We'll meet again, don't know where, don't know when.

Singers, when can we meet again?

Short answer:  Nobody knows yet.  Click here to help fund the answer.

Long answer:

There is lots of news crossing my desk from choral and singing experts and not-so-experts about "safe singing distances" while we are amid the Covid-19 pandemic.  It's all guesses, everything from 3 feet to 24 feet to "wear masks" and "we can't wear masks" to "who cares" and "nothing is safe".  Some notable answers:

American Federation of Musicians Unions Returning to Work Safely Guidelines

• Six feet/two meters between players in a room—limit number of musicians accordingly.
• Twelve feet/3.6 meters between winds/brass, singers and other musicians if in the same room.

The New York Times and the ACDA Choral Leaders' conversation in May agree  

• Don't sing together yet.  Sit tight"

Multnomah County keeps a webpage for small civic groups: https://multco.us/novel-coronavirus-covid-19/faith-based-and-community-groups-covid-19-guidance with the usual

• Stay home if ill. Fever is a sure indicator of illness
  
• Wear a mask in public
• Do not touch your face
  
• Maintain 6' social distancing 
• Avoid crowds
• Wash your hands often

and:

• Ask volunteers at higher risk — those who are older, have underlying health conditions or are pregnant — to stay home as much as possible and take extra precautions to stay healthy.

Oregon.gov talks about what's allowed for Multnomah County for "Phase One":

• Local cultural, civic and faith gatherings are allowed...
•  for up to 25 people 
•  provided physical distancing can be in place.
• Large gatherings and events are not possible until a reliable treatment or prevention is available. As a result, these are cancelled or significantly modified through at least September.

Since my groups and our audiences are "at risk" and often larger than 25, the rule is still "NOT YET" til we get real answers.  

Happily,  dozens national and international sports and musical organizations, including the Barbershop Harmony Society, National High Schools, and the American Choral Directors Association have commissioned a study to find out the actual answers.  You can read about it and even donate at https://www.nfhs.org/articles/unprecedented-international-coalition-led-by-performing-arts-organizations-to-commission-covid-19-study/

So, right now, what to do?   The most optimistic answer is "No singing together yet, until we find safe ways to do it."   We might know some ways soon, so cancelling meetings and concerts still a few weeks off is probably premature.   If a county isn't open for meetings and concerts, and preventative methods are still unknown, events can and should be cancelled, even "at the last minute".  We can and do replace the cancelled events with online meetings and choosing later dates. 

And that's what we're doing, cancelling and altering our plans, one event and one rehearsal at a time.   That's the best we know right now.  I know we'll meet again some sunny day.

 

Yours, Gary Shannon

 

PS.  Vera Lynn, singer of We'll Meet Again, passed away June 18, 2020 at 103.  See BBC's obituary.

Join a choir or two!

As I say in VOICE LESSON ONE,

To improve consistently,

• Warmup every day. Five minutes is often enough.
• Workout thrice weekly. Forty-five minutes is enough.
• Vocal rehearsals, lessons, and concerts count as workouts.

 The easiest method to do this is to

JOIN A CHOIR OR TWO!  

 Voice lessons are great, but singing with a choir is a simpler, friendlier and cheaper way to improve any singer.   Singing in two choirs guarantees two weekly workouts and two weekly warmups.  Often the homework to learn your music and the performances they give provide your third weekly workout.    All you need is to find one or two choirs that are right for you,  set aside a little money for dues or tuition, then sing.  Portland has this great resource that my friend and colleague Tom Hard maintains in the PDX CHORAL CALENDAR that lists dozens of singing groups you might join.

WHICH CHOIRS TO JOIN?

Of course you want a group that's near you and rehearses and performs at times you can be there. Almost all choirs allow you to miss some rehearsals and performances, so don't let a few schedule conflicts deter you:  just be honest about your conflicts when you present yourself and it will work out.

Beginning singers should find and join a "Non-Auditioned" choir (one that accepts everyone without them having to sing well first).  Most schools and churches and community centers have one or two.

Intermediate singers should audition for a auditioned choir.  The music is more difficult, the singing more exact and membership more exclusive because you have to show what you can do (often all by yourself) before you start with them..  If you don't get into one when you first audition, don't panic, just stick with your non-auditioned choir, study "HOW TO AUDITION FOR A CHOIR"  and try another selective choir.

Advanced singers should get on contact lists for professional groups and audition every time they have a chance.  Such groups often have connections to solo, recording, and contacts that will spring-board you to other groups and performances.  In the meanwhile, stay with your auditioned choirs until you have reason to stop.

WHEN TO QUIT A CHOIR

You should end off singing with your choir for two reasons:  it's too hard, or it's too easy.  You might need to cut back singing because of life barriers like family illness or job changes.  Either way, you decide what is best, communicate your decision to those that need to know about it,  then go.

A choir that's too hard for you will leave you feeling confused and nervous.  You'll feel like rehearsals are rushed and you barely know the music, even in performance.  First, before you do anything else, tell your leaders and teachers what you are feeling:  they might make changes to their teaching styles and have resources that can help you  remain in a group so you are meeting the challenges.   In the meanwhile, stick things out for another three weeks or three months and fulfill your promises to the group as best you can.  You may discover you're stepping up to the challenge, so you should stick with it.  If not, end off when it's ethical then find an easier group,

A choir that's too easy for you will leave you feeling bored and irritated.  You'll feel rehearsals are too slow and your fellow singers aren't doing well.   First, before you do anything else, stick with it and set a good example of how this singing and rehearsing should go and do an excellent job of it.   When the music doesn't challenge you, challenge yourself to be more beautiful, precise, artistic and emotionally engaged than ever before.  In the meanwhile, let your current leaders know how you're doing and let them make suggestions.  When you find and join a more expert group, end off your old group when it's acceptable to do so.

In the end, do the right thing for your choirs (don't burn your bridges by quitting like a flake or a jerk) because you might rejoin them in the future.  Even better, they might need you for something special - and they'll know they can trust you to deliver.

Practicing Choral Music: Ten ideas for the singer who doesn’t think they can practice on their own

----------This is a mirror post from Doreen Fryling.--------------

Congratulations! You’ve now been told for the millionth time to practice your music for your next choir rehearsal. But if you are someone who hears that and thinks, “I don’t play piano. I can’t do this without someone helping me,” here are some ways you can practice on your own and improve your singing.
Grab your music and a pencil. Many of these steps can be done in a public place. No need to head to the practice room (stop using that as an excuse).

1. Start with the text. Make sure you know what you are singing. Think about the text. Find a translation if it is in another language. Write the poetic translation above/below the lyrics. If you want to go deeper, use a translation site to translate word for word (especially if there’s a word that you sing over and over again. You should know what that specific word means). Do you know who wrote the lyrics and why? Can you put the piece into historical context?
2. Listen to a recording. We live in a time of unbelievable access to recordings. Find them. Listen to more than one recording and compare them until you find one or two you really like. Follow along with your score. Listen while paying attention to all of the parts. Listen while paying attention to just your part.
3. Analyze your music. How is the piece organized? Does it have sections? Are there repeated parts? Does your part occur in another voice part? Are there key changes or meter changes? Is there a repeat sign/first and second ending/coda? How would you describe the organization of this piece to someone who has never heard it?
4. Find your starting pitches. For every entrance you have, figure out how you are going to find the starting pitch. Maybe another voice part just sang the note. Maybe it was just in the accompaniment. Do you know what note of the chord it is (e.g. I’m singing the root of this chord)? There is nothing worse than “sheep singing” (blindly following what the person next to you is singing). Take responsibility for being able to enter on your own.
5. Don’t just sing through the parts you already know. You’ll be wasting your practice time. Identify problem areas, analyze why you’re having a problem with that spot, figure out ways to solve the problem area.
6. Solve the problem area. Break it down to something you CAN do. Then add something to it. Practice with repetition, but only if you’re sure you’re doing it right! Start with just the pitches slowly (dare I say on solfege syllables?). Then add the rhythm to the pitches. Next, add in the lyrics. Make sure you slow down the tempo each time you add another layer. No need to practice with dynamics, articulations, and breaths until you have mastered pitches, rhythms, and lyrics.
7. Work backwards to forwards. How many times have you felt great about the beginning of a piece, but completely unsure of the ending? During your own practice time, work on the ending section and progressively add sections, each time going through to the end. If you think of your piece as “ABCDE,” practice E, then DE, then CDE, then BCDE, and ABCDE.
8. Audiate your part. Sing your part through in your head. Do this while you are walking somewhere. Do this in your car while you’re waiting for someone. Do this before you go to sleep. Do this ALL OF THE TIME. (Friendly reminder: Audiating is virtually impossible if there is other music playing. Carve out some quiet time in your life.)
9. Use your pencil. Mark your score while you’re in rehearsal so you remember what was giving you problems. This will save you time when you plan out your next practice session.
10. Just practice. 99% of the time I don’t want to practice. No one does. But 99% of the time, once I start practicing, I get stuff done. I stop when I lose focus or I run out of time. I NEVER regret spending a little time practicing something. Do yourself a favor and make it part of your daily routine.

You have the ability to do these ten things. Do them. You will reap the benefits of being more confident with your part, which will allow you to contribute to the ensemble in a more meaningful way. And your own vocal technique will improve, because you’ll be able to concentrate on how you sound instead of always worrying about how your part goes. You’ve got this.

-Doreen Fryling (lifelong practice avoider)

My Favorite Things

Julie Andrews' song "My Favorite Things" 

got a cute parody that was attributed to her in 2005, but had nothing to do with her.  Now that I and many of my fellow choristers are aging, it relates.  Maybe we should start singing thus:
 
Maalox and nose drops and needles for knitting,
Walkers and handrails and new dental fittings,
Bundles of magazines tied up in string,
These are a few of my favourite things.

