristers need to recognize you as a human being, you must be judicious in how you choose to reveal that vulnerable side of yourself. Ultimately, your singers will bond more strongly with each other and trust more in your leadership, if you provide them with a consistent frame of professionalism.
-Proverbs 29:11
In a previous post, we discussed professionalism and its many manifestations in the choral realm. This week we explore a similar topic: the importance of maintaining professional distance from your choristers.
As leaders, we are always set slightly apart from our choristers. We should never be aloof or inaccessible to them- in fact, we've discussed at length the importance of establishing personal relationships with those whom we lead- but, at some point, we need to identify the line of appropriate relationships with our choristers.
It is easy to draw this line when working in a school setting. Almost intuitively, most of us can recognize the need to be disciplined in our communication with students, whether they're undergraduates, high school students, or younger. In dealing with students, we should aim to be as objective as possible, only sharing information that they need to know, and never "playing favorites". Professionalism in a school setting also requires that we maintain a positive front, avoiding the temptation to share our frustrations with our students. We would certainly never dream of taking a student into our confidence in order to "vent" about another student, teacher, or staff member.
It becomes more difficult to maintain this distance when directing a chorus of our peers. An ensemble comprised of singers who are of our same age and demographic group presents a wonderful opportunity for social networking- but this type of scenario can be fraught with peril if we become tempted to share too much with individual choristers. It takes remarkable self-control to withhold our personal feelings and opinions when socializing with our choristers. We are human, after all, and we all crave a sympathetic ear. Surely no one would begrudge us five minutes of venting about that one know-it-all baritone, or that perennially frazzled alto.
The problem, though, is that people talk, and taking a chorister into our confidence in this way can have serious repercussions down the line. Therefore, we've come to believe in Stephen Covey's rule of thumb: "Defend those who are absent".
This, of course, is easier said than done, and we cannot claim to have a perfect track record in this department. But the higher we rise on the leadership scale, the more careful we need to be with our words. As we gain more influence, we also gain more responsibility to use that influence prudently.
**
KRISHAN: When I founded SACRA/PROFANA in 2009, I had recently moved to San Diego and didn't really have a network of friends in the city. As my fledgling choir began to develop, I naturally formed social bonds with many of the singers. I recall a conversation I had at that time with Peter Rutenberg, director of the Los Angeles Chamber Singers. Peter told me of the early days of LACS, and how that group had gradually morphed from a group of friends into a unionized chorus. Peter recounted that as the group became more structured, his leadership position prevented him from fraternizing intimately with the members of the ensemble.
In my youthful optimism, I was sure that this would never happen with me and my circle of friends. But as SACRA/PROFANA began obtaining higher-profile performance opportunities, the level of professionalism in the chorus rose, and I found myself in the uncomfortable position of having to "manage" my friends, who were now paid singers in the choir. More and more, we were operating in high-stakes environments with visiting conductors watching our every move. It eventually became untenable for me to continue intimate friendships with professional choristers whom I was directly responsible for overseeing- particularly when disciplinary action was necessary due to missed rehearsals, etc. Stepping back from those friendships for the sake of professional consistency was one of the hardest things I ever had to do. I still socialize with choristers, but I'm careful now to keep the conversation light and focused on my choristers, rather than sharing my own opinions and feelings.
KIRSTEN: In several of the high schools where I've taught, the theater and music programs have been at odds with one another. These two programs often shared space for shows and rehearsals, which could easily become a source of frustration. Every year, I would mark my concerts and dress rehearsals in the school calendar at the very beginning of each semester. However, without fail each year some scheduling/space issue would pop up with the theater programs, and I would have to work around difficult situations due to the other department's lack of proper planning. While I enjoyed the company of the theater teachers, and often even encouraged my students to be a part of their department, I did occasionally feel the urge to complain or roll my eyes at the situation facing my students.
One year, I intentionally set my spring concert date for the week after the school musical. I anticipated that the theater club would have plenty of time to strike the set before our dress rehearsal, and we wouldn't have set pieces in the way. However, when the theater teacher decided to push the show dates back by one weekend (citing the need for more rehearsal time), he also neglected to realize the true conflict: the sets for his show were drilled to the stage- the same stage that my choir was planning to use for a concert that week.
Even though my students knew who was to blame for the situation, I had to make sure that I remained professional, and refrained from venting about this frustrating teacher to my students. It would have been easy to do, and my students already knew what the reality of the situation was. However, by not vocalizing my frustrations, working around the problem, and handling it professionally I was able to maintain the respect of my students and colleagues.
**
Many choral conductors have few social outlets beyond the ensembles that they direct. This is a problem in and of itself. As difficult as it may be, we must cultivate friendships beyond our ensembles, so that we have appropriate outlets to express our feelings about our work.
In the 1998 war film "Saving Private Ryan", the soldiers under the command of Captain John Miller (played by Tom Hanks) spend much of the film speculating about his personal life: what his profession was before the war, whether or not he's married with a family, etc. This theme provides some running comic relief throughout the film; the soldiers even have a pool going on the Captain. Not until late in the film, when they're facing almost certain death at the hands of an approaching Nazi brigade, does Captain Miller choose to share some personal info about himself. The underlying subtext is clear: only by setting himself slightly apart from the soldiers under his command, can he effectively lead them through difficult circumstances.
