"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.
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