nces-and yet when the singingr children danced, a weight was

gift you have, and do notrho most need it. What you getthan money.

M&tiwmtXnrts

ltllll$ttf,t [lIoTrt|ATr0]{Motivation is the fitel, necessary to keep the human engine running.

-Ztc Ztcrdp.

omposers and arrangers know what they want technically andemotionally, and their choices in the score, from pitches andrhythms to dynamics and articulation, all serve this purpose.

Legato phrases feel different from staccato notes, slow notes fromfast notes, and even fast loud staccato notes from fast quiet stac-cato notes-one perhaps reminiscent of thundering down the stairsand the other of quickly tiptoeing down a hall. The choices madein music notation have been "translated" from feelings and realIife, and when you accurately reproduce them you're breathinglife back into the sheet music, reconstituting the emotions thatinspired the notes on the page.

When discussing musical choices with your groupr groundthem in emotion. Every crescendo and sforzando, every rubato andfermata, every articulation you take from the score and those youimpose yourself are part of a master plan, and that master plan isto create music that is beautiful, powerful, meaningful.

Your singers can sing loudly if you tell them to, but if youexplain to them why a passage should be loud, if they can connectthe dynamics to the moment to the meaning to the emotion, theirloudness will be more grounded, more focused, more reliable. Theywill own it, as it becomes a part of the way they tell a story. Withapologies to fishermen everywhere: Give a man a dynamic and hewill sing loudly once; teach a man why the dynamics are there andhe will sing the passage loudly for a lifetime.

prmr$Knr*r$\I& e$ ffin[cr$nIf your actions inspire others to dream more, learn more, do more,

and become more, you are a leader.

-JoHN QurNcv Aoaus

hat does a performer do? Stand in front of a room full ofpeople and command their attention, present somethingbeautiful, offer insights, create understanding, take the audi-

ence on an emotional journey, and enrich their lives. That isexactly what a director should do.

Directors should look at the podium as a stage, their sing-ers as an audience. Every word, gesture, comment has meaningand power. It is not enough just to drag yourself to rehearsal andstumble through the music relying on your instinct and experi-ence. You need to make the moment special for the singers, makerehearsal a place they want to be, a place they leave full of knowl-edge and with a sense of satisfaction.

Moreover, directors control the mood of a room. Having a badday? Leave it at the door. When you enter the rehearsal, bring thelevel of energy and excitement that you want your singers to have.When the song changes, your energy should change accordingly. Ifyou want to draw sadness from your singers to reinforce the lyrics,you too need to embody that emotion. Show, don't tell.

This can be exhausting, but it is also deeply rewarding.

ffi&mxrufr FRr

A leader is best wlrut pWhen his work is

they will say':

uch of the work in this bocvanguard: someone to expldemonstrate their effectir-e

not as I do" will not work in th.one in your group to embrace epractice what you preach, rvhicfirst to share your feelings, firstacross the various roadblocks r-r

Perhaps the single least talkfor a vocal director is charisma.ing people to join the group, toto prioritize their music. These I

charisma is perhaps most valualgroup's emotional understandirmoments can be very tense, fralwill not know how to respond,evaluation of emotional issues.that group leaders, directors anrexpressing, sharing, gently steerof intensity and depth, carefuilrfor a smooth landing. This doesand preparation.

Note that a director cannotconduct emotion during a rehe;emotionally does not mean a c(emotions out of the group. Justjoyl" is completely ineffectual, :

try through a combination of arto elicit or amplify emotions frc

AS UnrCT0rlant more, leam more, do more,you are a leader.;cr'^{o.rys

I in front of a room full of.ention, present somethingunderstanding, take the audi-enrich their lives. That is

lium as a stage, their sing-ure, comment has meaningCrag yourself to rehearsal andon vour instinct and experi-rt special for the singers, makeplace they leave full of knowl-l.mood of a room. Having a badr enter the rehearsal, bring therou want your singers to have.1- should change accordingly. If: singers to reinforce the lyrics,cn. Show, don't tell.also deeply rewarding.

