Coaching

Tracing Emotional Shape with Affinity Show Choir

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Sunday took me back to Stockport for a longer follow-up to last month’s session with Affinity Show Choir on their new contest set for LABBS Convention in October. Having established the overall shape of their delivery last time, this visit focused on developing narrative depth and clarifying the turning points in the story. I’m nostly focusing on their ballad here as our work on this was both more time-consuming and more complex, and so more useful for me to reflect on. But we also left their up-tune in a more sparkling state than we found it.

Exploring New Music with Affinity Show Choir

Action warm-up pic!Action warm-up pic!

Thursday evening took me up to Stockport to have an initial session with Affinity Show Choir on two new arrangements they have commissioned from me for LABBS Convention this autumn. We have a date in the diary for a full day on them next month, but they wanted and initial undergrowth-clearing session before then to get the big-picture issues identified so they could come into that day prepared and ready.

We’d already had a productive dialogue about how the songs wanted shaping during the commissioning process, as it was this package that inspired my post To Recreate or Reimagine?. Their director Andrew and I had had quite a long phone conversation that involved singing bits to each other to discuss phrasing, then he had put together a guide track to inform the person making learning tracks for him, and run that past me before commissioning the tracks. As a result I went in knowing that they had been learning the music from materials that made sense of the intended musical world, so we could get straight into refining the fit between musical detail and their expressive personality as a chorus.

Winchester A Cappella Coaching Day

Traditional warm-up shotTraditional warm-up shotI spent Saturday working with Winchester A Cappella chorus on the music they will be taking to the Ladies Association of British Barbershop Singers Convention in the autumn. The chorus welcomed a new director last year after a period of some upheaval, and now that the working relationships are getting nicely settled in they were ready for some external input.

The ballad they are learning is one I arranged for a quartet back in 2011 without intending it for barbershop contest use, but the way that the Barbershop Harmony Society has deliberately relaxed its approach to judging style in order to encourage new repertoire in the last 6 years or so has moved it from the category of ‘not really quite barbershoppy enough’ to ‘actually, this will be fine’. So it will unexpectedly bump up my tally of contest premieres come October.

Building the Musical Toolkit with the Belles

bellesjul19I spent last Saturday with my friends at the Belles of Three Spires. On the face of it, we were working on the two songs they will be taking to LABBS Convention in October, but the more fundamental remit I had been given was to help their director Lucy develop the collection of musical concepts she uses with the chorus. It’s all very well feeling that the music should go a certain way, she pointed out, or even being advised to shape it like that, but she wants to know why.

In giving me this remit, she framed the goal explicitly in terms of extending her own skill set as director; if the chorus also understood the concepts, that’s great, but the main point was to leave her with ideas she could use to inform her musical decisions and judgements. As a result I found myself using more technical terms than I usually might, which was an interesting experience to come so soon after my post about rehearsal/coaching lexicons and my relationship with technical language.

Director Coaching with Junction 14

Adjusting the conducting plane:: "Hold your plate of music low enough that you can pile it high and still see over the profiteroles"Adjusting the conducting plane:: "Hold your plate of music low enough that you can pile it high and still see over the profiteroles"Thursday evening took me down to Milton Keynes to work with the directing team of Junction 14 chorus. Both MD Hannah and her assistant Debbie have been regular participants in LABBS director training events, but they were after the extra depth and personalisation you get from being coached as a director along with the singers you work with regularly. This bring not only more one-to-one time, but the chance to enrol the chorus into the process of developing their directors.

For the truism that what a director does is directly mirrored by the chorus is balanced by a less often articulated truth that much of what a director habitually does is shaped by their singers. There are all kinds of interesting co-dependencies between a conductor and their ensemble, some of which are really helpful, others counter-productive. You can re-set the latter more readily by working with both ends of the relationship at the same time.

Musicking with the White Rosettes

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This may prove to be a tricky post to write. Not for any emotional complications – it tells of an entirely cheerful and purposeful occasion – nor for conceptual conundrums – we all knew what we were doing and we did it well. The problem is the entirely practical one of how do I write an account of a coaching session that was pretty much entirely about specific musical detail without actually talking about the music?

I run into this problem to an extent every time I go to coach an ensemble on a new arrangement that they will want to reveal at some point in the future, but there’s usually some generalisable technical points to distract you with while I’m avoiding naming the song. Is vagueblogging a thing?

And of course it would be unthinkable to go and work with the UK’s most consistently successful barbershop chorus and not blog about it. That would be silly.

Continuing the Journey with Norwich Harmony

Obligatory warm-up action picObligatory warm-up action pic

One of the joyful things about being invited to work with a group several times over the course of a few years is the opportunity to see them develop. I have visited Norwich Harmony in late Spring or early summer before, but I don’t recall hearing them sounding so assured on the music they are preparing for the autumn at this stage previously. It wasn’t just that the singing was clean and resonant, with very few details getting smudged, it was that everyone seemed up-for-it and undaunted by any challenge I threw at them. This is a very satisfying way to spend a Saturday.

I asked their director Alison Thompson to what she could attribute this upgrade in achievement, and she talked through various areas of specific technical skill they had been working on. Behind this, though, were more fundamental points: having the confidence that she had found an approach that would work for them, and being relentless in her pursuit of them.

Team-coaching with Fascinating Rhythm

Riser-top view of the team in actionRiser-top view of the team in actionRegular readers will know by now that Fascinating Rhythm have been leading the way amongst British barbershop choruses by bringing newly commissioned music to the contest stage every year since 2015. Last weekend was their annual retreat at which they got their teeth into their 5th consecutive new package, and for the first time they decided to invite me to coach for a day alongside their regular coach Sally McLean rather than bring us in separately as they have hitherto.

I was going to say that fortunately their regular coach and their regular arranger have very compatible approaches to music and performance, but that makes it sound like it’s luck or coincidence. Thinking about it, though, it would be more surprising if they chose people to work with regularly who had incongruent artistic attitudes.

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