As the year draws to a close, many people start to think ahead and make plans for the new year ahead. They might look back on their achievements this year, but the focus is usually forward.
But instead of reflecting on all those new things we want to have/achieve/create, what about those things that we’d like to leave behind?
Many choirs here in the UK have an ageing membership.
Not to put too fine a point on it, but if you don’t bring in new members regularly, your choir will eventually die out!
I’ve been writing this blog for 18 years, a total of 994 posts. It’s one of the few things that I’ve ever stuck at.
It can be hard to stick at something for long periods. Let’s look at how commitment, motivation and persistence interact.
Most of us take bookings for our choirs, concerts and workshops on a first come, first served basis.
But is that the fairest and most effective system? Let’s look in more detail.
Some of us are lucky and sell out our concert, or have to close our choir to new members.
It’s a nice problem to have, but I hate turning people away, so are there alternatives?
I’m not technical when it comes to singing and use lots of visual imagery in my teaching.
But does it help or can it be confusing?
We all like to think our choirs are friendly spaces where everyone is equally welcome.
But being in a choir can bring back all sorts of memories of our time at school. All the things we found difficult as children can come back to haunt us.
I don’t often get the chance to be a punter. But this week I went on a two-day voice and movement course and loved it.
It was great to be on the receiving end for a change, and I learnt a lot about what it’s like to be a singer in a group
Some people believe that singers can either hit the right note or they can't. That's why many choirs audition before you can join.
But like any physical skill — playing the violin or scoring goals, for example — it's something that can be learnt.
I’ve written in the past about how to get choir members to volunteer for supporting roles.
But what I didn’t mention was what kind of roles they might fulfil. Here are some ideas.
When talking about choir rehearsals or singing workshops, the emphasis is always on the musical skills involved: teaching, conducting, vocal training, etc.
But if you don’t get the basic practical elements right, then the singing event won’t work.
Last week I wrote about Why a warm up shouldn’t be just vocal exercises.
This week I’m going to revisit five old posts which look at warm ups in more detail. This is one of a series of summary posts around a specific topic, bringing together five relevant posts from the past.
Many of us choir leaders are constantly on the look-out for new warm up ideas.
Whenever I look on the internet, I always come across sheet music for vocalises. But these are only a small part of what a warm up should be.
It always surprises me when singers sing so loudly that they can’t hear the rest of the choir.
It’s hearing the other harmony parts that keeps you on the straight and narrow, and it’s where the singing pleasure lies.
I came across a choir doing an outdoor performance recently.
They were really good, but were let down by the balance between backing tracks and the voices.
This is one of a series of summary posts around a specific topic, bringing together five relevant posts from the past.
This summary is about the challenges and opportunities of getting back to choir after the long summer break.
There is a big difference between succeeding at all costs and not bothering to make an effort. Neither brings true satisfaction.
The secret is to pitch somewhere in between: to take the work seriously, but to not lose sight of how relatively unimportant it is compared with what else is going on in the world.
I regularly come across social media posts promoting events, but it’s not clear where or when they’re taking place. Or sometimes even what the event is!
People think just bunging an image of their poster on Instagram will persuade loads of people to turn up to their event. But it’s not that easy. Here’s why.
Some choirs (believe it or not) are already researching new songs for their
Christmas concert repertoire in August. Some even begin rehearsing their
Christmas concert in the summer!
If you feel like you’re on an endless concert roller coaster and want to get off, here are some thoughts that may help.
Has your choir been asked to perform at an event for free? Or maybe you’ve been asked to run a singing workshop for a big corporation for ‘exposure’.
It’s easy for people to imagine that there are no costs involved in doing a bit of singing, but that’s far from the truth.
I had an interesting query from someone recently. In their choir, the tenor men sang the soprano part (an octave lower) and the soprano women sang the tenor part (an octave higher).
They asked me if there was any rule in choral music about which gender sang which part.
I used to create a choir from scratch over six rehearsals – all strangers, no auditions. We would then present a concert of the songs we’d learnt. I was always amazed at how good we sounded.
