Coaching

Coaching with The Rhubarbs

Classic warm-up pic, this one with natural lightClassic warm-up pic, this one with natural light

The weekend saw me heading off to Germany to work with barbershoppers in Bonn. The plan had been to spend Saturday afternoon with quartet Note-4-Note and Sunday with their chorus, The Rhubarbs, but the winter’s cold viruses had other ideas, and so I ended up with rather more time for sight-seeing time than usual. The Drachenfels makes a wonderful afternoon out, but it was still a pity to miss working with the quartet.

Looking back on the chorus day on Sunday, I am quite astonished at how productive it was. We visited areas including vocal skills, aural skills, story-telling/characterisation, directing skills and stage-craft, as well as the regular problem-solving of details in the repertoire that a coaching session would usually cover. Oh, and re-stacking the chorus by voice timbre.

Continuing the Journey with Bristol A Cappella

Warm-up pic with hats and coatsWarm-up pic with hats and coats

After my visit to Signature last week, I took the train across to Bristol for another session with my friends at Bristol A Cappella on the Sunday. They had spent the Saturday working with performance coach Sandra Lea-Riley, so I came prepared to spend at least some of the time helping them process and consolidate what they had covered with a coach they had just worked with for the first time. It’s great to get input from different people, but it’s important that we don’t stand in each other’s light.

Sandra had done a great job with them – really transformed their levels of individual expressiveness – and we had some useful discussions reflecting on how she had achieved it, and how they could continue to develop these skills and transfer them into the rest of the repertoire. She had also identified a need to develop their techniques of articulation/enunciation, which chimed with their feedback from the Nailsea Festival in the autumn, and so helping with that became my primary task for the day.

Developing New Music with Signature

Name that tune...Name that tune...

Saturday was the second of a series of visits to Signature Singers to work with them on a new arrangement they are preparing for LABBS Convention in October. Last time I saw them, they had only just wrapped themselves round the notes and words, so we were doing deep groundwork, building the vocal and musical foundations for the song to be built on.

Two months on, and things were, unsurprisingly, much more developed. We still had a little undergrowth clearing to do in places, especially coordinating parts at structural boundaries and tempo changes. But in general we were getting much more into the expressive detail.

Gesture is a well-documented rehearsal technique to help singers feel musical shape, for purposes of both accuracy and expression. (Ramona Wis, for instance, wrote a splendid PhD dissertation on this, using Lakoff and Johnsons’ theory of metaphor.) It has all kinds of benefits – helping the singers get inside the musical effects, helping them coordinate to each other, allowing the coach to identify who needs extra help to find their way into it.

Coaching The Venus Effect

VenusEffectMy last coaching commitment before fleeing the country at the end of November was a coaching session with The Venus Effect. I didn’t have time to blog about it at the time, so this post doubles as a coaching report and a test of the comprehensibility of my notes made in haste at the time.

We had talked at the European Barbershop Convention in October about working together, and I was eager to start before my big trip as there were some specific techniques I wanted to share that were the kinds of things that yield results by regular use. So the earlier we got them into their practice routines, the better.

Bristol A Cappella: Next Steps

And this is why I chose that warm-up pic for my last post...And this is why I chose that warm-up pic for my last post...

Last time I worked with Bristol A Cappella, they were preparing for the mixed barbershop chorus contest at BABS Convention in May. This performance went very well, and they were rewarded with significantly higher scores than their first attempt the previous year. Buoyed up by this success, they are striding purposefully into the future with plans to participate in several competitions over the next six months or so.

The first of these is the Nailsea Festival later this month, in which they are entering two classes. This visit we revisited briefly their material from BABS for the barbershop class, but focused most of our efforts on a set of two songs, arranged and directed respectively by their director Iain Hallam and their assistant director, James Horsburgh.

Exploring New Music with Signature

There is a reason I chose this warm-up pic...There is a reason I chose this warm-up pic...

A week after the extravaganza of new music that was the LABBS/European Barbershop Convention, I was off to start work on one of next year’s offerings. Signature Singers recently commissioned an arrangement from me to bring to contest in 2018, and Saturday was the first of several planned sessions to start work on it together.

Signature have been operating without a director since the start of 2017, and whilst they are still on the lookout for an appropriate person to take on that role (hint: if that’s you, get in touch with them), they have decided not to let the absence of a director stop them from making music now, and from making plans for music in the future. So, Plan A is to take this music to Convention next year with a director appointed in the interim; Plan B is to take this music to Convention without a director.

Holland Harmony Education Weekend: Further Reflections

A drawing of what Adam was doingA drawing of what Adam was doingA few weeks on, and I’ve had time to untangle some of the notes in my thinking book about the Holland Harmony education weekend back in September. As I discussed in my main report on the event, both the teaching process and the interactions with other coaches offered manifold opportunities to grow. So here are some of the things I learned that are going to be useful in my ongoing quest to help people make good music.

Just Voices

JustVoices

Saturday brought me a day-trip to Bromley to work with Just Voices, a women’s a cappella group. There were a few familiar faces of people I’d met in other choruses – not least their director Cathy Davies who I’ve most recently seen in Strictly A Cappella and Frisson - but mostly these were new friends waiting to happen. So I was particularly pleased to receive the feedback that I ‘wasn’t as scary as some people’. If I need a new strapline, that one’s certainly on the shortlist.

The afternoon fell into two major themed areas. We started out with a music-focus, delving into the detail of the songs, and engaging with different elements in response to the needs of the moment.

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