What lies behind us and what lies before us are tiny matters compared to what lies within us.

I cannot believe how long it has been since I posted to this blog; overtaken by events as always. I must do better this year.

As you probably have heard I am currently undertaking the re-audition process with Bournemouth Male Voice Choir - it has been a fascinating, enlightening and fulfilling experience thus far with the members on the whole acquitting themselves well and showing much more in their voices than perhaps they knew they had.

The process however has drawn me to this site and I want to talk about something that is difficult to explain but is vital to us taking the next step of our development, that is confidence. Confidence in what then?

• Confidence in singing the first note absolutely securely
• Confidence to sing "out" - (note I didn't say sing loudly)
• Confidence to know you really can sing long phrases
• Confidence to sing high (or low) notes without tightening up
• Confidence to give your all to an expressive and musical performance

So........ lets look at these and try and pin something tangible to each of them

Singing the first note absolutely securely is something which I know troubles lots of amateur choristers. From my experience of these things I notice that this is generally caused by two problems (for the purpose of this article I am assuming that there are no significant problems underlying such as a poor ear). The worst of these is poor preparation; it amazes me how often I look round choirs as the opening chord is given or as the introduction is being played and see choristers who clearly are not concentrating on the music.

You must be thinking about what you are about to sing beforehand and (if you will excuse the hippy phrase) visualise the first phrase, the shape and the meaning. But for practical measures - remember to breathe in early, breathe in rhythmically, breathe in low down and hold the breath in place just before you sing. Don't let in all out on the first note but set the stream of air going just before you place the first sound right on the first beat.

The second difficulty is confidence - you must just do it!! Don't worry or think to much, in rehearsal especially just follow the practical points and sing with confidence.

As for having the confidence to sing out - there is a lot of tosh talked by choristers about blend and singing quieter than those around you and suchlike. The important things to worry about in terms of blend are accurate intervals and tuning and uniform vowel sounds. Each chorister has and important role to play in the overall sound of the choir, every last one of you is vital to the choir - play your part confidently and when you are singing quietly do not apologise for the quiet singing, sing with even more projection, with even more "forward tone"

Long phrases are dealt with in lots of different ways, mostly through improved breathing techniques, I have talked about this in some length elsewhere on this site so here I just want to talk about having the confidence to do it. The key to being confident is to know you can actually do it!! And as for you guys, deep down you know you can do it. In our warm up exercises you can always sustain chords for 24 steady beats. That is six bars of a pretty slow 4/4, so all you need to do to work up your confidence is to remember to apply exactly the same principles in your singing as you do in your vocal exercises.

The problem of high notes in the context of this discussion can be dealt with in three words Trust trust trust. Don't try to control the note. Control everything you can - i.e., the breath support, the open throat, the raised palate, the relaxed jaw, but don't try to "grab onto" that note and make it come out. Instead, just open your mouth, start the breath, and think the note, and let it happen. You will make mistakes at first but just believe, you will be amazed at the things you can achieve. Don't change anything once you've got it started correctly - don't start pushing more breath through the folds, don't try to refocus placement, or put "spin" on the note.

On a practical note why not play with sirens and yodels. I find the best way to feel how the highest notes are supposed to feel (and how they should sound in my head) is to do sirens and yodels to get those notes first. The idea is to just touch on the highest notes quickly the first few (100) times. Then to sustain them for a short period- without making any changes to anything. If you've hit the note right when you siren or yodel, keep exactly that amount of breath support - no more, no less - exactly that mouth, facial, and body posture - no changes - and just go ahead an sustain briefly at first, over and over, until you can do it consistently, and then a bit longer, and again repeat until it's consistent.

Never reach for a high note. Never "hit" a high note. Always "gently land" on a high note - imagine your voice is a bubble riding a steady wave of breath. The high note is on the surface of the breath - the voice lands gently on it, then bounces off again. When you vocalise, vocalise as high as you can and then think about going a half step or whole step higher. Better yet, don't look at the piano at all - just sing up and up and up (yodels, sirens, arpeggios). Let the notes just bore their little laser-like hole through the top of your skull each time and shimmer out into space. Don't try to hold them inside your head. Play around with these images and see if any of them help you. "Conquering" high notes is as much a psychological coup as a technique coup.