Avoid the temptation to wear your heart on your sleeve in the company of those whom you lead. While your choristers need to recognize you as a human being, you must be judicious in how you choose to reveal that vulnerable side of yourself. Ultimately, your singers will bond more strongly with each other and trust more in your leadership, if you provide them with a consistent frame of professionalism.
Wednesday, July 6, 2016
"I'm hearing a lot of..."
"Some people find fault like there is a reward for it."
-Zig Ziglar
Managing quirky personalities is one of the most challenging (but also fun) aspects of choral conducting. You must have a genuine affection for people's quirks in order to be a successful choral conductor. Indeed, without a sincere appreciation for those little eccentricities, it would be hard to make it through even one rehearsal.
In this post, we'd like to address what Chuck Prestinari, Chorus Master of the San Diego Opera, calls the "section police". You know those well-meaning souls, the ones who offer artistic suggestions thinly disguised as questions: "Did you want a pure 'oo' or more of a Southern California 'eeww'? Because I'm hearing a lot of 'eewww'." How a conductor handles these "questions" (aka forward suggestions to that person sitting behind and to the left of the chorister asking) can be a deciding factor in whether or not the conductor or the choristers are running the rehearsal.
We've already discussed at length the issue of taking questions during rehearsal. We are of the opinion that the conductor should exude such a clear sense of purpose that choristers don't have an inclination to pose extraneous questions. But there will always be those individuals (who really are well-meaning, and often leaders in the choir) who feel the need to voice their immediate concerns, even when those are completely unrelated to the conductor's goal for that moment or rehearsal.
"I'm hearing a lot of" is another way of saying, "I know you're working on teaching us notes and rhythms right now, but I'm way ahead of everyone else so I want to work on vowel shape". In later rehearsals, it could also mean "I know you gave this direction once in an earlier rehearsal, and I feel like I'm the only singer in the section who is doing what you have asked." The goal of both of these statements is indeed to get the best overall sound from the section; however, that goal may not (and often doesn't) match the current goal of the conductor. If the conductor found that particular issue to be an immediate problem, he or she would have addressed it.
How does a conductor approach the "I'm hearing a lot of..." issue, without making a chorister feel unimportant or unvalued? It may seem natural to simply allow the chorister to have the floor for a moment, since more often than not the chorister is pointing out a valid issue. But we've seen this practice turn a well-planned rehearsal into absolute chaos on more than one occasion. If the choristers begin to sense that they can so easily distract you from your rehearsal plan, it can quickly devolve into a free-for-all.
**
KRISHAN: When I first started conducting, I was extremely sensitive and took everything personally. Looking back, I was actually quite thin-skinned, because I wasn't yet confident in my abilities. Back then, I tended to interpret any question that wasn't aligned with my immediate agenda as a challenge.
As I've matured as a conductor, I've come to recognize the good intentions behind these questions, and I've become much more patient and good-humored about interruptions. But I'm still fairly relentless in executing my rehearsal plan, so I always prefer to avoid getting bogged down in secondary (or tertiary) concerns. When people in my rehearsals say, "I'm hearing a lot of 'eww'", my go-to response is usually, "Yeah, 'oo' would be good. But I'm not really worried about that right now." I try to gently validate the chorister's point, while at the same time making it clear that there are other more important issues at the moment.
**
KIRSTEN: At Point Loma Nazarene University, music majors are required to sing in Choral Union each semester. The Choral Union produces a performance of Handel's Messiah every December, and presents another large choral masterwork in the spring. This choir is made up of an average of 125-150 undergraduate music majors, music minors, and community singers who are interested in participating. This creates a wide variety of vocal quality, experience, and knowledge among the choir- and this is the setting where I first noticed the plague of "I'm hearing a lot of."
Several college students would often want to point out throughout the rehearsal what they were hearing from other members of the chorus who, though perhaps more experienced in years of singing, were not currently studying voice and music theory as intensely as the student. Our conductor, Dr. Keith Pedersen, would politely address their concerns while still moving forward with his detailed rehearsal plan (down to the minute.)
What these students sorely lacked was the "big picture" mentality that a conductor needs to have. Though the person next to you may have less-than-perfect vowel shapes and diction, the conductor is listening to the sound of each section and the choir as a whole. The number of singers performing with correct vowel shape/diction could easily be enough to create the sound that the conductor is looking for, regardless of the discrepancies of a few other singers.
**
We encourage singers to trust their conductor, and if they have a concern about another singer's vocal technique, to bring their concern to the conductor before rehearsal, after rehearsal, or during a break. As conductors, we care immensely about the sound of each individual singer, but we also have to put first the sound of the group. Taking questions before or after rehearsal gives the conductor the ability to decide how to address an individual singer's concerns without being put on the spot during a rehearsal.
