We’ve all been there: a big concert is coming up, but the singers just aren’t ready.
What can you do?
We’ve all been there: a big concert is coming up, but the singers just aren’t ready.
What can you do?
When people ask me how much I charge to lead a singing workshop they are often surprised by how high my fee is.
It works out as an enormous hourly rate. Here’s why it’s not as expensive as it seems.
I was honoured to be invited for a video interview/chat recently with New Zealand singer, musician and composer Tony Backhouse.
One of the things we discussed was how we like music to be honest, gutsy, muscular and authentic. But how to describe exactly what we mean?
No matter how flexible and self-aware we think we are, inevitably we all end up becoming a bit set in our ways.
This can particularly apply to any choir or singing group who’ve been together for a long time. What happens when a new leader comes along and tries to change this?
I don’t know about you, but when I get home late after a singing rehearsal I find it hard to sleep.
I don’t feel particularly over-excited, but something inside me must be! What can we do about this?
Often, when I’m teaching a song, a man might ask to sing the tune, or a woman might ask to sing the bass.
I usually say no, as I don’t like mixing men’s and women’s voices in the same part. Why is that?
You don’t have to be the best, or famous, or sing to a professional standard.
Singing is reward enough in itself.
In a recent blog post, Robert Sussuma urges singers to “stop warming up, doing exercises, and practising.”
He is being a little provocative, but it has prompted me to reflect on whether singers need to warm up or not before singing.
As a member of the Natural Voice Network (NVN), I share a belief that our voices are rooted in our bodies.
But it’s not just the NVN, most professional singers believe this too.
We live in a fast, short-attention span world. People expect instant gratification.
But becoming competent at something takes time.
We all strive for perfection in our singing. At the same time, we realise that being 100% perfect is impossible.
By aiming for perfection we can become blind to our achievements and how good we actually are.
I often record the songs I teach in workshops and the concerts that my groups do.
But when I listen back a few days later, I’m often disappointed. Why is that?
Many people feel that they need permission before they can sing.
Somebody needs to tell them it’s OK before they can even open their mouths. What’s going on here?
Sometimes when we’re learning a new song, a singer might ask a question because they’re having difficulty.
I will then offer what I believe to be a helpful explanation. But sometimes this won’t help every singer.
Many choir leaders over-conduct in concerts.
But if you’ve done the work in rehearsal, you should hardly need to conduct at all.
Most singers starting out are terrified of getting it ‘wrong’. They hold back in all sorts of ways and approach singing hesitantly.
But if you’re not ‘failing’ and getting it ‘wrong’, then you’ll never progress.
When you have a salaried job and get sick, you can usually claim sick pay for a day off.
But if you’re running a choir and are self-employed, what happens then? Do your singers still need to pay?
I thought I’d share a few vocal exercises that I use to help singers tune in to a cappella harmony.
I often integrate these into the warm up sessions to get people listening more closely before we move on to learning harmony songs.