The final confidence builder needed is in terms of performance - I'll keep this short - this is entirely down to you - I want you all to let go - feel the music - enjoy the chords - enrich yourselves with some of the delicious texts that we sing - smile when you are happy - let go your feelings into the music and convey the meaning of the texts to the audience, be it loss, love, fun, grand theological ideas - whatever - there are 50 odd of us on stage at any time, just lose your self in the music for two hours - try it - you might even enjoy it!!

And finally - a video - this is by an American voice coach as an introduction to his lesson programme, I don't agree with all of what he says, I don't agree with much of it but the idea of releasing that which is within you that he is talking about has some value. If it clicks with some of the concepts above that I have been talking about then I am happy for you to watch. If it is useless to you, well, no harm done!

Finally, finally - if you have any thoughts email me or leave a comment, it would be nice to know if these posts resonate with you in any way.

Our doubts are traitors, and make us lose the good we oft might win, by fearing to attempt. ~William Shakespeare, Measure for Measure, 1604

Memories, light the corners of my mind..

I want to thank Jocelyn Lavin for her excellent tips on memorising scores which I have shamelessly adapted for our help in this blog. Jocelyn is exactly the sort of chorister every choirmaster would want in their choir - gifted and committed!!

Singing from memory

The most important starting point is not to say “I can never learn things from memory, I find it too hard” or “I could learn it if I had time, but I’m far too busy”. There are ways round both these things. You need to want to learn whatever it is!

The best way to learn to sing something from memory is to sing it from memory.

That means you need to take every possible opportunity to try singing from memory.

Try this - sing along to your music in the car on every journey you make, until you know it. (This method will result in you knowing the whole thing far more quickly than you might expect.) It’s best if you can sing aloud, because then muscle memory will start to kick in, but there’ll still be some muscle memory if you’re just mouthing the words.

Sing from memory in rehearsals. Just try one line at a time. You can glance down at your score after the line to check what you got right and what you didn't. You'll find that you already know more than you think you do, and each time you’ll improve. Do not put your score away though – the score is vital in rehearsal!


If you find you can usually remember the notes fairly well but struggle with the words try writing the words out on their own. Often, when you do this, you notice patterns in the words (e.g. rhymes) for the first time, and patterns always help with memorising. And don’t just write them out once - do it a few times, and after each time, recite the words as a poem.

So, in summary, to learn music from memory:

• Try singing it from memory every chance you get, don’t wait till you know it
• Sing along to the part learning CD on car journeys (and silently on the train!)
• Sing from memory (a bit at a time) in rehearsals
• Write out the words and spot patterns
• Keep a copy of the music with you and snatch a few minute looking at it when you can.

Smile when you're singing!!! YUCK!

Most male voice choirs are a miserable looking bunch! No don't be offended it's true!. Lovely warm engaging chaps who are quick to laugh, smile and crack a joke are instantly turned into stone faced monuments when placed in a male choir and asked to sing in front of an audience.

However, I am not in favour of the cheesy grin displayed by most choirs who are "trying" to be entertaining - I refer specifically to four part male voice groups who sing predominantly unaccompanied music with the melody usually in the second tenor line!

What I would like us to aim for is an expressive meaningful look on our chops that in some way conveys the music that we are singing. I can't imagine that during Beati Mortui a rictus like grin would be thought appropriate even by our hairdressing colleagues but our somber visage during "Five, foot two" is a bit embarrassing really.

So for next season, here is what I would like you to do for me!

Lets show some emotion on our faces as we sing - express the words during each song as you would if you were singing a solo. Honest emotion will help us communicate the song to each member of the audience and make the whole experience more enjoyable for all concerned.

And when do we smile???? After each piece is completed have a look round the audience and smile at them. The smile says "Thank you for listening, I'm glad you enjoyed the song and I love your applause!" There is safety in numbers so don't feel embarrassed doing this - try it for me, you might even enjoy it!!

I attach below two examples of honest emotion expressed by a male choir whilst singing their music. I attach two contrasting items from the BBC show "Last Choir Standing", both sung by Only Men Aloud. These fabulous arrangements are sung with utter commitment by the guys, they are technically proficient, wonderfully musical and so very engaging. I was a sceptic about Last Choir Standing but Only Men Aloud have added something that the rest of the show simply doesn't have.

Hope you enjoy these - please feel free to feed back through the comments.

The greatest songwriter of the last 100 years

It's the off season and I feel like digressing.........

Not too far of the beaten track here but in controversial territory for a "proper" musician - who am I talking about? This songwriter is American and to me is not only the greatest songwriter of the last 100 years but is also the greatest American songwriter.

