Advertise on ChoralNet
Rehearsal Protocols and Section Leader Roles in Community ChorusDate: June 8, 2013 by Michael Dell  Views: 440
Greetings, Colleagues! As I look toward a new year with my 40-member community choral group, my Board is strongly advocating that we set into place some protocols (guidelines, etc.) to help avert excessive chatter, and especially to help curtail occasional musical criticism from one member to another in rehearsal ("You're singing too loudly!", etc.). My position on this is that we are all infinitely nuanced in our interpersonal communications, and there are motivations and shadings of criticism far too numerous to allow for any succinct "once and for all" policy that will totally eradicate ill-spoken remarks, etc. I feel that I should frequently reiterrate some general reminders as to how we want to treat one another, then deal individually with situations brought to my attention, based upon numerous variables, etc. (What prompted the exchange? What was the tone of the remark? Was there a kernel of truth, albeit an ill-chosen way to communicate it?). As a general policy, I feel that a positive, encouraging and nurturing environment should ALWAYS be strongly encouraged. However, I believe that civility of this nature must be, in a sense, "covenantal" rather than to be "legislated", ESPECIALLY when dealing with adults!
A side issue to this is how best to use section leaders within the rehearsal context. Should members of the section be encouraged to jot down any areas of musical questions (part help, etc.), and pass it to the section leader, and at the conclusion of rehearsing that piece, for me to ask the section leaders to express any questions or request part help, etc.? Is it acceptable for a section leader to quietly address divisi questions, etc. within their respective sections DURING the rehearsal? Are note and interpretation questions from anyone in whole group encouraged, or entertained, at least within the early rehearsals of new repertoire? Some have advocated that if the Director does not hear a problem, then their is, in fact, NO problem! However, I'm sure that we conductors often miss issues of uncertainty, etc., buried within a section. How much liberty do you community choral conductors afford your singers in addressing these questions publicly within the rehearsal? Do you ask everyone to save any and all observations and questions until after the rehearsal? AND, do we truly want a policy statement that seeks to prohibit any and all remarks, some of which are quite positive and humorous, and help to build a sense of serendipity and group cameraderie?
I feel that some might wish for me to allow for a policy which would seek to forbid (or, at least, strongly discourage) any spoken word by anyone other than me, during all rehearsals. I feel that there must be some middle ground, but I need help in articulating this! Do you agree, or disagree, and why? Please also provide any links to these subjects in previous threads. I am tremendously grateful for any suggestions! Also, please forward any rehearsal guidelines you may have already developed.
Michael
Replies (2): Threaded | Chronological
Phyllis Everette on June 9, 2013 4:30am
Dear Michael,
i am the chorus manager for a 160 voice chorale, a 40 voice chamber chorus, and a 14 voice women's ensemble...and I have heard it all before. In addition, I'm a singing member of all 3 ensembles. It gives me a unique perspective. You cannot legislate civility. It's ridiculous to assume you can with adults. Each year we have quirky curmudgeons, clueless, but really nice folk, and within the context of the larger chorus, some folk who are there on conductors toleration because he knows what singing means to them. We are fortunate enough to be large enough to let them "hide" within the section. We do not have any rules about talking...just keep it to a minimum. Section leaders are administrative to help me. That being said, with the exception of the tenor section, there are people within each section who become, through a natural process the ad hoc section leaders. Those people ask the more sensitive questions dealing with passage work,etc. however, none of this civility would be possible without the conductors rehearsal pacing. We put up between 9-12performances in a 9 month season so our pace is definitely swift. I would encourage the choosing of a chorus manager as a point of questions about logistics, dress, repertoire order, etc. we also have a chorus master, an excellent musician herself, who serves as the conductors ears during rehearsal. The tone comes from the podium. It's good to have a set of expectations distributed at the first rehearsal but please, no one should stand and deliver the information like a stern school teacher to a bunch of unruly children. They can read. Let them read it. Introduce your chorus manager and explain their function and then sing. Sing and sing and sing...that's why they are there. Keep them engaged and they will be so involved with the big picture (I'm assuming you are not a stop and start all the time conductor-nothing more frustrating for a chorister than to be just getting your feet under you then the conductor stops to fix something small). Problems will take care of themselves with a well paced, productive, fulfilling rehearsal.
on June 9, 2013 2:41pm
Michael
I am the Director of Music at a church, so my situation is slightly different. However, I had some thoughts that might be applicable.
From my perspective, if there were too many rules and I were the singer, I would not think twice about leaving the choir! With my adult choir, I am under the impression that they are there for the community, make music, and feed their faith. I have sung in community choirs where the director every so often has to remind the choir to keep talking to a minimum.
To my ears, forbidding any spoken word by anyone other than myself seems very legalstic and not trusting of the singers. I want to provide a warm, welcoming, fun environment, yet one that has high standards. As much as I can, I try to communicate verablly and non-verbally that I'm there to make music with them as a team, that we are making music together. I very very rarely have trouble with unecessary talking with my adults. They are singing so much that there is simply no time for the singers to talk unecessarily. In the rare ocassion that there is unecessary talking, I just say something like, "can we focus please?" I feel like I have set up a respectful environment, so I can say that. There are times where one of the singers makes a good natured joke based on something in the music or something I say and we have a good chuckle. I would NEVER want to squelch that.
From time to time, I will have singers write down ONE area they would like to work on the following rehearsal. I collect those ideas and work on any places where multiple singers have requested.
I very rarely get questions in the early part of rehearsing pieces. If I do, IMHO, then I have not done my job in preparing the score and clearing up any ambiguities in the score. IMHO, if I have my interpretation firmly established in my head, I welcome artistic questions from my singers. That shows they are actually thinking about the score! I am usually extremely specific with interpretation that when a singer has a question, it's often an important question.
At times, I do get the asinine question, like "Where are we starting?" when I already mentioned it. I try to only say directions once, but I also try to empathize with my adult singers, some of whom probably have had long days at work. However, if I get too many asinine questions, IMHO, I probably need to change my rehearsal technique!
Austen
Applauded by an audience of 1
|
Help support ChoralNet by buying via these links
|
Subscribe to thread
New message
Reply