One day one of the participants explained: “There’s no way we’re going to be perfect with so few rehearsals, so we let go of that possibility.”
It seems obvious to me, but I’ve known choirs, singing workshops and singing groups who don’t always work in a safe space.
But how else will you get the best out of singers? Here’s why a safe, supported space is important.
Recently I led a local singing day open to everyone and, as always, we ended up making a great sound.
But talking to people in the breaks, many of those who came claimed that they couldn’t really sing. What’s going on here?
I used a new space for a singing workshop recently and realised (too late) that I’d forgotten a few practical things.
I thought I’d list some of them here to you can avoid the same mistake.
No matter how engaged your singers are, there will come a time in any rehearsal or workshop when the energy is low.
Time to energise your singers! But how can you do that?
I saw an interview with George Clooney the other day and he pointed out that “You learn nothing from success. You learn everything from failure.”
Fear of failing is what holds people back. Yet failure is how we grow and learn.
No matter how well-prepared we are, there’s always a chance we’ll forget something.
That’s why it’s important to always remember to bring a spare.
Many people would love to sing, but something is holding them back.
Here are five common obstacles that can easily be overcome.
I wrote recently about Why your throat might be sore after singing. One of the reasons can be overuse. You’re just doing too much.
But how can you spot when you’re in danger of doing too much so you can stop in time? Here are three ideas that might help.
I ran a singing day in London recently. I had booked the venue nearly a year in advance. The day went brilliantly with a full house of singers.
What I hadn’t reckoned on was that West Ham had a home game that day so my journey back to Suffolk was a complete nightmare! What can you do to avoid things like that?
I’ve caught some bug from all my recent travels and workshops. I have a sore throat amongst other things.
But I have a whole weekend of singing to prepare for and need to sing through the arrangements. What can I do?
I was singing along with my electric shaver the other day – as you do.
I realised that it was a great way to explore harmonising in the privacy of your own home.
I ran a full day of singing last Saturday. At the end, a few people came up to say that their throats hurt.
Let’s look at why this might be and how you might avoid it.
Many of the queries I get sent concern ‘toxic’ choir members. People who disrupt things and spoil it for others.
I thought I’d look a bit deeper into what’s going on and consider what you can do.
I’ve now outlined all three steps to becoming a singer: 1: sing, 2: join a choir and 3: be self-aware.
Now here is a bonus fourth step: relevant posts from the archives.
People often ask how they can become a singer.
Here are three simple steps to follow. Results guaranteed.
People often write to me asking me why it takes them ages to learn a song.
They think it might be due to age, dyslexia, or all manner of other ‘problems’. But it’s probably simpler than that.
My partner is always sending me videos with ideas for singing warm ups, usually involving complex clapping or stepping.
I tell her that they will be too difficult for the singers I work with. But am I being too safe and under-estimating the singers’ abilities?
Sometimes an individual choir member needs to be told that they’re getting it wrong.
In our attempt to not be unkind, we can sometimes end up being too nice, which is not helpful.
There is something special about a group of people singing together.
And it’s not just about sense of community and the health benefits. It really is a unique activity.
We went to the theatre the other day and we were the only people in the audience wearing masks.
But in all other ways, we were exactly the same as any other audience member. The same, but different.
Lots of people often tell me a similar story: someone they know is planning to go professional, but they can’t sing in tune.
Should they be told, or be allowed to make a fool of themselves in public?
Not all songs are appropriate to sing in all circumstances.
But how do we know when a song is ‘inappropriate’? Here are some guidelines.
I’m always looking for new ideas for the warm up start of my singing sessions.
But constant novelty is not necessarily a good thing. It can often lead to overlooking old, familiar, tried and tested exercises.
I wrote an earlier post about different choir payment systems: Pay as you go or regular fee upfront – what is the best system for singers in your choir?
What if you want to change from one system to another? How can you make it as pain-free and simple as possible?
It was blue Monday this week: apparently the most depressing day of the year here in the UK.
The short days, bad weather, cold nights, all conspire to rob us of our motivation. Here’s an idea that might help.
