choir director conduct course

8/19/2019 Choir Director Conduct Course

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GUIDELINES FOR CHOIR DIRECTORS

This document provides conducting guidelines and skills for choir directors. It includes

information on

(1) Introduction A. History of Music

B. The Objective of a hoir

. !our calling as a Music Minister

(2) Advanced Conducting Techniques

A. "kills for onducting a hoir

B. The #reparatory Beat

. $acial %&pression' Body %&pression' and %ye ontact

(. )se of the *Tempo+ or *Base+ Arm

%. )sing the *%&pression+ Arm

$. horal onducting Techni,ues

(3) Choosing The Right Music

A. (ivine "ervice "etting

B. Other Occasions

. Music That Is -ight for The hoir

(4) Teaching Music to a Choir and Holding Eective Rehearsals

A. #repare !ourself

B. uidelines $or a Healthy -ehearsal

. Teaching methods

(!) "rinci#les o $ood %inging

A. #osture

B. Breathing

. Tone /uality

(. Blend and Balance

%. (iction

(&) $iving %uccessul "eror'ances

A. uidelines for successful performances0

B. Ingredients of a "uccessful hoir

This is a guideline and not a complete teaching on choir directing. It is not intended to create any

conflict 1ith any Minister nor does any topic covered take precedence over the guidance and


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teachings of the 2ord 3esus hrist' the activities of the Holy "pirit' or the local teachings or

guidelines 1ithin your local church or congregation. #lease feel free to contact me at if you have

any thoughts' ideas' suggestions' or concerns. 4Allhoral5orks6gmail.com7

Humbly

5ade #helps

(1) IntroductionA Histor o Music

%&cerpts from the bible

8. I 1ill be glad and rejoice in thee0 I 1ill sing praise to thy name' O thou most High. #salm 90:

:. Be thou e&alted' 2ord' in thine o1n strength0 so 1ill 1e sing and praise thy po1er. #salm

:808;;

;. The 2ord is my strength and my shield< my heart trusted in him' and I am helped0 therefore my

heart greatly rejoiced< and 1ith my song 1ill I praise him. #salm :=0>

?. #raise the 2ord 1ith harp0 sing unto him 1ith the psaltery and an instrument of ten strings.

"ing unto him a ne1 song< play skillfully 1ith a loud noise. #salm ;;0:@; The harp and Ten

strings refer to the common instruments use to praise od in the temple.

. %&odus 808 Then Moses and the people of Israel sang this song to the 2ord' saying' *I 1ill

sing to the 2ord' for he has triumphed gloriously+ :nd verse The 2ord is my strength and my

song' and he has become my salvation< this is my od' and I 1ill praise him' my fatherCs od'

and I 1ill e&alt him.

D. E2et the 1ord of hrist d1ell in you richly in all 1isdom0 teaching and admonishing one

another in psalms and hymns and spiritual songs' singing 1ith grace in your hearts to the 2ordE

4ol. ;0 8D' see also Acts 8D0 :' I or. 8?0 8' and Heb. 8;0 87.

>. E"peaking to yourselves in psalms and hymns and spiritual songs' singing and making melodyin your heart to the 2ordE 4%ph. 0 897.

History during the time of Martin 2uther 4pre@reformation70

8. In the time leading up to the reformation' Harmony 4polyphony7 1as considered a sin by the

hurch and "atanFs music. 2uther over time 1rote over ;G harmonious songs of his o1n and


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translated hundreds more into different languages

:. *Music is more than a human invention. It is one of the greatest gifts of od' an essential part

of your o1n personal piety and of a healthy church program.+

;. *The congregational song both symbolied and realied the principle of direct access of the

believer to the $ather' and thus e&emplified in itself alone the 1hole spirit of the 1orship of the

ne1 hurch.E. 4also used *Intimate connection 1ith the $ather+ in another paper he 1rote7

?. 5hen confronted 1ith all the ne1 *Harmonious+ music that 1as considered "inful and evil he

stated *5hy "hould the (evil have all the good music+

.E5hoever does not 1ant to sing and speak of it sho1s that he does not believe itE

* The +,-ective o a Choir.

In The (ivine "ervice

8. To remain in tune 1ith 1hat the Holy "pirit brings forth throughout the divine service

:.To be the Mouthpiece of the congregation. This includes the love' joy' hope' sorro1' faith' etc

that the congregation brings to the alter. This is done through prayer and preparation from the

choir director and organist

;. To *admonish+ the members and bring a closer connection bet1een them and their od.

