Often, when leading a singing workshop, singers will start putting chairs out or standing in a circle.
It’s maybe not the way I’d planned, but I’ll usually go with it. It turns out my singers are often more capable than they realise.
Often, when leading a singing workshop, singers will start putting chairs out or standing in a circle.
It’s maybe not the way I’d planned, but I’ll usually go with it. It turns out my singers are often more capable than they realise.
In his book Outliers, Malcolm Gladwell refers to the “10,000 hour rule”, claiming that the key to achieving expertise in any skill is to practise for around 10,000 hours.
I reckon I’ve done my 10,000 hours over the last 30 years of teaching songs and leading choirs. Yet I still can’t pull it out of the hat without preparation.
I know you can’t please everyone, but when I plan a singing workshop I try to make sure I won’t be teaching anything that any of the singers already know.
An impossible task, but I have a low boredom threshold and feel I need to keep singers interested.
When teaching new songs, especially those with foreign lyrics, I often end up teaching using only the words of the first verse.
But when it comes to the other verses, things get a bit wobbly! Why is that, and what can we do to stop it?
I’m amazed at the number of singers who miss the starting note of a song, but then carry on regardless.
You have several options if you miss the start note, but one of them definitely isn’t: “sing anyway”!
Twenty years ago, Warwick Folk Festival asked me to create a community choir as part of its education outreach programme.
I was reluctant to use the word “choir” because I thought it might put some people off. So I used a thesaurus and came up with “Singing Safari”. This is the story of that project.
When you’re leading a one-off singing workshop, or have large influx of new members to your choir, there will be lots of people who don’t know each other.
Here are a few simple ways to mix people up so there’s less chance of things becoming cliquey.