July 2022

On Metaphors and Messing with People’s Heads

[On executing a vocable using the syllable ‘ha’ without making the tone breathy]

Don’t let the h invade the vowel. You want to keep the salt on the edge of the margharita glass, not put it into the drink.

The coaching process produces all kinds of metaphors for different aspects of musical performance, many of them emerging spontaneously from the needs of the moment. One of the things, I am told, that Amersham A Cappella appreciate about my coaching is the vividness and idiosyncrasy of some of the metaphors that pop out during the process. One of the things I appreciate about working with them is knowing that they’ll go with whatever wild imagery comes to hand: not needing to filter insights for sensibleness on the way gives an incredible sense of creative freedom.

Exploring Arrangement Choices with Amersham A Cappella

A topically sports-themed warm-upA topically sports-themed warm-up

Tuesday evening took me back to coach my friends at Amersham A Cappella on some of the new songs they’re working on. They seem to be in a particularly up-for-it and life-affirming mood right now in their repertoire choices, with anthems from Erasure and Aretha Franklin on the go as well as an exuberant number I arranged some years ago for Finesse quartet.

A recurrent theme of the evening was exploring the impact of who the music was arranged for on the arrangement choices. A fair number of the chorus had known Finesse, either in terms of hearing them perform, or knowing the individual singers personally. So it was useful for them to know that this was one of those charts where I’d been thinking not of the tenor, lead, bari and bass lines, but of the Helen, Beth, Tanya and Nicky lines. Handing round the melody wasn’t just a matter of seeing where the range fit best, but also of thinking about the personality and vocal colour of those individuals.

The Cultural Politics of Authenticity

Social media is often a colossal waste of time, but you get an interesting and nuanced discussion on a subject that is both practical and principled just often enough to make it worth keeping looking at it. I’d like to reflect on one such discussion I saw amongst a group of choral directors recently, as the various contributions teased out a range of perspectives on a thorny question.

The question was whether a British choir should assume Puerto Rican accents to sing songs from West Side Story. A director had asked their choir to do so, but some of the choir’s younger members were ‘appalled’ at what they considered a racist request.

Some of the participants in the discussion supported the conductor on the grounds of musical authenticity. It would sound silly in choral British accents, they contended, and recommended reference to the original film as a guide. (Though I’d think reference to the recent remake would be a better guide from this point of view, since it uses actual Latinx actors for those roles, not white actors in brown-face as many are in the 1961 version.)

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