Our choristers need to feel valued, and need to know that their opinion matters. While we don't want to get caught off-guard during rehearsal, we still need to be aware of how our stronger choristers feel about the sound of their section. At the same time, we must deflect veiled criticisms of other singers, and constantly foster an environment where singers of diverse backgrounds can work together respectfully.
-Zig Ziglar
Managing quirky personalities is one of the most challenging (but also fun) aspects of choral conducting. You must have a genuine affection for people's quirks in order to be a successful choral conductor. Indeed, without a sincere appreciation for those little eccentricities, it would be hard to make it through even one rehearsal.
In this post, we'd like to address what Chuck Prestinari, Chorus Master of the San Diego Opera, calls the "section police". You know those well-meaning souls, the ones who offer artistic suggestions thinly disguised as questions: "Did you want a pure 'oo' or more of a Southern California 'eeww'? Because I'm hearing a lot of 'eewww'." How a conductor handles these "questions" (aka forward suggestions to that person sitting behind and to the left of the chorister asking) can be a deciding factor in whether or not the conductor or the choristers are running the rehearsal.
We've already discussed at length the issue of taking questions during rehearsal. We are of the opinion that the conductor should exude such a clear sense of purpose that choristers don't have an inclination to pose extraneous questions. But there will always be those individuals (who really are well-meaning, and often leaders in the choir) who feel the need to voice their immediate concerns, even when those are completely unrelated to the conductor's goal for that moment or rehearsal.
"I'm hearing a lot of" is another way of saying, "I know you're working on teaching us notes and rhythms right now, but I'm way ahead of everyone else so I want to work on vowel shape". In later rehearsals, it could also mean "I know you gave this direction once in an earlier rehearsal, and I feel like I'm the only singer in the section who is doing what you have asked." The goal of both of these statements is indeed to get the best overall sound from the section; however, that goal may not (and often doesn't) match the current goal of the conductor. If the conductor found that particular issue to be an immediate problem, he or she would have addressed it.
How does a conductor approach the "I'm hearing a lot of..." issue, without making a chorister feel unimportant or unvalued? It may seem natural to simply allow the chorister to have the floor for a moment, since more often than not the chorister is pointing out a valid issue. But we've seen this practice turn a well-planned rehearsal into absolute chaos on more than one occasion. If the choristers begin to sense that they can so easily distract you from your rehearsal plan, it can quickly devolve into a free-for-all.
**
KRISHAN: When I first started conducting, I was extremely sensitive and took everything personally. Looking back, I was actually quite thin-skinned, because I wasn't yet confident in my abilities. Back then, I tended to interpret any question that wasn't aligned with my immediate agenda as a challenge.
As I've matured as a conductor, I've come to recognize the good intentions behind these questions, and I've become much more patient and good-humored about interruptions. But I'm still fairly relentless in executing my rehearsal plan, so I always prefer to avoid getting bogged down in secondary (or tertiary) concerns. When people in my rehearsals say, "I'm hearing a lot of 'eww'", my go-to response is usually, "Yeah, 'oo' would be good. But I'm not really worried about that right now." I try to gently validate the chorister's point, while at the same time making it clear that there are other more important issues at the moment.
**
KIRSTEN: At Point Loma Nazarene University, music majors are required to sing in Choral Union each semester. The Choral Union produces a performance of Handel's Messiah every December, and presents another large choral masterwork in the spring. This choir is made up of an average of 125-150 undergraduate music majors, music minors, and community singers who are interested in participating. This creates a wide variety of vocal quality, experience, and knowledge among the choir- and this is the setting where I first noticed the plague of "I'm hearing a lot of."
Several college students would often want to point out throughout the rehearsal what they were hearing from other members of the chorus who, though perhaps more experienced in years of singing, were not currently studying voice and music theory as intensely as the student. Our conductor, Dr. Keith Pedersen, would politely address their concerns while still moving forward with his detailed rehearsal plan (down to the minute.)
What these students sorely lacked was the "big picture" mentality that a conductor needs to have. Though the person next to you may have less-than-perfect vowel shapes and diction, the conductor is listening to the sound of each section and the choir as a whole. The number of singers performing with correct vowel shape/diction could easily be enough to create the sound that the conductor is looking for, regardless of the discrepancies of a few other singers.
**
We encourage singers to trust their conductor, and if they have a concern about another singer's vocal technique, to bring their concern to the conductor before rehearsal, after rehearsal, or during a break. As conductors, we care immensely about the sound of each individual singer, but we also have to put first the sound of the group. Taking questions before or after rehearsal gives the conductor the ability to decide how to address an individual singer's concerns without being put on the spot during a rehearsal.
Our choristers need to feel valued, and need to know that their opinion matters. While we don't want to get caught off-guard during rehearsal, we still need to be aware of how our stronger choristers feel about the sound of their section. At the same time, we must deflect veiled criticisms of other singers, and constantly foster an environment where singers of diverse backgrounds can work together respectfully.
Wednesday, June 29, 2016
Program For The Choir You Have, Not The Choir You Want
"It is exactly the unattainability which differentiates a dream from a goal; goals are reachable, when you fight for them. Dreams are not."