Assist in the completion of odFs plan of "alvation

8. Music touches the soul and in many cases can bring a soul to odFs plan of salvation

:. Music can calm the soul in order to create a more intimate connection 1ith od

;. Music can sometimes e&press 1hat 1ords or prayer cannot.

The -eturn of the 2ord @ The hoir needs to continuously bring out a constant desire for the

return of the 2ord. This can be done by completing each service 1ith joyful hymns that speaks of

our future

The "tance of our church0

8. ( Ap. Jolb 1ish is that music 1ill inspire and motivate souls in the house of od. %&ample'

all the ne1 music programs and initiatives 4reference Kov :GG= Our $amily7


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:. ( Ap. Barnes0 *Music is the %cho of odFs 1ord. As hildren of od' 1e should sing 1ith

3oy and Leal

;. : years ago' a survey 1as completed. The one ,uestion 1as0 5hat 1ould you 1ant to see 1ith

the choir "ome comments 1ere0

A. I 1ant to be uplifted and inspired.

B. I donFt 1ant to feel like I am coming to a funeral service.

. Music breaks do1n my 1all of defense so that I can focus on 1hat od has to tell me.

?. 2ook at the successful congregations in the )"A' look at their music programs and initiatives.

Is there a *successful+ congregation in this country that does not have a healthy and gro1ing

music program4s7

C /our calling as a Music Minister

(efinition of *calling+ @ An inner urge or a strong impulse' especially one believed to be divinely

inspired to accept the ospels as truth and 3esus as oneCs personal savior

(efinition of *Minister+ @ A. Attend to the 1ants and needs of others and B. %&ert oneself by

doing mental or physical 1ork for a purpose or out of necessity

Anyone can learn music or 1ave their arms. As children of od' 1e are asked to accept the

*"trong inner urge+ to *Attend to the 4spiritual7 needs of 4all of odFs hildren7+ 5ithin this

urge must carry 1ith it the a1esome responsibility and the passion entrusted to us to e&cel in our

part to complete odFs plan of "alvation.

(2) Advanced conductin tec!ni"ue#

A %0ills or Conducting a Choir

5hether you conduct a congregation or a choir' your basic duties are the same0 keep the singers

singing together and help them interpret the music. A choir should sing 1ith greater artistic

refinement than a congregation' though' so you must use conducting skills beyond those needed

to direct a congregation.

The skills you need to successfully conduct a choir are0

8. %ffective preparatory beats.

:. Meaningful facial e&pressions.

;. onducting 1ith the left arm.


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)sing these skills' you can conduct a variety of tempos' dynamics' and musical styles. The choir

can respond to your signals by singing 1ith added feeling' making the music come alive for the

listeners.

* The "re#arator *eat

The preparatory beat and the moments just before it are 1hen you get the music off to a

successful start. As you take your place in front of the choir and raise your arms to conduct'

make sure every member of the choir and the accompanist are ready to begin. In this brief

moment' feel the rhythm and mood of the music. $eel the beat in proper tempo or count

a measure of beats to yourself. In this moment' an insecure feeling or facial e&pression can lose

the trust of all those singing. Be confident in your calling and do not be afraid to lead the hoir.

(o not be fooled' the hoirongregation picks up on insecurityfear. (o not dra1 confidence in

yourself' but dra1 confidence in od and that 1hat you are doing is a ministry of serving him.

5hen all is ready' conduct the preparatory beat. 2et this beat reflect your intentions for tempo'

dynamics' and emotion. If the music is slo1 and solemn' the preparatory beat should be slo1 and

give a feeling of solemnity. If the music is joyful or bold' the preparatory beat should sho1 these

moods. The choir can then respond from the very first note' singing 1ith the musical e&pression

you desire.

C acial E#ression *od E#ression and Ee Contact

$acial e&pression' body e&pression and eye contact are some of your most important tools. )se

them constantly. To do this' you must kno1 the music 1ell enough to look a1ay from it much of

the time. )se your eyes' body' and face to tell the choir 1hat e&pression you 1ant them to put in

the music. Before the music begins' give an alert and encouraging look. )se your shoulders to

help start and stop the choir. 5hen the music ends' sho1 an e&pression of appreciation and

approval.

