August 2009

The Inner Game of Choral Rehearsals

I’ve been threatening since last winter to write about how the Inner Game ideas can inform rehearsal techniques, and the time has at last arrived. This post will outline some big-picture principles, and three subsequent ones will look at how to apply the three central concepts of awareness, will and trust in choral contexts.

But for those who are not familiar with Inner Game ideas at all, here’s a bit of background.

Art versus Entertainment


There has been an interesting thread of discussions over on Choralnet recently in response to another blogger’s claim that the Ambassadors of Harmony set ‘a new standard in choral music’ in their performance at this year’s International barbershop convention. The responses range from the enthusiastic to the disdainful, with some interesting variants in each camp – a wonderful example, indeed, of the way that aesthetic values are not static, but culturally negotiated on an ongoing basis.

Lying behind some of the comments are a set of cultural tensions that have existed in music for at least a couple of centuries if not more.

Commodity versus Product

A few months back I read an old, old book about how to set up a small business called The E-Myth, by Michael E. Gerber. To give you an idea how old it is: it was written before the turn of phrase ‘E-something’ meant anything. So in fact the E here isn’t anything electronic, but refers to entrepreneurs. His basic point is that the idea that successful businesses are down to the special qualities of entrepreneurial people is a myth, and that good organization has more to do with it.

I may come back in another post to how his model plays out for starting a choir (if I can face in retrospect dealing with all the things I did wrong!). But for today, I’d like just to focus in on a useful distinction he makes between your commodity and your product.

The commodity is what you make in the factory; the product is what your customer wants to gain by buying it.

Addendum on Musical Quality

In my post on ‘What makes good music?’ earlier this month I forgot to mention another indicator of quality that I’ve been thinking about quite a lot lately. This is: really good music lifts and develops performers, and makes them sound better than they do when performing merely adequate music.

Arranging Arrangers

If you came here via the front page of Helping You Harmonise, you will have seen the new notice announcing the mentoring scheme I am organising for barbershop arrangers. (If you haven’t seen it yet, more details are here.) It will work by pairing people up to give each other feedback on each other’s work, and I thought it might be useful to say a few words about the rationale for this approach.

Motivating Singers

Earlier this week I received an email with the above subject line from the director of a small early music vocal ensemble. He has been grappling with the challenge of getting his singers to learn music in their own time to make the most of scarce rehearsal time – and grappling also with the personal tensions that result when not all of his singers cooperate. I’ll quote an extract from his email, as his account of his experience will resonate in the heart of anyone who has found themselves leading a group:

During the time that rehearsals were ongoing, I was never sure what to do about the singers who would not learn their music. I didn't feel I could reprimand them, because we were all students of about equal experience and, while mine was the responsibility to choose the repertoire for the year and to lead the rehearsals, I did not have any authority over them. I could not replace (or threaten to replace) any of the singers, as I did not have any other equally capable singers wanting to join the group. The only motivating tool I had was the music itself, which I cared deeply about and wanted to sing well. Whatever way I had been communicating to the group, my enthusiasm had rubbed off on some singers but not all.

I was just wondering if you have written anything about this, if it's something you have experienced, and if you have any strategies for dealing with it?

A Cappella and the Creation of Rhythm 3: Melody & Accompaniment Textures

This is the third and final post in a series that looks at the consequences for the close-harmony arranger of Cooper & Meyer’s theory of rhythm. By looking at the way that musical structures create patterns of accent, we can draw a number of practical conclusions about how we control musical elements so as to make a coherent sense of rhythm without undue distractions.

In some ways, melody and accompaniment textures provide fewer challenges than homophonic textures, because they have more built-in contrast. The parts singing the accompaniment patterns can set up a regular metrical framework to drape the tune over, in much the way that a band’s rhythm section frees a soloist up to play with and pull against the basic rhythmic structure.

On Women Singing Loudly


It’s a loud voice,
And though it’s not exactly flat,
She’ll need a little more than that
To earn a living wage
Noel Coward, ‘Don’t Put You Daughter on the Stage’

There is sometimes some cultural discomfort with women singing loudly. It can be seen as over-assertive, sonically pushy, ballsy. In times past this was tangled up with questions about public versus private utterance. Early Romantic writers like ETA Hoffmann and Carl Maria von Weber wrote very rude vignettes of female amateurs who sang operatic repertoire in the home, and idealised instead the perfect femininity of an untrained voice that wouldn’t travel beyond an intimate setting.

Those stereotypes have – thankfully – loosened their stranglehold to the point that they seem almost entirely historical.

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