-Fabian Cancellara
There's a lot to be said for ambitious programming, and in a future post we'll address the benefits of setting the bar extremely (perhaps even unrealistically) high. But in this post we're going to discuss one of the pitfalls besetting many choral conductors, particularly those in new positions: programming repertoire that your ensemble can't perform well.
We all have our repertoire "bucket list". Britten's War Requiem, Beethoven's Missa Solemnis, or any other number of overly grandiose choral warhorses. On a smaller scale, we all have those pieces we've been wanting to conduct forever, and once we get our hands on a competent ensemble, many of us rush into programming repertoire that our ensemble may not yet be ready for.
**
KRISHAN: I've definitely been guilty of "overprogramming"; in fact, I'm a bit of a chronic overprogrammer. I get excited about repertoire, and if I have an ensemble that is within shooting distance of a piece that I want to conduct, I tend to throw caution to the wind and go for it. But after several years of doing this, and after consistently walking away from performances feeling that things didn't quite go the way that I wanted them to, I finally drew back and examined this habit of mine. Moving from California to the East Coast for grad school provided me with an opportunity to change my approach, and I made a decision to focus on thoroughly learning a score and teaching it slowly and methodically, rather than flying by the seat of my pants. Although my more advanced choristers may now sometimes grow impatient with the pace, I feel that my ensembles are more confident and more thoroughly prepared than in the past.
KIRSTEN: In my fourth semester teaching after school at San Diego High School, I was thrilled to finally have eight men in my Chamber Choir - four tenors and four basses. This only meant one thing to me as an excited new conductor: I could finally pick repertoire with four-part men's divisi! Quickly, I pulled out There Will Be Rest by Frank Ticheli, and knew that my students would love the challenge. I was sure that with our full forces of Chamber Choir, we could perform this piece very well.
However, I neglected to consider that if, at any point in time, we were missing a tenor or bass from rehearsal, the rehearsal would be exceedingly difficult. The program being an after-school volunteer-based club, including mostly freshman and sophomore students, attendance could be sporadic from rehearsal to rehearsal. Rarely, if ever, did I have all eight men present on the same day. Consequently, someone would be trying to sing their own part, and would struggle through learning the piece.
In the end, the students performed the piece well. However, if I could go back and pick something with three-part men's divisi instead of four, I would in a heartbeat. I wish my students could have left the stage feeling like they nailed the piece, rather than feeling as if they just barely made it through. Was the repertoire choice possible for this group? Yes. Was it the best/most reachable goal, that would make them feel the most accomplished and confident at the end of the day? Probably not.
**
It's important to ask yourself if your choir can actually perform a piece well before going ahead with it. This may sound obvious, but it's not always easy to practice. We've all heard church choirs where a single alto is valiantly plowing through her part while twelve sopranos sing the melody. A beautiful unison sound, while perhaps less ambitious than the scenario described, would be a more suitable goal in this kind of situation. This approach takes humility; the conductor must be willing to sacrifice the goal of independent part-singing for the less glamorous goal of an integrated, blended sound. Likewise, the conductor must be able to impart a sense of humility to the more advanced choristers, teaching them to value teamwork and similar abstract concepts over the tangible rewards of independent part-singing. Ultimately, the willingness to work on a more humble scale, at least for now, will lead to greater confidence in the future. As Stephen Covey wrote, "Happiness can be defined.. as the ability to sacrifice what we want now, for what we want eventually."
-Fabian Cancellara
There's a lot to be said for ambitious programming, and in a future post we'll address the benefits of setting the bar extremely (perhaps even unrealistically) high. But in this post we're going to discuss one of the pitfalls besetting many choral conductors, particularly those in new positions: programming repertoire that your ensemble can't perform well.
We all have our repertoire "bucket list". Britten's War Requiem, Beethoven's Missa Solemnis, or any other number of overly grandiose choral warhorses. On a smaller scale, we all have those pieces we've been wanting to conduct forever, and once we get our hands on a competent ensemble, many of us rush into programming repertoire that our ensemble may not yet be ready for.
**
KRISHAN: I've definitely been guilty of "overprogramming"; in fact, I'm a bit of a chronic overprogrammer. I get excited about repertoire, and if I have an ensemble that is within shooting distance of a piece that I want to conduct, I tend to throw caution to the wind and go for it. But after several years of doing this, and after consistently walking away from performances feeling that things didn't quite go the way that I wanted them to, I finally drew back and examined this habit of mine. Moving from California to the East Coast for grad school provided me with an opportunity to change my approach, and I made a decision to focus on thoroughly learning a score and teaching it slowly and methodically, rather than flying by the seat of my pants. Although my more advanced choristers may now sometimes grow impatient with the pace, I feel that my ensembles are more confident and more thoroughly prepared than in the past.
