Coaching

A reasonably common problem among amateur choirs is the tendency to ‘just sing the notes and words’ – that is, to sing the music in a choppy, mechanical way. We often deal with this through vocal means, introducing a more continuous vocal support to underpin a more legato approach to phrasing.

But I think this is also a musical issue; it is also about how people are thinking about what they sing.

Back in October, Tom Metzger published this post on Owning the Stage about the Inner Game of Music – or at least, about the first part of the book. Inner Game principles have long been near to my heart. I used them as an undergraduate to help conquer a serious performance confidence problem (at its worst I used to get nervous even *practising* anything more expressive than scales), and have built a lot of my teaching, coaching and rehearsal practices on them since.

So, I thought I’d respond to some of Tom’s points, because, while I think his critique makes some useful points, I think he’s also being somewhat hard on the book.

On Wednesday I visited the newly-renamed Harmony InSpires chorus near Oxford for a coaching session. They are one of the many success stories of barbershop choruses transforming themselves through running Learn to Sing courses, having more than doubled their numbers since the start of the autumn. If they get many more members they’re going to need to find a bigger hall to rehearse in!

One thing I found fascinating, though, was that coming in as an outsider, I really couldn’t tell easily who were the new members and who had been singing with them for years unless someone told me explicitly one way or the other. Just observing the body language as they sang and the social interactions, there was an incredible sense of consistency and of belonging to the same social and musical world, even though more than half had only joined in the last few weeks.

So I have several hypotheses as to why this might be the case: