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)

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