KIRSTEN: In my fourth semester teaching after school at San Diego High School, I was thrilled to finally have eight men in my Chamber Choir - four tenors and four basses. This only meant one thing to me as an excited new conductor: I could finally pick repertoire with four-part men's divisi! Quickly, I pulled out There Will Be Rest by Frank Ticheli, and knew that my students would love the challenge. I was sure that with our full forces of Chamber Choir, we could perform this piece very well.
However, I neglected to consider that if, at any point in time, we were missing a tenor or bass from rehearsal, the rehearsal would be exceedingly difficult. The program being an after-school volunteer-based club, including mostly freshman and sophomore students, attendance could be sporadic from rehearsal to rehearsal. Rarely, if ever, did I have all eight men present on the same day. Consequently, someone would be trying to sing their own part, and would struggle through learning the piece.
In the end, the students performed the piece well. However, if I could go back and pick something with three-part men's divisi instead of four, I would in a heartbeat. I wish my students could have left the stage feeling like they nailed the piece, rather than feeling as if they just barely made it through. Was the repertoire choice possible for this group? Yes. Was it the best/most reachable goal, that would make them feel the most accomplished and confident at the end of the day? Probably not.
**
It's important to ask yourself if your choir can actually perform a piece well before going ahead with it. This may sound obvious, but it's not always easy to practice. We've all heard church choirs where a single alto is valiantly plowing through her part while twelve sopranos sing the melody. A beautiful unison sound, while perhaps less ambitious than the scenario described, would be a more suitable goal in this kind of situation. This approach takes humility; the conductor must be willing to sacrifice the goal of independent part-singing for the less glamorous goal of an integrated, blended sound. Likewise, the conductor must be able to impart a sense of humility to the more advanced choristers, teaching them to value teamwork and similar abstract concepts over the tangible rewards of independent part-singing. Ultimately, the willingness to work on a more humble scale, at least for now, will lead to greater confidence in the future. As Stephen Covey wrote, "Happiness can be defined.. as the ability to sacrifice what we want now, for what we want eventually."
Monday, June 27, 2016
Quantity is Quality
"Pretend that every single person you meet has a sign around his or her neck that says, 'Make me feel important.' Not only will you succeed in sales, you will succeed in life."
-Mary Kay Ash
Recruitment is always a relevant topic. Choral conductors, regardless of their level of achievement, are always looking for ways to generate more interest in their choirs among the singers in their community. Church choirs, school choirs, community choruses, even union-level opera choruses- all choral organizations are on a never-ending quest to get more singers in the door. We've never heard a single choral conductor complain about too many auditionees.
In last week's post, we discussed the importance of personalized e-mails. This practice is perhaps even more important during the recruitment process. People are busy, and have no shortage of excuses to avoid getting involved in a choral ensemble. When recruiting, our primary objective is to get people in the door. More often than not, once they come through the door, they end up sticking around. The ones we lose, we usually lose before we ever meet them. But in our e-mail communication, we're always trying to do whatever is necessary to simply get people through the door.
We were recently hired to recruit choristers for the Ogunquit Playhouse's production of The Hunchback of Notre Dame, a musical based on the 1996 Disney film (we helped launch the first U.S. production of the Hunchback musical at the La Jolla Playhouse in 2014). The score, by Alan Menken and Stephen Schwartz, is unique in that it calls for a 32-voice choral ensemble placed onstage in a stationary position for the entire show. The choir's material is influenced by Gregorian chant and 19th century French opera, and is heavy by musical theater standards.
The Ogunquit Playhouse is a major summer stock theater in Southern Maine, and they had planned a long run: 32 performances during the course of 4 weeks. That's a lot of consecutive shows for a 32-voice choir! The Associate Producer had done a tremendous amount of work getting the word out in the local choral community, but no one anticipated that it would take the total focus of at least one (if not two) individuals to recruit enough qualified choristers to fill out all of those performances. Due to our previous success working on the show, we were brought on board about a month before rehearsals were to begin, with the task of recruiting and organizing the choir.
In doing so, we had one guiding principal: Quantity is Quality. We needed bodies on the stage: 32 of them a night, in 4 balanced sections. We knew we weren't going to find 32 singers who could commit to every single show, so our aim was to recruit as many singers as possible so that we'd have a large pool to draw from. Of course, some choristers would be more experienced than others, but we weren't concerned with that during the audition process. Ultimately we knew that the more singers we had, the easier it would be to schedule 32 per night.
The rehearsal and performance schedule was demanding, and many interested singers that we contacted expressed concern about the schedule before auditioning. We had to address each singer individually by phone or e-mail, assuaging their concerns about the schedule and assuring them that we would be flexible and try to accommodate their pre-existing conflicts.
This practice was crucial in getting singers through the door for auditions and getting them excited about the project. And it didn't take long for singers to begin prioritizing our rehearsal schedule over other commitments, once they realized how fun and unique the experience was going to be. In the end, we exceeded even our own expectations in recruiting the choir for this show.
The hardest part of recruitment is getting singers through the door. Of course, once they're there, you have to make sure that they have a positive experience that makes them want to stick around.