Cadillac's and cataracts, and hearing aids and glasses,
Polident and Fixodent and false teeth in glasses,
Pacemakers, golf carts and porches with swings,
These are a few of my favourite things..

When the pipes leak, When the bones creak,
When the knees go bad,
I simply remember my favourite things,
And then I don't feel so bad.

Hot tea and crumpets and corn pads for bunions,
No spicy hot food or food cooked with onions,
Bathrobes and heating pads and hot meals they bring,
These are a few of my favourite things.

Back pains, confused brains, and no need for sinnin',
Thin bones and fractures and hair that is thinnin',
And we won't mention our short, shrunken frames,
When we remember our favourite things.

When the joints ache, When the hips break,
When the eyes grow dim,
Then I remember the great life I've had,
And then I don't feel so bad.

Chorister's Guide

A Choristers' Guide To Keeping Conductors In Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upmanship. The following rules are intended as guides to the development of habits which will promote the proper type of relationship between singer and conductor.

1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.

2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It's best to do this when the conductor is under pressure.

3. Bury your head in the music just before cues.

4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.

5. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose.

6. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time.

7. At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing.

8. Wait until well into a rehearsal before letting the conductor know that you don't have the music.

9. Look at your watch frequently. Shake it in disbelief occasionally.

10. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone.

11. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique" so challenge it frequently.

12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the "subtleties of inflection".

13. Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, "Is this the first time you've conducted this piece?"

14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.

15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget.

16. Summary:  Make every effort to take the attention away from the podium and put it on you, where it belongs!

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

this is a mirror post from http://www.ahajokes.com/vocal.html

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

A Chorister’s Guide to Keeping Conductors in Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upsmanship. The following rules, extracted from one of the foremost sources of vocal wisdom on the Internet (see below), will guide you as you develop the proper relationship between singer and conductor: 1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.  Be sure to hum the pitch aloud. 2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It’s best to do this when the conductor is under pressure. 3. Bury your head in the music just before cues, and throughout every rehearsal and performance. 4. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor, and offer subtle reminders about how valuable you are. 5. Insist on group precision.  Raise your hand often to clarify whether each break is to be an eighth note, a full quarter, or some other variable.  Make sure the conductor knows that your score is fully marked, making his or her job just window dressing. 6. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose. 7. Check in:  Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time. 8. Use your pencil.  At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing. 9. Timing is everything.  Wait until well into a rehearsal before letting the conductor know that you don’t have the music. 10. Look at your watch frequently. Shake it in disbelief occasionally.  Tap one foot throughout the last seven minutes of rehearsal to help the conductor wrap things up.  Whenever possible, start packing up during this period, or for more impact, go to #15. 11. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone. 11. Tell the conductor, “I can’t find the beat.” Conductors are frequently sensitive about their “stick technique”, so challenge it frequently. 12. Offer your own knowledge.  If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the “subtleties of inflection”. 13. Offer additional resources.  Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, “Is this the first time you’ve conducted this piece?” 14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage, just before the concert. 15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget. We’ve all used one or more of these techniques at some point, but put the effort into building them into solid habits.  Make every effort to take the attention away from the podium and put it on you, where it belongs! – Adapted, with tongue firmly in cheek, from www.ahajokes.com.

- See more at: http://laurislist.net/blog/2009/04/271/#sthash.tFg5Iqpi.dpuf

About Choral Masterworks

This from Stephen Zopfi, Conductor and Director of Portland Symphonic Choir, September 23, 2009, while preparing to sing Brahm's "Ein Deutches Requiem"

Dear Folks,

There is something different about singing a choral masterwork than singing any other repertoire. They feed us on spiritually while reminding us what it is to be human. They are a three course meal of vegetables, protein, carbohydrates, dairy, and so on rather than the fast food of much of what passes for choral music. They are tremendously challenging vocally, musically, physically, emotionally, artistically, and intellectually. It is tremendously satisfying and nourishing on a very human level to sing a masterwork. Not to say I don't like my carbohydrates. I am a fool for chocolate covered mini-donuts and certain arrangements of popular songs. However, it is the Masterworks that feed and sustain us on a very deep level.

Another characteristic of Masterworks is that they have depth. The more you look at one, the more you discover. Was Brahms writing unrequited love music for Clara Schumann, or was it spiritual solace for her on the death of her husband, Robert? I have changed my mind repeatedly about markings. Lately, I have been thinking that the end of the 2nd mvt. has an obvious dramatic spot at m. 336 that benefits greatly from a rallentando. But an immediate return to tempo at m. 333 seems a bit mechanical. All of these ideas can be debated endlessly but that is what makes this masterworks so fascinating:

They have something more to reveal to us each time we perform them.

That might even be the test of masterworks in any genre... they have more to reveal.

Masterpiece (or chef d'œuvre): a creation that has been given much critical praise, especially one that is considered the greatest work of a person's career; a work of outstanding creativity, skill and workmanship.