5se o the 6Te'#o7 or 6*ase7 Ar'

The job of the *Tempo+ or *Base+ arm 4generally the -ight Hand7 is to be a constant source of

timing and stability for the choir. It is 1ise to kno1 some music theory here and choir directing basics so that as time goes on you may kno1 more and more ho1 to lead the choir. The basic job

of the *Tempo+ or *Base+ arm is to set the pulse of the song. (irecting an up and do1n *: beat+

motion is ok as long as the choir kno1s and feels the tempo of the song. The first beat of every

measure or phrase must al1ays come back to the same spot every time. $or e&ample' if the 8st

beat of the song is a do1n beat that stops near your naval' every subse,uent do1n beat or

beginning beat must also stop there as 1ell. This $oundation is the key in 1hich all of your


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directing 1ill come from. 2isten to a lot of music to see 1here the *pulse+ or do1n beat of the

song is.

E 5sing the 6E#ression7 Ar'

The *%&pression+ Arm 4generally the 2eft hand7 is very important tools in conducting a choir.

Here are some 1ays to use them0

8. )se both arms to give the preparatory beat and do1nbeat. ontinue conducting 1ith both arms

for a full measure or more' letting your e&pression arm mirror your right. Then drop your

e&pression arm to your side.

:. )se both arms for cutoffs and for mirroring the beat pattern for emphasis 4especially 1hen

slo1ing or ,uickening the beat7.

;. )se your e&pression arm and hand to clarify the style' mood' or phrasing.

?. "ometimes one or more vocal parts do something different than 1hat the rest of the choir is

doing. )se your e&pression arm to signal instructions to the choir 1hile your Base arm conducts

the beat.

)sing your e&pression arm and hand can improve your communication 1ith the choir. Too much

use of the e&pression arm 1ill limit your control of the choir. The e&pression arm is an effective

tool but donFt overuse it. 5hen you only need to conduct the beat' use your Base arm' letting

your e&pression arm rest at your side.

If you are conducting a large choir' a baton helps singers see 1hat you are doing and stay

together. But a baton cannot e&press 1hat the hand can in interpreting the music and is not as

useful 1ith smaller groups.

Choral Conducting Techniques

%&pression onducting Techni,ue

2oud 4forte or f7 )se a large beat pattern' holding arms "olemn' reverent' or

)se a smooth' rounded beat pattern 1ith a1ay from the body.

Hold the e&pression palm legato soft bounces on the beat up'

or let the e&pression arm mirror the beat pattern for emphasis.

"oft 4 piano or p7 )se a small beat pattern' 1ith arms close to the body. Hold

e&pression palm do1n.


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$ast 4allegro7 )se a ,uick beat pattern' 1ith sharp motions and crisp bounces

on the beats.

"lo1 4andante7 )se a slo1 beat pattern' 1ith graceful motions and soft

bounces on the beats.

etting louder

4crescendo or cresc.7

)se a beat pattern increasing in sie. Hold the e&pression palm

up and push it up1ard' moving the arms a1ay from the body.

etting softer

4diminuendo or dim.7

)se a beat pattern decreasing in sie. Hold the e&pression palm

do1n and push it

do1n1ard' moving the arms closer to the body.

"peeding up

4accelerando or accel.7

Make the beat pattern faster' 1ith motions becoming more

crisp and the beat more pronounced.

"lo1ing do1n4ritardando or rit.7

Make the beat pattern slo1er' 1ith motions becoming moregraceful and the beat less pronounced.

"olemn' reverent' or legato )se a smooth' rounded beat pattern 1ith soft bounces on the

beat.

Bright' joyful' or staccato )se an animated' angular beat pattern' 1ith sharp bounces on

the beat.

One vocal line is more

important than the others

)se the e&pression hand to signal palm up to the important

vocal group' palm do1n to the other groups.

One part of the choir sings

1hile the other is silent

$ace the group that is to sing.

The silent part of the choir

joins the singing part

$irst look at the singers 1ho are to begin singing< then do a

preparatory beat 1ith your e&pression hand and bring them in.

Mirror the beat pattern 1ith your e&pression hand for a

measure or more.

#art of the choir sustains a

note 1hile the other part

sings other notes

Hold your e&pression hand' palm up' in the direction of the

group that is sustaining. ontinue the beat pattern 1ith your

Base hand.

($) C!oo#in t!e Ri!t %u#ic


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hoosing the right music means choosing music that is right for the occasion and right for the

choir.

A ivine %ervice %etting

Most choir performances 1ill be in a (ivine "ervice "etting' but there 1ill also be other

occasions 1hen a choir might be asked to perform and 1ould need to sing music appropriate for

the setting. The music should enhance the theme of the service as set by the Bible Te&t from the

(ivine "ervice uide. Music should be a balance of modern and classic music tailored to the

spiritual needs of all of the members in the congregation' not just one group. Try to balance the

music that both the young and old could enjoy. Ask yourself these ,uestions in the selection of

music.