People instinctively get nervous when asked to commit to something they've never done - even for just one weekly rehearsal for a semester. When recruiting choristers for high school choruses, we initially ask them to attend only three rehearsals. Three rehearsals is a great number - it ensures that the new chorister really gives it a try. After three rehearsals, they are allowed to leave if they feel it is not a good fit, with no hard feelings. This usually makes the students more comfortable - they don't have to commit long-term. It's a tough sell to ask people to commit to something that they may not end up liking. Ask for a small commitment, get them in the door, and then make them LOVE IT by approaching them individually and having your other choristers be warm and inviting. You'll easily double your numbers in no time with this approach.
Nobody wants less interested choristers- everybody wants more. You may find yourself in a position where you need to turn singers away because of space restraints onstage, etc. But that's a great position to be in, and you at least want to keep those "extra" singers engaged in your organization, either as patrons, or as potential performers in the future. The process of recruitment is a "getting to know you" process, and even those who don't end up singing in your chorus may prove to be important connections down the line.
-Mary Kay Ash
Recruitment is always a relevant topic. Choral conductors, regardless of their level of achievement, are always looking for ways to generate more interest in their choirs among the singers in their community. Church choirs, school choirs, community choruses, even union-level opera choruses- all choral organizations are on a never-ending quest to get more singers in the door. We've never heard a single choral conductor complain about too many auditionees.
In last week's post, we discussed the importance of personalized e-mails. This practice is perhaps even more important during the recruitment process. People are busy, and have no shortage of excuses to avoid getting involved in a choral ensemble. When recruiting, our primary objective is to get people in the door. More often than not, once they come through the door, they end up sticking around. The ones we lose, we usually lose before we ever meet them. But in our e-mail communication, we're always trying to do whatever is necessary to simply get people through the door.
We were recently hired to recruit choristers for the Ogunquit Playhouse's production of The Hunchback of Notre Dame, a musical based on the 1996 Disney film (we helped launch the first U.S. production of the Hunchback musical at the La Jolla Playhouse in 2014). The score, by Alan Menken and Stephen Schwartz, is unique in that it calls for a 32-voice choral ensemble placed onstage in a stationary position for the entire show. The choir's material is influenced by Gregorian chant and 19th century French opera, and is heavy by musical theater standards.
The Ogunquit Playhouse is a major summer stock theater in Southern Maine, and they had planned a long run: 32 performances during the course of 4 weeks. That's a lot of consecutive shows for a 32-voice choir! The Associate Producer had done a tremendous amount of work getting the word out in the local choral community, but no one anticipated that it would take the total focus of at least one (if not two) individuals to recruit enough qualified choristers to fill out all of those performances. Due to our previous success working on the show, we were brought on board about a month before rehearsals were to begin, with the task of recruiting and organizing the choir.
In doing so, we had one guiding principal: Quantity is Quality. We needed bodies on the stage: 32 of them a night, in 4 balanced sections. We knew we weren't going to find 32 singers who could commit to every single show, so our aim was to recruit as many singers as possible so that we'd have a large pool to draw from. Of course, some choristers would be more experienced than others, but we weren't concerned with that during the audition process. Ultimately we knew that the more singers we had, the easier it would be to schedule 32 per night.
The rehearsal and performance schedule was demanding, and many interested singers that we contacted expressed concern about the schedule before auditioning. We had to address each singer individually by phone or e-mail, assuaging their concerns about the schedule and assuring them that we would be flexible and try to accommodate their pre-existing conflicts.
This practice was crucial in getting singers through the door for auditions and getting them excited about the project. And it didn't take long for singers to begin prioritizing our rehearsal schedule over other commitments, once they realized how fun and unique the experience was going to be. In the end, we exceeded even our own expectations in recruiting the choir for this show.
The hardest part of recruitment is getting singers through the door. Of course, once they're there, you have to make sure that they have a positive experience that makes them want to stick around.
People instinctively get nervous when asked to commit to something they've never done - even for just one weekly rehearsal for a semester. When recruiting choristers for high school choruses, we initially ask them to attend only three rehearsals. Three rehearsals is a great number - it ensures that the new chorister really gives it a try. After three rehearsals, they are allowed to leave if they feel it is not a good fit, with no hard feelings. This usually makes the students more comfortable - they don't have to commit long-term. It's a tough sell to ask people to commit to something that they may not end up liking. Ask for a small commitment, get them in the door, and then make them LOVE IT by approaching them individually and having your other choristers be warm and inviting. You'll easily double your numbers in no time with this approach.
Nobody wants less interested choristers- everybody wants more. You may find yourself in a position where you need to turn singers away because of space restraints onstage, etc. But that's a great position to be in, and you at least want to keep those "extra" singers engaged in your organization, either as patrons, or as potential performers in the future. The process of recruitment is a "getting to know you" process, and even those who don't end up singing in your chorus may prove to be important connections down the line.
Friday, June 17, 2016
The Importance of Being Personal
"The key to this business is personal relationships."
