After teaching songs to a group of singers, I often get feedback that it was hard to concentrate because so many people were talking.
It always surprises me, since I don’t usually notice. So what’s going on here?
After teaching songs to a group of singers, I often get feedback that it was hard to concentrate because so many people were talking.
It always surprises me, since I don’t usually notice. So what’s going on here?
Sometimes I come across a beautiful song and start searching online for a choral arrangement.
All too often, though, what I find is weighed down with so many bells and whistles that the original melody—the very thing that drew me to the song in the first place—ends up buried under the layers.
The thing about creative inspiration is that you can’t conjure it at will.
It pops up when you least expect it. Rather than tackling lack of inspiration head on, simply wait and something will appear, often right in front of you.
Over the years, countless singers have told me how much choir has supported their mental wellbeing.
There’s no doubt: singing together has real therapeutic benefits. But we need to be clear — it isn’t the same as therapy.
For thousands of years, cultures across the globe have passed songs on orally to the next generation. This requires much repetition as well as active listening.
However, this is no longer a dominant part of many cultures today. What is the best way to learn a song by ear?
Silence is not just the absence of sound.

When singing as a group, there are several kinds of silence, each with its own quality.
Inevitably, some singers will wait around doing nothing while the choir leader focuses on one of the other harmony parts.
Whether you teach by ear (as I do) or use sheet music, this will happen. However, there are ways of minimising this waiting time.
We all spend a lot of time crafting and honing the publicity blurb for our choirs and singing workshops.
But are we sure we have explained exactly what singers can expect when they attend?
I tend to teach songs quickly (see How many songs can you teach in an hour?). I can easily get through 6-8 songs in a one-day workshop.
A singer recently said to me that quality might be better than quantity. Yes, she’d learnt a lot of different songs, but didn’t feel that she’d really nailed any of them.
It’s very easy for singers to stay in the same voice part in choir, even though it may not be the best place for them.
Lovemusic Community Choir by Patrick_Down is licensed under CC BY-NC 2.0.
Rather than assume you can’t sing that high (or low), why not put it to the test? You might be surprised.
Sometimes I don’t know what I’m doing. There, I’ve admitted it.
We usually keep quiet when we’re unsure, but I believe it’s much better to own up in public. Here’s why.
This is one of a series of summary posts around a specific topic, bringing together five relevant posts from the past.
This summary is all about vocal range: how it’s relevant to being in a choir and how you might go about finding where you fit. I’ve already referred to five older posts in the first part of this series.
One of the many reasons why people say that they can’t sing is that it takes them ages to learn a song.
But that’s OK. Even professionals take time to get a song under their belt.
Last week I wrote about song leaders and singers in rehearsal and at workshops feeling that they’ve made a big mistake. Yet nobody noticed: Think it's all going wrong? Spoiler: nobody's noticing!
This week I want to consider live performance, both from the perspective of choir leaders and singers.
We’re all very good at sabotaging ourselves. You know the kind of thing: “I can’t do that” or “That was a disaster.”
However, there are some simple and powerful phrases that can help us overcome these self-doubts.
I led a Beatles a cappella singing day last week. As usual, it attracted people who love to sing pop songs.
Everyone enjoyed it, but many pointed out afterwards how hard it had been to learn the songs.