8. Am I promoting joy and health in the congregation

:. Am I utiliing all the talents in the congregation

;. Ho1 many people are listening to the choir at the time the hoir starts to sing

?. Am I fostering gro1th

. ould the hoir double its o1n sie in a short period of time

D. ould the choir create an atmosphere 1here the ongregation could double

>. Am I fulfilling my Ministry and promoting "piritual gro1th 1ithin each and every

member

=. (o I ask the members if the music is fitting to their spiritual needs

* +ther +ccasions

A choir might also be asked to sing for other activities' and community events. onsidering the

season' theme' or purpose of the meeting or event 1ill help you choose the best music.

#ay close attention to future activities and community events. It can give a choir an opportunity

to perform popular selections or try out ne1 material that may be of a different style.

C Music That Is Right or The Choir

onsider the follo1ing 1hen choosing music for the choir.

$or a small choir 4eight to t1elve voices7 or for a childrenFs choir' music 1ritten in unison or in

t1o parts may be best. $or larger choirs' choose unison' t1o@' three@' four@' multi@part music. If

your choir is small' avoid music that needs a big' full sound to be effective. (onFt use the

Mormon Tabernacle hoir or the 2ondon "ymphony hoir as your guide for choosing music.

$or "maller hoirs' you can enhance the performance by0


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8. Occasionally having a group of children or youth sing 1ith them. This also promotes

gro1th.

:. Add varied accompaniments to the music.

;. )se music that is re@1ritten to the strength of your choir. "ing in )nison or : parts.

Other hymns are better in a t1o@part combination using the soprano and alto parts.

5omen or men might sing both parts' or men might sing melody and 1omen sing

alto. If you have only females or males in your choir' obtain music that is 1ritten

for a :@' ;@' or ?@part 5omenFsMenFs choir.

?. Ability of the "ingers@ consider the ability of the singers in your choir. Avoid music

1ith notes that are too high or lo1 for them to sing comfortably.

. Noice Mi& onsider the number of singers you have for each vocal part. If you have a

small number of men' you 1ill 1eaken their sound by dividing them into bass and tenor

sections. It may be better to choose or arrange music that unites the menFs voices into

one part' usually the bass part.D. Nariety@ choose music that brings variety to a choirFs rehearsals and performances.

"olemn hymns' joyful praise' music for special occasions' seasonal music'

patriotic tunes' and inspirational songs all have a place in a choirFs repertoire.

hoose music not only that you like but that the choirmembers likes< choir members

1ill be faithful and enthusiastic if they enjoy 1hat they are singing.

>. Have a ,uartet 4a singer from each section or all men or all 1omen7 sing a verse.

=. Have the congregation join in singing the last verse of the hymn.

9. Have a violin or flute play a verse alone' 1ith the choir humming' or play a descant

1hile the choir sings.

8G. Nary the dynamics' singing one verse louder or softer than the others.88. Nary the tempo by singing a verse slightly faster or slo1er than the others.

8:. )se a specially prepared piano or organ accompaniment as the singers sing the

melody in unison.

8;. "ing a verse 4usually the last7 in a different key' moving up a half or a 1hole step.

8?. ombine these suggestions. $or e&ample' have the choir sing verse one in unison and

verse t1o in "ATB< in verse three have the sopranos sing the first phrase' altos join for

the second' tenors for the third' and basses for the last< have a soloist sing verse four<

and have "ATB again in verse five.

8. Any variance or combination that is

A. Inspired by the Holy "pirit

B. $itting in your congregation

. #roper timing fitting for the time

(&) Teac!in 'u#ic to a c!oir and !odin eective

re!ear#a#


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A "re#are /oursel

Before the rehearsal you should prepare yourself' plan the rehearsal' and prepare the rehearsal

place. 3ust as a public speaker spends ; times the amount of time in preparation than in actual

speaking' or an athlete 1ho spends more time 1orking out than playing the game' you too must

spend more time in preparation than standing in front of the choir.

To prepare yourself' you need to

8. "tudy the music thoroughly. (ecide ho1 to interpret the music and make pencil markings to

help you teach and direct it. !ou need to learn the music 1ell enough so you can

look up as you conduct. Many professional directors memorie the music and rarely looks

at the music itself' only the pencil notes heshe took.

:. -ead the te&t aloud to understand its message and its mood. Ask yourself 1hat the original

composer 1as thinking or feeling 1hen he 1rote the music.

