Directing an Efficient Rehearsal
Most of the items on this list are from Kenneth Phillips’s book, Directing Choral Music Program. In the book, he presents an abridged version of a list by Charles Heffernan in the book, Choral Music Technique and Artistry.
Preparation
- Before the first rehearsal, you must thoroughly digest the music to be presented. Allow a period of time to permit the composition to mature in your though.
- Go over the music with the rehearsal pianist before the singers assemble. The rehearsal is not the place to correct the pianist’s wrong notes or lack of understanding of the style.
- Indicate on a chalk board of bulletin board the compositions to be studied at each rehearsal. Choristers should get the compositions in order before the rehearsal begins.
- Arrive early for each rehearsal and make sure all logistics are in order.
- Begin and conclude the rehearsal exactly at the appointed hours. Do not tolerate chronic tardiness or early leaving.
- All singers should have their own music. If several compositions are being rehearsed, they should be in a folder marked with the singer’s name. Each singer needs a pencil with which to notate the conductor’s directions.
- Someone other than the conductor should take attendance, distribute the music set up the chairs, and so on. Assigning these important duties to members of the choir can provide a sense of active participation to those involved.
Starting the Rehearsal
- Usually, vocalize the choir with various exercises before starting to rehearse the music. However, occasionally use an easy composition in the warm-up.
- Routines can be deadly. Work for variety in the warm-ups and rehearsal procedures.
- Try to begin each rehearsal with something that will go well.
- It is vital for every performer and the conductor to be in eye contact during the preparatory beat.
- All singers must be aware that they have a definite contribution to make to the choral body and that their invariable presence is vital to every rehearsal.
- Develop in your singers the ability to understand the technical language of music. Teach them music terminology.
- Train you choir to locate quickly the spot you wish to rehearse; say, for example, “Page 5, third system, second measure, fourth beat, on ‘She.’”
- Initially insist the singers learn to observe every mark on the printed page. Many singers look only at the words. Use pencils freely!
Conducting and Leadership
- Practice having the choir respond vigorously and audibly to your preparation beat until everyone understands the necessity for breathing together in the tempo and character of what is to follow.
- Guard against over-conducting or attempting to inspire your singers to great artistic heights during the initial study of a composition. Learn the notes first.
- You must have eye-to-eye contact with your singers constantly. Do not bury your head in the score, and do not permit your singers to do so either.
- Train the choir to be able to start at any point on the page.
- As far as possible, scrutinize the four sections of the choir equally. Do not be guilty of ignoring the altos, picking on the tenors, and so on.
- Sing for your group. Demonstrate your wishes.
- Never become passive; you must constantly take action. Transmit constantly; do not coast.
- Do not be a bluffer. Admit your mistakes. Too many blunders may be an indication of insufficient preparation.
- Do not harangue your choir. Give praise when praise is due.
- During every rehearsal (and performance) you must have eye-to-eye contact with every singer and player.
- When rehearsing, do not try to hear everything at the same time unless you have an extremely keen ear and extensive conducting experience. It is better to listen for specifics.
- Regularly record your rehearsals. Study the tapes. If possible, videotape your rehearsal. Show the results to your choir.
- Do not over-rehearse. Excessive rehearsal may cause a composition to deteriorate.
- Do not talk too much.
- At dress rehearsal, try to simulate the actual performance conditions. Leave nothing to chance.
- Record your concerts for future study. Do not play the tapes immediately after the performance, however; it is often a letdown to do so. Do not hold a long, boring postmortem at the rehearsal following a concert. A few words of appreciation to your group may be in order, but extended analysis of past disasters or triumphs accomplishes little.
- Either love your choir or leave it.
Moving the Learning Process Forward
- After the initial reading of a new work, immediately begin to correct mistakes. Do not allow errors to be rehearsed into the music. Beware singing through, time and time again, the parts that are well-learned and secure.
- Urge the choir members to begin to memorize at once.
- Encourage your singers to free themselves from the printed notes as soon as possible. After learning the notes, sing the music. There is a difference.
- At times, walk around through the various sections of the choir while they are singing. You may be pleasantly surprised or dismayed at what you hear.
- Ask the choir to sing something from memory at each rehearsal. Try to conduct as long as possible without looking at your score.
Variety in Rehearsals
- When learning parts, especially in music of the Baroque and Renaissance periods where a sectional sound is desirable, separate the four section of the choir into the four corners of the room. Have each section stand in a circle and sing across to the person opposite.
- Frequently have the choir stand up, stretch, and move about. Be alert to physical lethargy in your choir.
- A short recess in the middle of rehearsal may be beneficial. Guard against losing the momentum, however.
- For fun and reading experience, occasionally have sections sing other parts.
- Try to have at least one good laugh at each rehearsal.
- Read new music regularly. Constantly refresh the weary spirit of your singers by bringing them stimulating literature.
- At the core of every great ensemble is the ability to sing and play in a chamber style with extreme sensitivity to one another. Therefore, regularly break down the choir into small ensembles or quartets. Have these small groups demonstrate for each other.
- Occasionally, spread the entire choir in a scrambled formation around the perimeter of a large room. Singing in this arrangement builds confidence and sonority.
- Occasionally, let someone else conduct. Sit back and listen objectively to your own choir.
Working with Instrumentalists
- If you use instrumentalists with your choir, get them up to the level of the singers. Rehearse the players separately if possible.
- The orchestra players must breathe at the preparation beat. The orchestra and the choir will then enter together.
- The orchestra must respond to the conductor’s downbeat; if it does not, the attacks will become later and later.
- Maintain a good dynamic balance between the players and singers at all times. Mark down the dynamic levels in the brass parts. If the strings are too loud, instruct the players to bow closer to the fingerboard rather than near the bridge.
-DRC