Coaching

I had a rich and fascinating evening working with Cleeve Harmony near Cheltenham on Tuesday. This is a new barbershop chorus, only 10 months old, and while its membership profile is very typical in its mix of people with previous experience and people new to singing, it is striking for having only one member - its founder-director, Donna Whitehouse - with any previous barbershop experience.

My remit for the evening was primarily to help them with director-chorus communication - working with Donna on aspects of her technique, and working with the chorus on making sense of what she's doing. One of the rewarding things about such an agenda is the sense that whichever end of the equation you address, you also help the other.

Vivat! demonstrating the technique of standing on one leg to engage the core

Almost exactly a year since I last worked with the West Midlands Police Choir, I was back for another workshop with them on Saturday. They have rebranded as Vivat! and have the air of a much more established choir since I last saw them. This shows not just in seeing more people at the workshop, but seeing them build the infrastructure of longer-term projects and more ambitious, such as fund-raising for a trip to France next year, amongst their more immediate rehearsal and performance goals.

The workshop had two main areas of focus.

Thursday took me up to Marple to work with my friends in Heartbeat Chorus. It's a couple of years since I've visited, and they have attracted lots of new members in the meantime - a sure sign that something has been going well there.

So the lightness in the title was nothing to do with numbers - quite the opposite! In fact, part of our challenge for the evening was taking a body of sound that big and getting the nimbleness and flexibility that their repertoire was asking for. I don't know why larger bodies of people should, en masse, feel like they need to move more deliberately - probably something to do with the attention required to coordinate with greater numbers. But I guess it is why it is commensurately more exciting when you achieve dexterity with a big group.

So we experienced lightness in several dimensions.

Back when I was taking lessons in Alexander Technique, my teacher introduced me to bit of psychological re-framing that I found rather striking. It was to do with habit and habit-change (of course - that is central to what AT is about), and how you manage at that point when you do something when you remember to, but often forget and let habit take over. 'If I gave you £200 every time you did this, would you do it more often?' he asked. 'Well, I can't afford to do that, but if you are able do it for £200, you are able to do it for nothing.'

What he did here was to raise the stakes. He changed forgetting to do something from a matter of little concern to one of significant lost gain. Never mind that it was purely hypothetical, he had me more emotionally and attentionally invested in the exercise.

Sunday saw my final, and longest, visit to the Red Rosettes before they fly off to Ireland to participate in this year’s IABS Convention. Having seen them in May, and then a month ago, it was cheering to be able to tell them that I could hear their progress from each visit to the next. This is what you’d hope would happen, of course, but it’s not always perceptible to the people plugging away week in week out.

At this stage of proceedings, it is of course far too late to mess with the general game plan. Whilst I usually describe my role as to go around messing with people’s heads, it’s also one of my life’s goals to increase people’s confidence, and making late changes to performances is a good way to have the opposite effect. So, apart from focusing in on a few isolated technical details that would benefit from specific attention, the day’s activities focused on taking a well-shaped and well-prepared performance, and making it more vivid.

Every so often I get a request to for someone to observe me while I'm working with an ensemble, and I'm writing this post partly so I can point people to it rather than writing very long emails in reply every time! But working through my thoughts about it has also been interesting, and I like to share when I think I've learned something.

So, there are two basic scenarios, and I have found they elicit quite different responses.

Scenario 1: the ensemble I'll be working with contacts me to say they have a visitor who would like to watch, and do I mind? My answer: no problem!

Scenario 2: somebody I know gets in touch with me to ask if they can come and watch when I do some coaching. My response: not comfortable.

I spent Sunday up in Liverpool with the ladies of Mersey Harmony. It was the first time I’d worked with the chorus, but I knew their director Lesley from my sessions with Cheshire Chord Company. There is a wonderful synergy in the way the premier ensembles in a region serve as training grounds for the musical leaders of neighbouring groups, and the northwest is one of the country’s real hotbeds of barbershop activity.

We spent a lot of the morning session on some intensive work on smoothing out the melodic flow in their contest up-tune. This is an enterprise that has both technical and imaginative dimensions, and thus involves adjustments to both physical habits of execution and mental habits of musical thinking. Part of my task, indeed, was working out what combination of the two they needed: was the slightly over-wordy delivery a function of incomplete control of vowel placement or of an over-investment in the rhythmic qualities of the lyric?

Wednesday evening took me up to Preston for another visit to the Red Rosettes. It is less than six weeks now until they head over to Ireland for the IABS Convention, and so are starting to gear themselves up to contest rather earlier in the year than they would normally for the rhythm of the British women’s barbershop year.

Many choruses find the summer the slow season, as people’s holidays keep attendance down over a period of 6-8 weeks. Indeed, many choral groups deal with this by taking a break over the summer, though this is rarer in barbershop world, where the performance seasons are regulated by events that are not particularly tied in to school terms.

So, out of a series of specific musical and technical tasks for the evening arose a bigger task of connecting back with the Red Rosettes as they are at peak performance, to put this slow season behind them for their convention preparation.