;. o through the music' noting the time signature' the tempo markings 4ho1 fast or slo17' the

dynamic markings 4ho1 loud or soft7' and any other e&pression marks. !ou may 1ant to circle or

underline changes or difficult parts in advance in order to make the practice more productive.

?. o through the music again' saying the 1ords in rhythm as you conduct or tap a steady beat.

Identify the pulse of the song and tap for hand of foot to it.

. 2earn the melody line and sing it 1hile you are practicing conducting' follo1ing the tempo

and dynamics indicated on the music. ome to a feeling of the style and mood of the music.

D. Become familiar 1ith each of the vocal parts' circling any notes or rhythms that may be

difficult. (ifficult passages 1ill need special attention during rehearsals. "tart the practice of the

song on the hardest part first' not spending too much time on it but to introduce it to avoid

difficulties later.

>. $ind places in the music 1here one vocal line begins or ends independently of the other lines

or 1here one line becomes more important than the others. Mark these places in the music so

you can signal the singers at the appropriate time.

=. #ractice conducting the music from beginning to end' using good techni,ue and e&pressive

gestures. #icture the choir in front of you' visualiing 1here each section of singers 1ill be

seated. #ractice facing or gesturing in the direction of the section that 1ill need cues from you.

onducting in front of a mirror may help improve your skills.


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9. Meet 1ith the accompanist before the rehearsal to discuss your interpretation of the music and

practice conducting 1ith the accompaniment.

8G. Jno1 ho1 you are going to communicate 1ith your choir. (onFt *1ing it+ 1hen you stand

in front of your choir. This sho1s a lack of respect to your choir and you 1ill lose respect and

control. If the choir kno1s 1hat direction you are going in' and they feel like you are not making

it up as you go along' greater things can be accomplished. A more joyful environment 1ill be

established in rehearsalperformance

88. #lan the -ehearsal @ To efficiently use your rehearsal time' you need to have a plan. 2ook at

the choirFs performance schedule and decide 1hich pieces the choir needs to rehearse. 2ist the

titles and page numbers of the pieces and ho1 much time you 1ill spend rehearsing each one.

Tell your accompanist 1hat you plan to do. "ometimes pieces 1ill need more time than you

planned for< be fle&ible enough to let rehearsals meet the needs of the choir.

8:. #repare the -ehearsal place. 5ork 1ith your Ministers 1ell in advance to schedule the

rehearsal time and place. Make sure choir members kno1 about the rehearsal. Then be sure the

building 1ill be unlocked at the scheduled time. Arrange the seating so that every member of the

choir can see you and hear the piano or organ. )sually the sopranos are seated on your left as

you face the choir and are near the basses< altos are usually by the tenors. But any arrangement

that 1orks for your choir is fine. Arrive early to make arrangements' lay out the music' and greet

'e',ers as the arrive

* $uidelines or a Health Rehearsal

Kot only are rehearsals a time to prepare for performances' they also help choir members

develop the sense of unity and friendship so important for a successful choir. This can only be

accomplished if you create a positive environment for this to happen. 5hen the rehearsal is

positive and enjoyable' members attend faithfully. "ince nonmembers and less active members

may be invited to sing' choir rehearsals can be a time of fello1ship and learning. A choir fulfills

its purpose 1hen each member e&periences personal gro1th through singing in the choir. !ou

can help this happen through effective' enjoyable rehearsals. A good guideline is0

8. Opening prayer

:. Announcements

;. 5elcome ne1 members

?. A short 1arm@up period' using 1arm@up e&ercises or a familiar simple hymn'


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. More difficult parts in the difficult hymns. 4ne1 hymns7 (o not pound parts here. 3ust go over

it' to plant the seed for future rehearsal time. (o not go over parts. Have every member involved

by humming their part as another part sings aloud or all sing. If you go over parts' you have

already set a tone 1here the members have less enthusiasm and respect for you. )se the

callrepeat teaching method or sight@reading method

D. o over music learned from prior practices. This builds and maintains confidence in the choir

to sing songs they are semi familiar 1ith. A good (irector 1ill be able to plan far enough ahead

so that a hymn is practiced at least ; times before being added to your repertoire. $irst practice

the song completely as a run through. It is good to just go over the difficult parts of the song and

then come back to it at a later time. The ne&t time you practice' you 1ill notice that half of the

problems 1ill go a1ay 1ithout ever having to spend a significant amount of time on it.

>. Any additional pieces that are kno1n but could use one more run through before using it in a

concert' divine service.

