Monday, April 1, 2013

Cool video: Church of Apostolicity choir



I was at a Regional Fellowship Service last month and one of our own ChoirParts.com newsletter readers, Sis. Angela Whitfield, was featured in the service with the choir she directs from the Church of Apostolicity (The Apostolic Doctrine) in Los Angeles.  I wish I had been thinking faster and pulled out my iPad sooner because I missed the opening section of the medley of spirituals they were doing.

Angela started out a few years ago with no choir directing experience.  She was working with people who were new to choir singing and they didn't have a musician.  The results you see here clearly show the time and effort that they have put into their ministry and how Angela has grown as a director.  They still sing all a cappella, and now they're not sure whether they even want a musician. :-)


(By the way, the preacher who comes up after them is my dad.  He was emceeing the Fellowship Service that night.)

Why it's important to space out rehearsals

Remember in school when you would cram all night for an exam that you had the next day? (If you never did this, someone you know did it.) You studied the materials over and over through the night up until the break of day. You took your test in the morning and you passed it! Hooray!

How much of that material did you remember a week later? Probably very little. Here's the reason why. The folks who do brain research say that the evidence shows that rehearsing information over and over on only one occasion is good for getting the information into your short-term memory, but it won't transfer into your long-term memory. To remember it long-term, you have to rehearse it on different separate occasions. Spacing out the learning helps you learn better.

If you want to look at some of the scientific literature, here are a few links:

So what does that mean for us as choir directors? It means that your teaching of any song will be more effective if it's spread out over time than if it's done all together. Have you ever had the experience of learning a song in a rehearsal, feeling like you've learned it really well while the rehearsal is going on, and then barely being able to recall it the next day?  I have.  But if you practice it over a series of weeks, it will stay in your long-term memory much better.  And you won't need as many repetitions!

For example, if you teach a particular part at three rehearsals, and at each rehearsal the choir goes over the part four times, that's a total of 12 repetitions. But the choir will remember what they learned BETTER from those 12 repetitions spread out over three rehearsals than they would if you had them do 20 repetitions all in one rehearsal!  Check out the American Educator article above to read more about these findings.

This is a reminder of how important it is to get an early start on any music that you teach. Give yourself a few weeks at least before you plan to sing a new song and go over the song at several rehearsals. This is the way to get what you're really after, which is for the singers to make the song a part of them and remember it in the long-term.

Thursday, February 28, 2013

Good gospel songs for choir competitions

Someone emailed me this month asking for suggestions of gospel choir songs that would be good to sing in choir competitions.

Many school choirs and other choirs sing arrangements of Negro spirituals in competitions, but here are also some regular songs in the gospel choir repertoire that could be used:
  • Anthem of Praise by Richard Smallwood
  • Hallelujah, Lord by Sounds of Blackness
  • Let Everything That Hath Breath by the Florida A&M University Gospel Choir
  • Total Praise by Richard Smallwood
  • Matthew 28 by Donald Lawrence
  • Jesus Is Alive by Michael Mindingall
  • One of the choir pieces from the “Handel's Messiah: A Soulful Celebration” project (such as “Hallelujah!”, “And He Shall Purify”, or “For Unto Us a Child Is Born”)

What other songs might be good for competitions? I'd love to hear any recommendations.

Make sure you're ready to teach!

The most important part of choir directing is the teaching. The congregation sees the director at the end of the process, when the choir sings, but the real work of the director is what happens in rehearsal. Everything the choir sings comes from what they've been taught. When you come before the choir to teach, you want them to feel confident that you're going to share something good and worthwhile with them.

What this means for you is that you need to be fully prepared to teach. The rehearsal is the choir's time for learning and practice. But the director's time for learning and practice is BEFORE the rehearsal.

Spend time alone with the music, getting familiar with the songs you're going to teach. You want to know the words by memory so that you can make eye contact with the choir while you teach. You want to know all of the vocal parts so that you can teach them with confidence.

What's the best way to learn the words and the parts? Practice singing the song! Sing it out loud, over and over and over. Sing the soprano line; sing the alto line; sing the tenor line and the bass line. Singing the song yourself helps you memorize everything. It also helps you recognize which parts of the song are the most challenging so you'll know what parts you might need to spend more time on during rehearsal.