tuffi&ffi$ruffi ffimffi&d! Tlt[ rmffiruY

A leader is best when people barely know he exists.Wlrcn his work is done, his aim fulfilled,

thev wiil "r:::"d;!;t oursetves-

uch of the work in this book requires an instigator and avanguard: someone to explain the processes and someone todemonstrate their effectiveness. The expression "do as I say,

not as I do" will not work in this circumstance. If you want every-one in your group to embrace emotional singing, then you mustpractice what you preach, which means you will usually be first:first to share your feelings, first to sing with emotion, first to comeacross the various roadblocks you will collectively encounter.

Perhaps the single least talked about and yet most valuable traitfor a vocal director is charisma. This charisma is useful in convinc-ing people to join the group, to stay late in rehearsal, to work hard,to prioritize their music. These are all important, yet a leader'scharisma is perhaps most valuable when it comes to focusing agroup's emotional understanding and performance of a song. Thesemoments can be very tense, fragile, uncertain. Group memberswill not know how to respond, being in a new situation, a publicevaluation of emotional issues. This is the time, more than any,that group leaders, directors and otherwise, should be out in front:expressing, sharing, gently steering the dialogue to the right levelof intensity and depth, carefully bringing the entire experience infor a smooth landing. This doesn't require perfection, only careand preparation.

Note that a director cannot and should not be expected toconduct emotion during a rehearsal or performance. To leademotionally does not mean a conductor should try to pull theemotions out of the group. Just as saying, "Be sadderl" or "Morejoy!" is completely ineffectual, so is it impossible for a director totry through a combination of arm gestures and facial expressionsto elicit or amplify emotions from a group. While conducting, any

THE HEART OFV()CAT HARMOIIY

facial expressions should only be honest, real, connected to themusic. In this way a conductor is leading by example, showingwhat is possible without trying to force it out of the singers. Thismay seem a narrow distinction, but it is an essential one. As Yodafamously said, "Do or do not, there is no try." You can't try to getyour singers to be more emotional, and you can't try to feel moreemotion yourself. You can only use the techniques in this book tofeel the emotion for yourself, and lead from the front.

150

LTAD

Like all soul singers, I .

but sometimes I would leaye e

the Blind Boys of Alabanta. Imade me connect the idea

and see how I could make a caret

-D:| | ! atching a gospel choir in ac

U'U po,.r,,ial relationship betrr',I f there is an interplay, an enshare, feeding off each other. Soin all styles.

When we think of dynamic,awe. What a tremendous voice. 1

have their voice, but we can perlhave just as much fun. Whv shoone allowed to prance around thsingers bring the same intensih-most compelling things about aenergy and the fun they have. Ufor the first time in their young Ising the songs they want to singMoreover, they are living on thefor the first time, and feel a freeiThere is no reason other groups r

background parts and on lead r-cment, can spur all the performerthe song takes you.

-

)nest, real, connected to theading by example, showingrrce it out of the singers. Thisit is an essential one. As yodais no try." You can't try to getand you can't try to feel morethe techniques in this book toad from the front.

LTAD I|OCAT

Like all soul singers,I grew up singing in church,but sometimes I would leave early and sit in the car listening tothe Blind Boys of Alabama. Hearing their lead singer Clarence

made me connect the idea of church and show businessand see how I could make a career singing music that stired the soul.

-DeRvr Har-l

atching a gospel choir in action can teach you a lot about thepotential relationship between a vocal group and its soloist.There is an interplay, an energy and intensity the performers

share, feeding off each other. So should it be with all vocal groupsin all styles.