His exquisitely crafted songs have drawn on early rock & roll (particularly doo-wop), reggae, salsa, jazz, gospel, blues, New Orleans, and African and South American music. In an unassuming, distinctive voice he speaks of matters personal and universal with attitudes ranging from the whimsical to the reverent.

He stands apart from most songwriters of his generation in that he has created a wide-ranging body of work in which the purely musical vocabulary - of style, instrumentation, and sounds - is as evocative and as expressive as his lyrics.

So, who is it? Jerome Kern, George Gershwin?

No, its Paul Simon.

From his first harmonising with Art Garfunkel to his collaborations with Ladysmith Black Mambaza, Simon's work stands head and shoulders above his generation, unique in his ability to touch the hearts and minds of audience.

So, I hear you ask, what is this to do with a choir. Very little directly I suppose except for this - this is an artist committed to reaching out to his audience, conveying meaning from each inflection, drawing deep inside to communicate his message.

We can learn a lot by listening to all styles of music - try some Paul Simon for size.

I include here a little known track - the subject of this song was Paul Simon's English girlfriend Kathy, the song "America" features her and it is said she was his muse during his time in England.

The text is beautiful, as is Simon's delivery.

Enjoy



I hear the drizzle of the rain
Like a memory it falls
Soft and warm continuing
Tapping on my roof and walls

And from the shelter of my mind
Through the window of my eyes
I gaze beyond the rain-drenched streets
To England where my heart lies

My mind's distracted and defused
My thoughts are many miles away
They lie with you when you're asleep
And kiss you when you start your day

And this song I was writing is left undone
I don't know why I spend my time
Writing songs I can't believe
With words that tear and strain to rhyme

And so you see I have come to doubt
All that I once held as true
I stand alone without beliefs
The only truth I know is you

And as I watch the drops of rain
Weave their weary paths and die
I know that I am like the rain
There but for the grace of you go I

Sunset Poem

A member asked me the other evening why we don't sing "Sunset Poem". I smiled sweetly, made a few appropriately polite remarks about pressure of other repertoire and not being able to see where it would fit into the general run of our concert commitments - this is perfectly true.

However, underneath all of this there is a simple underlying reason why we don't do it.

I hate Sunset Poem.

I find it the most odious item that I can possibly ever be confronted with in a male choir programme. Why so? I hear you ask; How can a few short verses of "Under Milk Wood" set to a perfectly reasonable chant by Troyte be so offensive?

Well, this is because of the horrendous way that almost every choir I have heard sing it.

Regard the text....

Every morning when I wake
Dear Lord, a little prayer I make,
O please to keep Thy lovely eye
on all poor creatures born to die.

And every evening at sun-down
I ask a blessing on the town,
for whether we last the night or no
I'm sure is always touch-and-go.

We are not wholly bad or good
who live our lives under Milk Wood,
and Thou, I know, wilt be the first
to see our best side, not our worst.

O let us see another day!
Bless us all this night, I pray,
and to the sun we all will bow
and say, good-bye - but just for now!

This text should be sung in speech rhythm - that means at the pace of good well-measured speech and in a similar shape. So this might mean for the first verse something like

Every morning when I wake
Dear Lord, a little prayer I make,
O please to keep Thy lovely eye
On all poor creatures born to die.

Compared to most performances that go something like

Every morning when I wake
Dear Lord, a little prayer I make,
O please to keep Thy lovely eye
on all poor creatures born to die

Hard to represent on the page but you must have regard to the meaning of the text and it is very poor form to accent the word “I” in tastefully performed Anglican chant!

Why have I just ranted about this – well I feel quite strongly that we don’t as a whole pay enough attention to the important things in the male choir world. We are very obsessed with showering the choirmaster with saliva on final “t’s” and accenting inappropriately the word contempt wherever it appears but singing with style and attention to the words and “painting a picture” seems to slip past most of us.

Let’s concentrate on

Performing each phrase appropriately by thinking about the meaning of the text.
Looking after each interval - making it just perfect.
Singing clean vowel sounds, unpolluted by affectation
Concentrating on the phrase at hand and by doing that remaining focussed on the moment, not worrying about that difficult phrase on page 12 (or whatever)

By doing those few things above we should think all the time about interpreting the music not just producing a collection of chords.

Oh, and as for Anglican Chant – this is fun!