Practice the song over the course of several days. You might work on it one day and feel like you completely know it, but then a couple days later there will be parts that you've forgotten. Your brain does much better at keeping information in long-term memory if you practice at several different times.

When a director is well prepared, the choir members know that the rehearsal is going to be productive and worth their time. If it seems like the teacher is unsure, it can be very discouraging to the choir. No choir member wants to see the director playing the CD during rehearsal trying to figure out how a line is supposed to go!

Now, in some choirs, the choir director is not the one who selects the music. If you have a music director who chooses the songs for the choir to learn, communicate with them about how much advance time you need to prepare songs before you teach them. I work with one choir where a music director picks the music for me. I try to prompt him well in advance about important occasions: “What songs do you have in mind for Easter this year?”; “Did you want to do any special music for Mother's Day?” The sooner I know what we're doing, the better I can be prepared, especially for any difficult music.

The Bible says that studying will make us into a worker that doesn't need to be ashamed. This principle definitely applies to the music ministry. The more we study, the less we'll need to apologize for when we stand up to teach the choir.

Thursday, January 31, 2013

ChoirParts.com has a newsletter now!

The first issue came out today.  Send me an email if you would like to be added to the mailing list.

What should the choir sing for Valentine's Day?

Well, they don't necessarily have to sing anything special in recognition of V-Day, but some directors might want to do some music that recognizes love.

These are some gospel songs that come to my mind:

About God's love for us:
  • "No Greater Love" by the Gospel Music Workshop of America: http://www.youtube.com/watch?v=MQH80r_Lj-c
About our love for God:
  • "More than Anything" by Lamar Campbell: http://www.youtube.com/watch?v=O2BhpYUCPmA
  • "I Love You, Lord" by Walter Hawkins: http://www.youtube.com/watch?v=PWsvZfGVYJM
About the love we should have for one another:
  • "Charity" by Patrick Henderson: http://www.youtube.com/watch?v=MQH80r_Lj-c
  • "That's What It's All About" by Andrae Crouch: http://www.youtube.com/watch?v=H6h4CP9bvR0 

What love songs do you think of?  Leave a comment.

How well do you know your “instrument”?

If you're a singer, your voice is your instrument. If you're a choir director, the voices of all the choir members are your instrument.

To use those voices most effectively, you need to know what they're capable of, what their strengths and weaknesses are.

Listen to yourself sing. How do you sound at quiet volumes? At loud volumes? Some people are good at getting a sweet, gentle sound with their voice; others are good at getting a forceful or brassy sound.

How high can you go before your voice starts straining? Go to a piano and find out the names of the notes that are your top note and your bottom note (there's an online keyboard that you can use for this, too: http://www.music.vt.edu/musicdictionary/appendix/pitch/pitch.html). Be aware also, that with practice you can increase your range, so your top note today doesn't have to be your top note forever.

Directors should know this information about their choir members, too. Know your singers' strengths and weaknesses. Know what their top and bottom notes are. Then arrange your music so that it's a good fit for the singers in your choir.  In the choir at my home church, the tenors can hit an F, but it's a challenge.  Hitting a G is a struggle.  I don't try to take them above that G.

A couple of things to keep in mind about choir music:
  • In *contemporary gospel* choir music, the parts are often written in a way that leaves the tenors singing a lot of high notes, including notes that go above the standard tenor range, AND there are no baritone or bass parts. A lot of songs will also have numerous key changes, sometimes going amazingly (ridiculously?) high.  The gospel artists who make the albums can pick and choose the most exceptional singers to be in their choirs, but in our churches, we're working with regular voices.
    Knowing this, you may want to change the key or rearrange the parts on some songs to make things work better for your choir. And consider adding a baritone or bass part, so that men with bass voices aren't forced to either sing high tenor or leave the choir.
  • In *classical* choral music, the pieces are written for people with trained voices, and trained voices can hit higher notes and hold them longer than untrained voices can. If you work with untrained singers, keep that in mind when selecting music. Try to use music that works with the vocal ranges of your members. With long passages that don't leave room for a breath, make sure your singers know how to work together and do alternate breathing (taking turns pausing for a breath while everyone else continues singing).
The better you know your instrument(s), the better use you can make of them, with beautiful results.

(By the way, ChoirParts.com will happily do parts on request in whatever key the customer wants. I recently did an order for a song in two different keys, neither of which was the key from the original recording.)