At a choral concert there is usually someone standing in front of the singers waving their arms about.
But what are they actually doing, and is there really any need for them to be there?
The role of a choir conductor in rehearsal and performance
It’s usually evident when a conductor is new at the job. They will simply be beating time, with both arms moving in unison.
With a bit more experience, choir leaders realise that duplicating the same movement with both arms is redundant. One arm can signal one thing, whilst the other indicates something different.
But what are these movements actually for?
At first, choir leaders assume their job is to help the choir keep time. They move their arms to show the speed they want. But a metronome can do that.
Once you’ve counted a choir in, there’s no real need to keep beating time. A well-rehearsed group will hold a steady tempo together without speeding up.
The key phrase here is “well-rehearsed”.
Rehearsal is where tempo and dynamics are agreed and embodied. By the time you reach performance, that work should already be done. There should be no need to indicate entries, dynamics, or pulse. The choir already knows.
During rehearsal, of course, that’s different. When a piece is new, the choir leader helps shape it: beating time, cueing entries, indicating dynamics. But those are rehearsal tools, not performance necessities.
If a choir is under-rehearsed or lacking confidence, some indication of dynamics might still help. But even then, constant time-beating isn’t needed.
When does a choir conductor become unnecessary?
A well-rehearsed choir, though, may not need the conductor to do anything at all.
Here’s a great example from Leonard Bernstein:
Notice how little he does — and how much happens anyway.
When the rehearsal has done its job, the conductor can finally step aside and simply act as witness.
See also Does your choir really need a conductor (and if so, how many)? and Choir leaders, are you doing too much for your singers?
Chris Rowbury
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