Many choirs use instruments or backing tracks to accompany their singing.
But I believe that you should always programme at least one a cappella song in every concert. Here’s why.
Many choirs use instruments or backing tracks to accompany their singing.
But I believe that you should always programme at least one a cappella song in every concert. Here’s why.
It’s the day after Christmas Day and, however well or badly it went, there can be a sense of a let-down.
After any big event like Christmas or an important choir concert, there needs to be a transition back to ‘normal’. This is not always easy! Here are some ideas of how to deal with the come down.
Rehearsals can become somewhat fraught when a concert is coming up.
It’s easy to become fixated on the work and to lose sight of the bigger picture. It’s only a concert after all. Here’s how to keep a sense of perspective.
It’s that time of year when choirs get asked to sing at all manner of Christmas events.
Some of those will be outdoors. How best to deal with the challenges?
Many choirs are gearing up for their annual Christmas concert.
Do you repeat the same songs each year or add new ones to your repertoire? Let’s look at the pros and cons.
There are choir leaders who are disappointed that their singers aren’t doing enough homework in the run-up to a big concert.
There are singers who try in vain to reach the high notes of the melody and who constantly complain about the songs in their choir’s repertoire. But this is what is on offer and fighting against it will always lead to unhappiness.
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?