=. $uture goals

9. #rayer

C Teaching 'ethods

Individual #arts The practice of going over one part at a time and then putting all the

parts together to form a hymn. This practice is the most common practice among amateur

choirs. Once the individual part is learned' the director 1ill then take : or more sections andhave them sing together to 1ork on harmoniation.

Advantage8 A thorough and 1ell kno1n 1ay of teaching music in harmony

isadvantage8 It fails to engage all choir members at all times. This concentration on one

section 1hile leaving the others alone to 1ait until it is their turn can create negativity'

conversation bet1een the members' or kill the enthusiasm of the choir. This practice can

create a lot of re@rehearsing parts since the same notes can sound different together as a choir

4complete chord7 than 1hen singing the individual part.

Advice 9 If you need to go over parts' have the individual section sing their part 1hile the

remaining choir hums along. This 1ill help 1ith keeping everyone active 1hile speeding up

the learning process. Another process is to divide the singers by vocal group 4soprano' alto'

tenor' bass7 for sectional rehearsals. "ectional rehearsals save time and keep the singers busy

learning their parts instead of 1aiting for their turn to rehearse. Although it is best to send

each group to a separate room' it may be more practical to divide the choir into t1o groups'

men and 1omen. Assign section leaders that can teach the music.

+utline the H'n A techni,ue 1here you go over the song verbally prior to singing any


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note. As you go over the song' you share the thoughts' ideas' te&t' phrasing' tonality' tempo'

and other goals you have already set for the piece of music.

Advantage8 Nery effective for those 1ho have a deep kno1ledge and skill for music.

isadvantage8 for less skilled choirs' this can hurt the enthusiasm or come across as

demeaning' demanding' or degrading to their skill level.

irecting , co''ittee A style of teaching 1here you assign different directors to teach

different songs.

Advantage8 Allo1s more involvement and builds on individual leadership skills. $osters an

*oneness+ type playing field among directors forcing additional communication.

isadvantage8 Nery hard to maintain a positive attitude or maintain control 1ith so much

transition. High ,uality practice time 1ill be lost in the transition. A lack of central

leadership 1ill open up to an environment of lack of trust from the choir members creating

the possibility of the choir member deciding to do *their o1n thing+

%ight:reading The practice of singing a hymn for the first time by strictly looking at the

music and either humming or singing their parts 1hile the organpiano plays.

Advantage8 $orces the choir to sharpen their music reading and harmony skills. This makes

it easier to learn music as time goes on. A ,uick 1ay of introducing ne1 music. Jeeps all

members involved in the learning process.

isadvantage8 an be disheartening to ne1 members or anyone 1ho does not kno1 ho1 to

read music. This techni,ue can be over@done. It should be used sparingly. It may create

discord bet1een more musically inclined members and those 1ho kno1 very little about

music.

Call;Re#eat teaching @ The director divides the song into sections or phrases. He sings the

phase to the choir and then has the choir repeat the line. The director gets a good flo1 going

by pointing to himself to sing the phrase and then pointing to the choir to repeat the phrase.

Advantage8 reat techni,ue to establish control and to learn the song. $astest 1ay possible

to learn for those 1ho do not kno1 ho1 to read music or a choir that gets scared 1hen

looking at ne1 music or a lot of complicated looking notes. reat 1ay to introduce a song.

isadvantage8 The director needs to be able to sing the tune as 1ell as project confident

singing and a joyful disposition in his voice. Kot as effective for an educated choir.

***These following teaching methods are highly recommended

to use in conjunction with the above methods

Interactive teaching The ability to get everyone involved in the process. Assign tasks to

members for future services and do not micro manage their progress or suggestions. Kothing

can hurt a choir member more than they trying to do the best they can only to find out it 1as


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not enough or that it 1as done the 1rong 1ay based on ho1 you perceived it to be.

5se o technolog )se Musiccompanion.org' practice (Fs' or other 1ebsites to make and

help 1ith the process. "end email reminders to the members. Al1ays keep your eyes open

to ne1 methodologies of getting 1hat you 1ant accomplished. 5atch videos of other

directors to pick up techni,ues that they use. $eel free to contact 2ocal leadership or myself

for any assistance you may need.

+rgani


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the results. The results belong to od.