-from the movie Jerry Maguire
Success in the choral field depends to a great extent on our ability to harness and direct the passion and enthusiasm of large numbers of people. In order to accomplish this, we must be careful to avoid one of the most common pitfalls of efficiency-minded leaders: treating people as things. As we look at projections of choral rosters, it's easy to think, "I need 4 more tenors", "I just need one more Bass 2", etc. But this kind of thinking can often get in the way of our ability to see people as unique individuals.
As Stephen Covey points out, efficiency is not the same as effectiveness. It may be efficient to paint in broad strokes when dealing with individuals, but our long-term effectiveness is vastly improved when we invest the time in personalizing our communication, and pay attention to the unique traits of the people with whom we work.
Here are three areas where personal attention is key:
1. PERSONALIZED E-MAILS. A mass e-mail may suffice when you need to quickly send out hard data to a large number of people. But in the beginning stages, and especially when recruiting, personal e-mails are absolutely key. We're constantly amazed at the number of choral directors who rely on mass e-mails to generate interest in their ensembles and projects. In situations like this, blanket communication simply doesn't work; the recipient doesn't feel any obligation to respond when you haven't taken the time to stoke their personal interest. At the very least, you should be cutting and pasting the same basic message, and personalizing it to the individual or organization whom you're addressing.
During the recruitment stage, keep track of whom you've contacted, and follow up if they haven't responded. Even when people tell you "no", it never hurts to respond with a personal e-mail. That connection may end up bearing fruit later on down the road.
2. SEATING CHARTS. A good seating chart is one of the most powerful tools of the successful choral conductor. Most choir directors can at least recognize the theoretical importance of a planned seating chart (although some directors, absurdly, never even grasp the concept). Even those who do, however, often fail to utilize this tool to their advantage. How many times have you walked into a choral rehearsal and heard, "sopranos are over there, altos are over there"? Lumping people together without any rhyme or reason is tantamount to telling them that you really don't care where they go.
We've had several experiences where choristers walk into our rehearsal, and are pleasantly surprised to discover that we've actually had the foresight to assign them a specific seat. Choristers sometimes even have the reaction of "whoah" - suddenly they take the situation more seriously than if they were just sitting as one of an unspecified number of voices. It's almost like planning a wedding reception; you really have to consider people's unique characteristics, and anticipate how they're going to interact with the individuals around them. You're putting in the extra time on the front end, so that your people can have a positive experience later on. This kind of planning demonstrates great personal care, and lets each chorister know that you've carefully considered their individual needs.
3. INDIVIDUALIZED MUSIC. While laying a stack of music on the piano or nearby table and having choristers grab one on their way into rehearsal may make things easier to manage at the onset, this method doesn't communicate the individual importance of each chorister. Giving singers a specific number and a folder labeled with their name on the inside communicates your expectation for the participation of that particular individual. The chorister then has personal responsibility for that music; losing an unnumbered piece of music may not be a big deal to you as a chorister- but losing your assigned music carries the consequence of direct accountability.
**
Personal attention is time-consuming, but it yields tremendous benefits. Your choristers know that this approach requires a considerable effort- which is one of the reasons why the approach is so effective in the long run. Your commitment to each individual singer speaks to your integrity and personal investment in them, not only as an ensemble, but as people. More often than not, they will return the favor by investing in your organization, your musical vision, and in you.
-from the movie Jerry Maguire
Success in the choral field depends to a great extent on our ability to harness and direct the passion and enthusiasm of large numbers of people. In order to accomplish this, we must be careful to avoid one of the most common pitfalls of efficiency-minded leaders: treating people as things. As we look at projections of choral rosters, it's easy to think, "I need 4 more tenors", "I just need one more Bass 2", etc. But this kind of thinking can often get in the way of our ability to see people as unique individuals.
As Stephen Covey points out, efficiency is not the same as effectiveness. It may be efficient to paint in broad strokes when dealing with individuals, but our long-term effectiveness is vastly improved when we invest the time in personalizing our communication, and pay attention to the unique traits of the people with whom we work.
Here are three areas where personal attention is key:
1. PERSONALIZED E-MAILS. A mass e-mail may suffice when you need to quickly send out hard data to a large number of people. But in the beginning stages, and especially when recruiting, personal e-mails are absolutely key. We're constantly amazed at the number of choral directors who rely on mass e-mails to generate interest in their ensembles and projects. In situations like this, blanket communication simply doesn't work; the recipient doesn't feel any obligation to respond when you haven't taken the time to stoke their personal interest. At the very least, you should be cutting and pasting the same basic message, and personalizing it to the individual or organization whom you're addressing.
During the recruitment stage, keep track of whom you've contacted, and follow up if they haven't responded. Even when people tell you "no", it never hurts to respond with a personal e-mail. That connection may end up bearing fruit later on down the road.
2. SEATING CHARTS. A good seating chart is one of the most powerful tools of the successful choral conductor. Most choir directors can at least recognize the theoretical importance of a planned seating chart (although some directors, absurdly, never even grasp the concept). Even those who do, however, often fail to utilize this tool to their advantage. How many times have you walked into a choral rehearsal and heard, "sopranos are over there, altos are over there"? Lumping people together without any rhyme or reason is tantamount to telling them that you really don't care where they go.
