Before addressing the specific topics of the article, let me just ask: was the article complete? All other NATS Journal articles have closed with a list of sources and a copyright statement; this one just cut off seemingly without conclusion. If there is more of it, it would be wonderful to see!
What We Sing
Repertoire is an important choice for both solo singing and choir. The article outlines that choosing pieces for students in choir and solo work must be accomplished with their actual level of development and ability in mind, as well as the consideration of personal vocal Fach. It points out that not only can giving students works that are outside their potential range and preferential Fach be discouraging, it can also be damaging to their developing voices.
Why We Sing
This section of the article deals with the reasons for the required participation of vocalists in ensembles at the university level. It mentions that ensembles do not tend to actually serve the needs of the student, but the other way around, developing a potentially discouraging atmosphere to singers in their development if the ensemble is not meeting their developmental needs as a singer.
What is "fach"? And I agree that "what we sing" is incredibly importanat. As choral directors, it is foolish to plan a piece that is not at the same level as the singers. You're simply setting yourself up for an uphill battle that discourages the singers and may very well end in failure. Play to your strengths as a director!
ReplyDeleteFirst of all, Alicia, stop posting first.... You are making us all look bad! :P Anyhow, nice article Daniel. I think choosing good repertoire is very important. For instance, the St. Matthew Passion has an incredibly difficult range. This piece should not be chosen for any group younger than your top college ensemble. For the "Why we sing" I couldn't agree more. I have been frustrated many times about the way I sing in the choral rehearsal atmosphere.
ReplyDeleteI think rep is really important for the vocal health and the sanity of the vocalists. Choosing the wrong rep can not only be frustrating but also damaging.
ReplyDeleteUnfortunately, I do understand having to make concert decisions way in advance of knowing who will be in your choir but if something is not going to work a director needs to be realist from the start and cut it before it really is too late.
Repertoire is definitely such an important factor. We are all quite advanced singers in chamber choir, yet some have trouble achieving exactly the style Z is searching for in the Bach, for example. This doesn't mean that any of us are more or less talented than the others.. it is simply because our vocal anatomy is all different.. it was like you mentioned: Not many/(any?) singers can perfectly sing all styles- from gregorian chant to Wagner, etc...
ReplyDeleteIt's exciting to hear over and over that private vocal teachers and choral vocal teachers should definitely be working together to create an environment for the overall health of the student.
I very much agree with this article. I feel there are so many times in which a choral teacher selects a piece that their group is not ready for. And maybe the teacher thinks that they can "grow into it," as Daniel pointed out with solo singing, but a teacher has to think of the group as a whole. There will be students who are more advanced, and can easily sing pieces that range in difficulty, but there are others that cannot. This goes especially with high school and collegiate choirs. There are those who are trained vocally and those who merely love to sing in choir, and whose vocal health may not be as advanced. Not all choir repertoire will be able to suit each individual's voice, even though the group may be able to pull it off as a whole. Overall, the teacher must be conscious of the whole group and must avoid choosing rep that could potentially damage singers' voices.
ReplyDeleteI think that in terms of picking repertoire, it is essential to keep the ensemble in mind. If you have a non-audition ensemble that changes from term to term, you cannot base your opinion of the ensemble on what they sounded like previously. As with vocal music, it is better to pick something, at first, that has a limited range and requires no real advanced vocal technique so you can focus on getting good technique on the 'easy' stuff. From there, you can up the complexity of the rep.
ReplyDeleteIt's something we all struggle with for sure. I think singers absolutely have to balance choral singing with private study and private teachers.
ReplyDeleteHaving previously been in choir environments where my personal vocal needs were not met I often feel grateful for the choirs here. I feel I learn so much about my voice in chamber rehearsal and get the opportunity to put what I am learning in lessons into practice.
ReplyDeleteI don't think I agree with the why we sing section. I feel like, in a good ensemble, the singers should be challenged to explore the capability of their voices and learn to use them in the most healthy way. it expands their abilities to be flexible singers. It's up to the singer to use their time in choir to develop healthy habits for their own voices
ReplyDeleteI made a similar comment on the next article that was posted... But I could not agree more with the fact that most choral directors choose their music far too early without having a sense of the groups sound. I think it's fine to pick a few selections and test drive them but I think large, important pieces shouldn't be chosen until you know what type of sound, learning curve and types of voices you are working with. It can be discouraging to students and also damaging to their voices.
ReplyDeleteTHE BACH