When we think of dynamic lead singers, we look at them inawe. What a tremendous voice, talent, and energy. We may nothave their voice, but we can perform with just as much energy andhave iust as much fun. Why should Freddie Mercury be the onlyone allowed to prance around the stage? Why shouldn't other leadsingers bring the same intensity that Madonna does? One of themost compelling things about a collegiate a cappella group is theirenergy and the fun they have. Unbridled from a faculty directorfor the first time in their young lives, collegiate a cappella singerssing the songs they want to sing the way they want to sing them.Moreover, they are living on their own away from their parentsfor the first time, and feel a freedom that they bring to the stage.There is no reason other groups can't match their intensity onbackground parts and on lead vocals, which, if sung with commit-ment, can spur all the performers to new heights . . . or whereverthe song takes you.

I

POtIllTRTlJI, IlllOll,l[]\lT$

Every moment and every event of every man\ life on eartho' *t'-,j;::I:,rs'; n 7 is so"/'

Itimately a great concert is a series of great moments: wonderfulpieces of music, each presented with a depth of understandingand conviction toward the song's meaning, message, and mood.

A great album is the same way, song after song of poignancy,power, presence. This is what music is at its best-a reflection oflife's most powerful moments.

It's likely that throughout this book you have been focusing onthe songs and performances, how you can help convince, inspire,and lead your group to perform with emotional intensity to createpowerful moments for your audience.

Taking a step back, shouldn't you look at your group the sameway? Shouldn't your rehearsals, performances, and other timestogether be a series of powerful moments? Sure, not every daycan be special (by definition), but use some of the energy you areputting into bringing your audience on a fantastic journey andfocus it on ensuring that your group is on a fantastic journeytogether as well. Take time to appreciate the music you are creat-ing. Celebrate your successes together. Pause and reflect from timeto time. Make the group more than an occasional pastime; makeit a gathering of friends.

I have created a cappella groups for both Disneyland and Dis-ney World, and I was a bit shocked at first when I saw what theseparks look like behind the scenes, backstage. It's not disgusting,but it's not nice, either: trailers, concrete, industrial, blah. All ofthe magic is focused toward the people who attend the park, andbackstage, if it weren't for the Mickey Mouse posters, you'd thinkyou were working at a Walmart warehouse. Don't let your groupbe like that, with all of the attention and energy directed outward.Save some of the best moments, the best energy for yourselves. Notonly will it further motivate your singers to greater commitment

in the future, it's simply the righarmony your singers experienstage: harmony through harmo

At this point in the book r,ing of the reason emotion matdrawn forth from lyrics, honeshearsal, then presented on sta5in your group.

I could end the book here, I

be gleaned from the experiencecoaches, singers, and arrangerswith and sensitivity to this topi

[lIGffiffiruY$

t of every manb life on earth,tg irt ltis soul.\ftnrox

ies of great moments: wonderfulrrith a depth of understanding

1's meaning, message, and mood.g after song of poignancy,c is at its best-a reflection of

book you have been focusing oniou can help convince, inspire,Lh emotional intensity to createce.'ou look at your group the same:rformances, and other timesrments? Sure, not every dayuse some of the energy you arere on a fantastic journey andrp is on a fantastic journeyeciate the music you are creat-her. Pause and reflect from timer an occasional pastime; make

; tbr both Disneyland and Dis-at first when I saw what theseackstage. It's not disgusting,crete, industrial, blah. All ofrple rvho attend the park, and:r- \{ouse posters, you,d thinkehouse. Don't let your groupr and energy directed outward.: best energy for yourselves. Notngers to greater commitment

POWERFUI MOMENTS

in the future, it's simply the right thing to do. The intragroupharmony your singers experience will result in greater harmony onstage: harmony through harmony.

At this point in the book you should have a good understand-ing of the reason emotion matters in music and how it can bedrawn forth from lyrics, honestly coniured and crafted in re-hearsal, then presented on stage in concert with the other singersin your group.

I could end the book here, but I feel there is more insight tobe gleaned from the experiences of a variety of different directors,coaches, singers, and arrangers who are known for their successwith and sensitivity to this topic.

153