Choral

I’m writing this post (or maybe posts, I don’t know how much this will develop) not because I have answers, but because I have questions. The need to feel a sense of belonging is one of the more fundamental levels in Maslow’s Hierarchy of Needs, and has received in-depth attention as to how it operates in organisations in Daniel Coyle’s The Culture Code. (And how this plays out in choral rehearsals is the subject of my article in Choral Directions from a couple of years back.)

So, the general understanding of what a sense of Belonging feels like, and how it is generated, is in place. My questions arise from my own experiences and conversations with friends about their experiences. It’s not a huge sample I’m working from, but it is big enough for some striking patterns to emerge; I’m confident that where I draw on my own experiences to theorise about wider things in this context that it’s not just me, other people have been through very similar experiences.

After my first recent post on voicings for mixed barbershop choruses, I received a message from a singer who sings in both male-voice and mixed-voice choruses asking about practical advice for developing his upper range. So that guarantees that I have at least one interested reader for this particular blog post.

As is so often the way, a couple of headline points will be useful to start with before heading into the nitty-gritty. As I mentioned in my post on advice for older voices, range works very much on a use-it-or-lose it basis, so if you don’t regularly visit the outer edges of where you can currently sing, those edges will move closer together. You might not (probably won’t) need the extremes in much actual repertoire, but by keeping in touch with them you give yourself headroom for the rangier passages in your music.

Today’s title is the subject line of an email I received recently from LABBS Chair, Natalie Feddon. She had been out and about visiting choruses, as is her wont, and had met with a group of ladies whose average age is a shade over 80, and asked me on their behalf if I had any technical advice for their singers, with an eye also to supporting the many other association members round the country who are singing joyfully into their later years.

So, the first and most important thing, they are already doing: keep singing! Singing is like any other skill: the best way to maintain it is to use it regularly. That said, both physical and cognitive capacities do become more fragile with advancing years, so things we once took for granted might over time need a little more care.

So, I’ll start with a general principle, and then make some specific practical suggestions.

I had an email recently asking me for some advice on sourcing singing lessons, and as is my wont I’ve decided to anonymise and answer publicly, as this person won’t be the only one in the world with these questions. There are some specifics to their circumstance that I’m obviously omitting from this post, but as they know what they are, they’ll be able to see how my general points come in response to their email.

The first question was: how much can and cannot be done over Zoom? My correspondent has been having some online coaching, and when she had a chance to meet her coach in person, they discovered a number of things that hadn’t been diagnosable remotely. I think here the questioner has largely answered their own question! My experience with online coaching, particularly as it relates to the use of the self (as opposed to matters of musical understanding, which survive the medium better), is that it can do quite a lot but will always have less depth than in-person work.

I mentioned a while back that I’ve been practising the piano regularly in 2022 for the first time in years. This has entailed a combination of reconnecting with past pianistic past skills gone rusty and developing skills in new ways that weren’t accessible to the younger me at previous stages in my musical journey.

It has also involved a parallel process of rediscovery and development in regard to the processes of practising. Last time I worked in any kind of structured way at the piano (as opposed to just playing the instrument every so often…and less and less often over the years…) I didn’t have the years of teaching and rehearsal experience I do now. So, I’m finding all kinds of interesting interchanges between my life helping others grow as musicians and my own efforts to re-establish some level of competence.

Social media is often a colossal waste of time, but you get an interesting and nuanced discussion on a subject that is both practical and principled just often enough to make it worth keeping looking at it. I’d like to reflect on one such discussion I saw amongst a group of choral directors recently, as the various contributions teased out a range of perspectives on a thorny question.

The question was whether a British choir should assume Puerto Rican accents to sing songs from West Side Story. A director had asked their choir to do so, but some of the choir’s younger members were ‘appalled’ at what they considered a racist request.

Some of the participants in the discussion supported the conductor on the grounds of musical authenticity. It would sound silly in choral British accents, they contended, and recommended reference to the original film as a guide. (Though I’d think reference to the recent remake would be a better guide from this point of view, since it uses actual Latinx actors for those roles, not white actors in brown-face as many are in the 1961 version.)

I don’t know if there has been any attempt to gather data about the overall state of choral singing since covid, but all the anecdotal information I’m coming across suggests that choirs are mostly back up and going, but depleted. A few groups didn’t make it through and disbanded – not necessarily directly because of the pandemic, but the stresses of the situation brought underlying problems to breaking point. A few groups, meanwhile, have come back with increased numbers and are facing the enviable challenge of integrating a high proportion of new singers all at once.

Most, however, seem to be reporting a drop in numbers of about 30% from pre-covid levels. The first ones lost were those who opted out during the zoom era, either finding the whole online rehearsing thing presented too many obstacles for them, or dropping out after a while because they found the experience unsatisfactory. Some of these singers have come back on return to live singing, but not all.

Having shared some of the background to The Vocal Freedom Project in a previous post, I thought it might be helpful to explore in a little more depth what I mean by the phrase ‘vocal freedom’ in this context. It is one of the ideas that is both multidimensional and holistic – you can think about it from a number of different angles, but in practice they all work together in a single, unified experience.

The Physical Dimension is the most obvious, in that it is the one we are most likely to directly perceive in ourselves and in others, both visually and aurally. We find physical freedom by shedding extraneous muscular tension – that is, muscular engagement that isn’t doing anything productive. Tongue, jaw, neck, shoulders, glutes are all areas we tense up when under stress then never quite loosen off again when the immediate stressor goes away. Our bodies get locked up, our breath becomes shallow, and we hear this in our voices as strain and loss of resonance. Vocal Freedom Project workshops start with the body as the dimension which is both most accessible and usually the most urgent to address.