Coaching

Building the Toolkit with Aurora Quartet

aurora

Last Sunday brought Aurora Quartet round for an afternoon’s coaching. They are a recently formed quartet, two of whom have little prior quartetting experience, so whilst the content of our work revolved around two of their songs, our attention was firmly on providing techniques and rehearsal tactics they could use to continue their development beyond the coaching session.

Regular readers won’t be surprised to know that duetting featured prominently here, and worked its usual magic. Indeed, it was in this context that previous experience showed most clearly, by producing the most clearly articulated observations on what they had been listening to. Honing the listening skills isn’t just about the ears, it’s about working out what the ears have just perceived, and the duetting process gives a structured environment in which to develop this skill, at the same time as cleaning up the quartet’s performance.

Eclectic Quartet Coaching

I'm using their pic because it's better than the one I tookI'm using their pic because it's better than the one I tookI spent Saturday afternoon working with The Eclectic Quartet, who are preparing for their first BABS Quartet semi-final together, having qualified for Convention at Prelims back in November. They bring a good deal of flexibility and musicianship to their singing, with a readiness to drop into a song at any point, which made our work pleasantly efficient.

We gave most of our attention to developing the musical shape of their two newest songs, paying attention to both local details and building the overall arc. One of the challenges of a style that uses only four voices in a predominantly homophonic texture is that the resources for developing musical architecture and contrast are inherently more limited than, say, an orchestra, or even a piano. But within that sound world, even with its restrictions of range, timbre and texture, you can achieve a satisfying range of expression if you have a canny arranger and are alert to the signals they give you. The arrangers of both their charts can be very canny in this way, so we had plenty to work with.

Expressive Modes and Musical Shape

exprmodesWhen coaching a cappella groups, I’ll often point out a basic distinction build into popular a cappella styles that encodes information about how the music is communicating. When only one part is singing the words, with the others accompanying, the intent is usually narrative, telling a story. When all parts are singing the same words (and this usually implies at the same time – homorhythmic or nearly so), the intent is usually declarative, making a statement.

Of course, there are intermediate states - accompanied duet, or trio plus neutral bass-line for instance – but they slot in quite happily on this continuum between the more discursive and the more emphatic.

A Menagerie of Metaphors

Floddy the Hippo of Belonging: sorry about the camera-shake - it must have been an emotional moment...Floddy the Hippo of Belonging: sorry about the camera-shake - it must have been an emotional moment...Everyone likes a good animal metaphor. At least, anyone who’s any fun does. After running into some new ones at the BABS Directors Academy in January, I realised I was getting a nice little collection together, enough to share as a group.

Floddy, the Hippo of Belonging Anyone who has come to my house for coaching in the last decade will have met my side-kick Floddy the hippo. But his main claim to fame was as the personification of love and belonging needs in a session I did for LABBS directors on Maslow’s hierarchy of needs back in 2012.

Elephants appeared twice during that recent weekend. Alex and Boo de Bruin told of how in their time at Avon Harmony they would work on engaging the breath by asking singers to push Boris the purple elephant from in front of them out to the side. It wasn’t clear why Boris needed to be purple, but it was definitely an important attribute.

Exploring Compensating Rubato with LaBOOM

Action screen-shotAction screen-shot

Saturday took my musical attention back to Munich, though my body stayed at home. The amenity of Skype allowed me to spend a couple of hours with LaBOOM quartet working on two new songs I arranged for them back in the autumn. They quite sensibly wanted to get this session done early in the learning process, to shape the overall concept of the songs before they’d got too settled in their habits with them.

The most challenging area we tackled during the session was getting a feel for compensating rubato. Their ballad is in a gentle ¾ time, and they had been feeling as quite strongly waltz-like. Our task was to ease this framework up into something slightly more flexible without spoiling the sense of poetic metre or the lilt that the time signature provided.

Developing the Director at Three Spires Harmony

AprilTSHTuesday night took me over to Three Spires Harmony in Coventry to work primarily with their director, April Stevens. April is in her first post as a director, and having got a few months experience under her belt – getting to know the chorus, getting to know the music – she was ready for some specific input on her conducting technique.

Incidentally, April’s trajectory is an exemplary case study of what sociologist Robert Stebbins has termed a barbershop ‘career’. His point is that one of the things that marks a hobby out as ‘serious leisure’ is the way its structure offers opportunities for individuals to progress and develop over time.

So, like April, you can start out as a singer in a chorus, get promoted onto its music team, and from there be in a position to take on the directorship of another local chorus. In April’s case, this career progression is being explicitly supported by the director of the chorus she sings with, The Belles of Three Spires, and I am certain this mentoring has helped both chorus and director settle in together more readily. I just mention it in case anyone else wants to do likewise in similar circumstances.

A Weekend with the Barberlights

Barberlights
Unless something unexpected happens very soon, last weekend was my last coaching trip to Germany for 2018. This time I was with the Barberlights in Remseck, near Stuttgart, and we had a full schedule together, starting Friday evening and continuing all day Saturday and most of Sunday too. To say this allowed us to get a lot done together would be an understatement.

It wasn’t just the sheer number of hours we spent together, I’d add, it was the chance to sleep on our experiences together and revisit the next day. In this sense, the session on Friday, though only an hour and a half long, really punched above its weight. Not only did we start Saturday having done some groundwork together, we’d also given our brains the chance to process, sort and embed the work.

A Brand New Endeavour

Warm-up action picWarm-up action pic

I spent Sunday working with Endeavour, a brand new mixed barbershop chorus. They have been in the planning for some time, but actually sang together for the first time on Saturday, so I had the honour being their first ever visiting coach. Their singers are drawn from barbershop groups in Ireland, the UK and Germany, so their rehearsals take the form of intensive weekends in locations handy for airports.

It is an auditioned chorus, and many of the singers know each other from participating in the various Harmony Brigades. Hence, it is populated with people with considerable experience and skill as singers, and who are accustomed to learning music independently. Their challenge is melding these vocal and musical resources into a coherent ensemble within a short timescale so as to make the most of the artistic potential available.

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