Dear Ms. Clark:

 

I conducted a group in

Michigan for five years

that had long presented

itself as "non-auditioned."

 

After two years, the choir's

skills and sound had improved

noticeably--audiences were

larger--financial support

had grown--I sensed an

opportunity--and did the

following:

 

At a board meeting during

the summer following my

second year, I pointed 

out the circumstances

mentioned above--and

said that in order to keep

pace with the organizational/

financial growth that had

taken place, we needed

to ensure that our artistic

product also continue

to improve--and that

the way to do that was

to give me some degree

of control over both the

balance and sound of

the chorus.

 

To that end, I suggested

that I be allowed to have

a "vocal interview" with

each prospective new

singer--and that the 

primary goal of the

interview would be to

ensure that the person

could match pitch.

 

The secondary purpose

was to be able to maintain

the right balance between

the sections--i.e., to avoid

having to take yet another

voice into a section that

was already too large

for the overall sound.

 

 

"Vocal interview" sounded

a lot better to them than

"audition"--so we invited

each applicant to sit in on

a rehearsal--after which

they were asked to sing

the first few lines of

"My country, 'tis of thee"--

and to sightread from a

piece they has sung in

that evening's rehearsal. 

 

As a result I was able to

take those singers

who could make an

actual contribution to

the chorus--and give

some direction to those

who needed instruction

in voice and/or musicianship--

for the latter, I developed

a list of "recommended

teachers" in both areas--

and suggested to those

auditionees that they should

get some instruction in

whichever area they

needed help--and that

they could sing for me

again when their teacher

thought they were ready.

 

Put simply, it worked--

there was no backlash--

and no perception that

the chorus had become

an elite or overly-discriminating

organization--many of

those who did not pass

the interview did take

lessons--came back--and

were accepted into the

group--I was able to

achieve a much better

balance--and we had

a very good time

musically for the next

three years together.

 

Best wishes for finding

a solution to this issue.

 

 

Cordially,

 

Thomas Sheets, D.M.A.

Diana

 

I have done something similar as to my friend Thom, and still do.  

 

I am in a "large" presbyterian church but when I started the church was much smaller in membership and in typical, 1960's era, narrow, "A" frame sanctuary.  After I arrived as the first, full time music director, we began designing a new Sanctuary with a choir loft to seat 100.  The choir grew beyond the size of the old sanctuary loft and when we moved into the new building we began to recieve singers whose background was, well let's just say "limited" (Q: "Where have you sung before?" A: "Oh, I sing with the radio every morning on the way to work".)

 

Realizing they were in over thier heads many would drop out after a few rehearsals.  For many that was an embarrasing situation that an interview (or Tom's procedure of inviting singers to a rehearsal first) may have alleviated .  That was also a librarian, robe chairperson, membership record and seating assignment nightmare.  

 

But the real dificulty came with those who didn't realize thier own limitations, but relished the comunity and relationships they had found. That really confounded a "come to Jesus" conversation as emotions became a significant part of the issue.

 

I created a FAQ about choir membership, requested that interested singers read that and review the choir calendar and handbook (with membership standards) before requesting a formal "interview" where I would vocailze them, include some tonal memory testing, and look at a score together to determine thier basic literacy all of which I continue to this day.  I did not require current singers to go through the process and I don't re-audition current singers.  But, if they drop-out, or take a leave of absence, I do request a "vocal check" beofre rejoining.

 

Since then (I've been here 24 years) I've establsihed a chamber choir of select, auditioned singers for those whose membership is active in the large choir.

 

I also created a graded choral program (3 choirs for grades K-7) that culminates in an auditioned, treble choir for gr. 8- age 18.  That developed into an auditioned group much in the same manner of the adult choir.  The process is not a typical audition--I invest a lot of time meeting individually with the singer and the parent in the room to vocalize, listen to them sing "Happy Birthday" and "Row, Row, Row Your Boat" in 2 parts, and investigate their "score knowledge".  Then I talk through my findings with them and it is usually obvious to both singer and parent if the are issues.  I give them an opportunity to do some study to improve and try again.

 

I do struggle a bit philosophically with an "audition" concept in the general church setting, especially if one doesn't offer an opportunity to develop musical talent and interest.  But theologically I think it is our job to help people find, and develop thier gifts in an honest manner and that takes time, and personal care.  I really think that is key to amatuer, musical settings. So I've always tried to do what I can to provide instruction, short-term classes or workshops on vocal production and musical literacy, and training choirs.

 

I don't have a "training choir" for adults without the appropriate background and ability to sing in worship but I do invite those whose potential and passion are balanced to sing rehearsals for training, record rehearsals, seek part recordings, and independent vocal study and re-test them (as Tom does, by asking them to sing a part alone from a recent piece sung in rehearsal, in addition to my usual process).  To be honest, that has mixed results--probably 50/50 of those that are persistent and develop, and those that don't.  I have found that most people don't realize the lack of thier ability to sing a part alone and get a an inflated opinion of thier singing ability when they sing in a section so one has to deal with "I am fine when I am singing with others".  But that is another story, and since this is already an epistle, I'll stop here and wish you the best, hoping this might be of help to you and perhaps others!

 

Scott Dean

Bellevue Presbyterian Church, WA

belpres.org

 

 

 

 

 

 

 

 

I direct a small (15-25 voices) unauditioned community chorus. Although anyone is welcome to sing (and we do get tone-deaf singers from time to time), we sing a fairly challenging repertoire a cappella, and we have attendance requirements, so people who feel they can't handle the challenge tend not to stay. This has allowed us to  both be open to everyone and raise the singing and musicianship quality (up to a point) over time. I adjust the repertoire for imbalances in voicing (for example, using a lot of SAB or SSATB, depending on the makeup of the group). It has been a pretty good compromise for us.

My situation may be a little different from the typical adult community choir, as the average age of my singers is about 85 or so.  I direct a non-auditioned seniors choir, GoldenTones Vocal Ensemble, made up of residents from a couple of "retirement homes."

 

Althought we're non-auditioned, we DO use a screening process, and I rely on the activities directors of the facilities to assist with this, since they are more familiar with the individual residents.  Basically, we screen for two things:  1) can they hear well enough to hear me and the piano during rehearsal? and 2) are their cognitive abilities such that they can listen to and understand direction?

 

I take everyone, regardless of prior experience.  I have a former professional opera singer, several active and former church choir members, and many who have never sung in a choir before.  I work with what I have, and we all learn together.  

 

So far (we're in our 5th year), this has not caused any issues.

 

Lana Mountford

Bellingham, WA