*e Cautious =ith criticis';$enerous =ith #raise @ #rofessional speakers often say that

their job is 9G promotional and only 8G informative. As a minister of music' the numbers

may be a little different' but the majority of 1hat you do should be positive. #romote the

accomplishments and be very very very cautious to correct or criticie. If a correction is

needed' do it in a one on one conversation at a time 1here it is convenient for both. -ight

after a service or a choir practice is generally a poor time to speak 1ith this person one on

one. 5ait until a later moment 1hen there is not so much attention or the 1andering eye that

1onders 1hy you are meeting 1ith someone one on one. -ecognie their sacrifice of time

and make every effort to understand their point of vie1. !ou must realie that they are

called by od to serve him and that you should not do anything to jeopardie that' promote

it instead.

>ater >ater >ater 9 The vocal chords can perform better and 1ith a greater range if

properly hydrated. %ncourage the members to bring 1ater bottles. !ou 1ill notice an

increase in range' tone and volume control.

Create ?isual Eects 9 )se of individual visual effects can enhance and change the

perception in the choir members. )se of these aides can also be used in the performance

4singing7 as a reminder of a feeling or purpose you 1ant the choir to remember.

(*) +rinci,e# o ood #inin

ood singing includes correct posture' breathing' tone ,uality' blend' balance' and diction. %verydirector should teach these principles and continually remind the singers of them. 5hen one

singer improves' the entire choir improves.

A "osture

The correct posture for singing is standing 1ith feet slightly apart' back comfortably straight' and

head held easily erect. The shoulders are back and do1n' the chest and rib cage are high. "ingers

should hold the music up' arms a1ay from their bodies' so they can see the director just above it.

"ingers should stand 1ithout stiffness or tension' the body alert but rela&ed. If singers are seated'

they should sit upright and a1ay from the back of the chair. 5hen you direct' hold your body inan e&ample of good posture as a reminder to the choir.

* *reathing

#roper breathing is essential to good singing< it helps the singer develop beautiful tone ,uality'

sustain musical phrases' and sing consistently in tune. 5hen singers breathe' they should open


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the throat and inhale deeply' filling the lungs to capacity. As they sing' they should let their

abdominal muscles support and control air flo1. Breathing needs to take place in the abdomen

area and not the shoulders. Jeep an eye on the shoulders of your choir to make sure they do not

go up and do1n 1hile singing. There should never be a tightness in the throat< an open throat is

essential for a free' rela&ed tone. As a director you decide 1here the choir should breatheP

usually bet1een phrases or at a comma or periodPand the singers breathe together. In longer

passages singers should stagger their breathing in order not to break the flo1. "ingers may 1ant

to mark their music 1ith a pencil at the points 1here

they should breathe.

Techni,ues to promote Breathing

8. Have the choir sing through their eyes to the object as if their singing through their

eyes is like a laser. 4breathing and tone7

:. Have the choir intentionally sing *airy+ 41ith a lot of air7

;. Triad scales on a *ha or a *hee+ A triad chord is to sing the 8st' ;rd' and th note of a

chord i.e. note' % note' then note. -aise the note a half step and repeat rapidly.

Another alternative is to sing a simple ,uick tempo song on a *ha+ or a

*hee+

?. Have the choir fold their hands and then lift their folded hands over their head on the

back of their neck. Have the choir sing or 1arm@up to this. This freees the

shoulder blades so that the choir member is forced to sing from the abdomen area.

5hile practicing this' attempt to get the choir to sing as loud as they can and then as

soft as they can in ,uick up and do1n motions. They should notice more ability to

control their volume and sudden changes in the music.

C Tone @ualit

The sounds singers produce are called tones. 5hen singers have poor tone ,uality' the sound is

thin and breathy' has a nasal ,uality' or is unsteady. ood tone ,uality sounds resonant' rich' and

precise.

Techni,ues to promote Tone /uality

8. "ing 1ith an open' rela&ed throat. Think of using body energy to sing and consider the

throat only as an open tube.

:. "upport the breath 1ith a firm diaphragm. This eliminates 1asted air.

;. Jeep the tone vigorous and firm' even in soft singing.

?. (o not think of the vocal tone as coming from the chest or the throat< think of it as


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coming from high in the head. Try to focus it there for a rich' resonant sound.

. Imagine a ladder coming out of your head and that your tone is pushing over the ladder

D. Have the choir hold their hands horiontally just under the eyes. #romote singing over

the hands through the eyes 4tone7. $ocus on a point or object across the room or dra1

a dot on a piece of paper and hang it on the 1all.

>. arefully shape and control the vo1el sound. All singers should shape the vo1el the

same 1ay.

=. Be careful of (iphthongs. A (iphthong is a 1ord 1ith multiple vo1el sounds bet1een

t1o consonants like *choir 4sounds like J1ai er7+ or *$ire 4sounds like $ie er7+

have the choir sing one vo1el 4generally the first vo1el7. "inging both vo1els 1ill force

the choir to go flat and may make it harder for the audience to understand

*lend and *alance

5hen a choir blends 1ell' no individual voice stands out but there is a unified choral sound.