We've had several experiences where choristers walk into our rehearsal, and are pleasantly surprised to discover that we've actually had the foresight to assign them a specific seat. Choristers sometimes even have the reaction of "whoah" - suddenly they take the situation more seriously than if they were just sitting as one of an unspecified number of voices. It's almost like planning a wedding reception; you really have to consider people's unique characteristics, and anticipate how they're going to interact with the individuals around them. You're putting in the extra time on the front end, so that your people can have a positive experience later on. This kind of planning demonstrates great personal care, and lets each chorister know that you've carefully considered their individual needs.
3. INDIVIDUALIZED MUSIC. While laying a stack of music on the piano or nearby table and having choristers grab one on their way into rehearsal may make things easier to manage at the onset, this method doesn't communicate the individual importance of each chorister. Giving singers a specific number and a folder labeled with their name on the inside communicates your expectation for the participation of that particular individual. The chorister then has personal responsibility for that music; losing an unnumbered piece of music may not be a big deal to you as a chorister- but losing your assigned music carries the consequence of direct accountability.
**
Personal attention is time-consuming, but it yields tremendous benefits. Your choristers know that this approach requires a considerable effort- which is one of the reasons why the approach is so effective in the long run. Your commitment to each individual singer speaks to your integrity and personal investment in them, not only as an ensemble, but as people. More often than not, they will return the favor by investing in your organization, your musical vision, and in you.
Thursday, June 9, 2016
As It Is Written, So It Shall Be
"Clear agreements often prevent small disagreements from becoming big ones."
-Harvey Mackay
As choral directors, it's important for our choristers to know what our expectations are. Within a rehearsal environment, we communicate artistic expectations as eloquently as we can, and hope that our musical vision is adequately relayed to the choristers. But beyond the parameters of artistic discourse, we have many other expectations that often go unspoken- that is, until they're violated. At those times, relationships can really become strained simply because expectations were not clearly stated at the outset. Although it requires a substantial amount of foresight and administrative work on the front end, creating written agreements ensures mutual understanding as we work toward a common goal.
Many choral directors shy away from this kind of procedure, fearing that it will make them look overly controlling or dictatorial. But a written agreement outlining mutual expectations serves both parties; in a very real sense, it empowers individual choristers because it encourages and enables them to meet a designated standard- ideally, one that they themselves helped create. A written agreement also serves the ensemble, as it ensures the integrity of the whole by holding all parties to the same criteria.
Here, then, are a few steps to consider when creating written agreements with your choristers.
1. START WITH THE SCHEDULE.
The schedule represents the most basic level of participation. No one can participate without being present. At the professional or semi-professional level, agreements need to be personalized to take into consideration the projected scheduling conflicts of individual choristers. This shows the individual singer that you're paying attention to the reality of his or her situation; it also shows that that singer's absence is noticed.
For amateur choirs, a written notice of individual chorister's projected absences on a per-semester basis can be extremely helpful for both the chorister and the director. If the semester culminates in a major performance, the director (and the ensemble) may wish to limit the number of allowed absences, and require attendance at dress rehearsals, etc.
2. INCLUDE REHEARSAL ETIQUETTE.
Some new choristers may be sincerely unaware of the importance of starting on time, or may not know who to contact if they're running late. They may think nothing of having their smartphones out during rehearsal (or even performance!). They may not be aware that you expect them to use the restroom during scheduled breaks. All of these considerations, which can be disruptive to the productive flow of your rehearsal, cam be addressed in written chorister agreements.
3. PLAN PERFORMANCE DRESS.
It's never a good idea to surprise your choristers with their required performance dress code right before a concert. Providing them with the information about the necessary dress at the top of the semester gives them time to acquire the items needed, rather than having to scramblie to find the items at the last minute. This is especially important if your choristers need to order something specific. Clarity is key when it comes to performance dress; no longer does saying "black dress top" mean the same to everyone. We suggest using verbiage that is extremely specific, and giving your choristers plenty of time to find something that fits the bill. Approximately a month out from performance time, have a "Performance Dress Check" to ensure that every article of clothing is in accordance with your written agreement. Choristers will match on stage, and it will add to the professionalism of your group.
4. OBTAIN A MEDIA RELEASE.
Sound files, video clips, and social media posts can be shared at light speed. In our blog post Strategic and Shameless Self-Promotion we discuss the importance of your choir/organization's use of social media outlets to promote your group and gain popularity. However, you must have the permission of everyone that you post in a picture on your site or on social media. Also, if your choir sells recordings, you want to be sure that every chorister releases their right to the recording or video, and understands that they will not be personally gaining profit from the media. Written permission from your chorister to use a picture, video, or audio recording of their likeness for the benefit of your choir ensures that they understand this vital part of your vision.
Written agreements vary in degrees of complexity. More experienced choral directors, and those working with professional ensembles, will likely want to incorporate more concerns and provide more explicit language in their agreements. However, the benefits of communicating clear expectations are inarguable, regardless of your choir's size or level of expertise.
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