5hen a choir is 1ell@balanced' no section stands out either unless it is intended to.

Techni,ues to promote to achieve blend and balance

8. Ask singers to listen carefully to those around them and try to match the sound they

hear. Move their seating around during practice.

:. Have them stand on the outside 1alls of the church facing in1ard so that they can hear

better 4Blend' Tone' Breathing7

:. Have the men sit up front 1ith the 1omen behind them. 4blend and tone.7

;. "tress uniform pronunciation of vo1els and 1ords and legato singing.?. Make sure each section is heard clearly and in proper relationship to the others. $or

e&ample' the altos should not be louder than the other singers unless their

part has more importance in the music.

. Kotice ho1 the sie of each vocal section affects balance. If there are only a fe1

basses' they may need to sing louder or the other sections sing softer to create a balanced

sound.

E iction

5hen singers have good diction' they clearly enunciate the 1ords they sing. ood diction isessential for the audience to hear the 1ords and understand the message.

Techni,ues to promote (iction

8. #eople sing vo1els not consonants. 4e&cept for *M+ and *K+7 Try to sing a *B+ or a

*J+. onsonants are a *note killer+ so save the consonant till the very end of the note.


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:. In some hymns you 1ant a strong or *Hard+ consonant to end the song or phrase' other

hymns 1ill 1ant a *"oft+ sound depending on the style' or mood' of the hymn. A

(irector needs to be precise 1ith both. $or a *Hard+ consonant' close your hand or

fingers ,uickly and hold it there. *if you 1ant a *"oft+ consonant teach the choir to

add a silent *A+ at the end of the 1ord. This 1ill have the choir drop the ja1 to stop the

consonant sound. To direct a *"oft+ consonant open your hand or fingers' 1ide open

after you cut them off. It is also advisable to use your silently mouth e&pression

your 1ish as 1ell.

;. Be careful of the *"+ probably the harshest letter 1hen it comes to singing. !ou almost

never 1ant to sing a *hard+ ". If a song has a lot of *"+es in it' try to add a silent *A+ to

the end of the 1ord' this 1ill shorten the *"+ sound

(-) Givin #ucce##u ,eror'ance#.

The choir spends most of its energy and time rehearsing' but it e&ists to perform. The best choirsrehearse and perform regularly. 5eekly rehearsals and at least t1o performances a month are

suggested for 1ard choirs. A performance at every sacrament meeting is even better. Al1ays

strive for musical e&cellence and spirituality. %ven 1ith limited talent the choir can be 1ell@

balanced' 1ell@blended' and in tune. If each singer focuses on 1orshiping the 2ord and inspiring

the listener' the choir can enhance the spirituality of a service or any event it is called to perform.

A $uidelines or successul #eror'ances8

8. Hold a brief 1arm@up session before the performance. If this is not possible' have the choir

sing non difficult joyful music for the first hymn. This 1arms the voices and sets a good tone.

:. 5hen calling out the order of the numbers' be clear' confident and precise.

;. 5hen it is time to perform' you and the accompanist take your places. !ou signal the choir to

stand and after the song you signal them to be seated. Then you and the accompanist return to

your seats.

?. Ignore mistakes during the performance. (o not make negative facial e&pressions even if you

hear a mistake. )se small visual aids or signals if needed to set the tone before a hymn. If a

major mistake occurs and the singers cannot continue' stop the music' tell the choir 1here to

start' and begin again at that point or move on to the ne&t hymn.

. Al1ays have at least D e&tra hymns ready to sing in a service. 4: of praise' : of traditional

1orship' and : solemn pieces7

D. Advise your choir members to be cautious 1ith perfumes and colognes. %ven though they may


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be nice' these odors constrict the vocal range of not only that one choir member' but the 1hole

choir.

>. #romote the members bringing 1ater bottles.

* Ingredients o a %uccessul Choir

In summary' these are the ten ingredients of a successful choir0

8. #rayer

:. -egular 1ork@intensive rehearsals

;. 2earnable' enjoyable music

?. A dedicated' enthusiastic' and 1ell@prepared director and accompanist

. 2ove for your choir members

D. ood ommunication

>. #assion for od' odFs plan' and in serving od through music.

=. A mindset to promote healthy "piritual and Katural gro1th

9. $ello1ship

8G. 3oy in serving od

choir director conduct course

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