Rehearsing

My title today refers to a paradox relating to Christmas repertoire in general, rather than to the specific song of that title. But now I’ve mentioned it, I am going to be self-indulgent and get a few things off my chest.

1. Why the definite article? Other Christmas songs are available
2. Nobody dresses up like Eskimos for Christmas. For sure there are all kinds of wintry clichés associated with the festival that have little or nothing to do either with its pagan origins or its appropriation to celebrate a Palestinian-born Messiah. (For example, I don’t recall the gospels mentioning penguins along with the ox and the ass). But the Eskimos line is clearly there for no other purpose than to rhyme with ‘Jack Frost nipping at your nose’.

   And you wouldn’t think it should be too hard to find something else, less absurd, that would fit. Chose, crows, doze, froze, goes, hellos, joes, lows, pose, prose, rose, sews, shows, suppose, toes, those, woes…all those possibilities…

   Yuletide carols being sung by a choir
   And played through speakers made by Bose

   Okay, so this doesn’t pass the ‘less absurd’ test, but it is likely to be more factually accurate.

3. Everybody knows that candles and some fairy lights help to keep the season bright. Turkeys and mistletoe have their seasonal uses, but not typically as lighting solutions.

As I write this title, I realise there’s a pleasant self-referentiality in revisiting this particular subject. Last time I wrote about it, my point was that, instead of getting frustrated with their singers when they find themselves repeating instructions, a director could more usefully consider why their instructions aren’t working and explore different ways to achieve their ends.

Today’s thought shares the point that it is counter-productive for directors to get frustrated by saying the same things week after week, but suggests that this is because sometimes repetition is exactly what is needed.

I know, I know, it’s a theme I keep coming back to. But along with the physical posture and gesture a conductor uses, their choice of words to address their ensemble makes up the much of the fabric of lived experience in that group. And even the most disciplined director who manages to minimise their verbal instructions needs to say things sometimes.

So, my usual tack through this theme is to encourage directors and coaches to give positive to-dos rather than name the problem. Don’t verbalise the diagnosis (‘delivery is a bit ploddy’), go straight to the intervention (‘sing with more flow’).

Keep doing this, it’s good advice.

When I wrote recently about my theory of affection, I had in the back of my mind a particular application in the relationship between choir and director. I was thinking about how, if a conductor expresses frustration with their choir’s progress (or, rather, the lack thereof), you know that unless they find a way out of that place, their tenure with the choir is likely not to last.

It’s a common enough problem – all choirs go through phases of rapid development and of treading water or even retrenchment as their individual and collective circumstances change over time. And part of a choral director’s resilience is weathering the patches when everything stalls with enough patience to get through to when it all picks up again.

But thinking about the conductor-choir bond in terms of affection shed some new light on it for me. If, as I suggest, affection the results when someone lets you make a difference to them, then there is a particular danger when a director feels they are unable to make a difference: they will start to care less.

One of the great rewards, as I have remarked before, of working with amateur musicians is that you get to meet and learn from professionals in all kinds of other arenas. I had one such learning experience during my trip to Germany in April, when I had the opportunity to chat at some length with Stef Schmidt, who works, between her intensive bouts of barbershopping, as the director for quality in a manufacturing company.

She was very interesting on the subject of how to engage people in solving existing problems, and, more importantly, in getting them to help prevent future problems before they happen. I immediately wanted to interrogate her on how she uses these skills in her rehearsal processes, and this post is my opportunity to reflect on the notes I took after our conversation.

I spent Thursday evening with the Music Team of Fascinating Rhythm chorus in Gloucestershire, sharing a bespoke workshop based on my themed offerings of Musical Music Team and Effective Rehearsal Skills. Thursday is their regular chorus night, so this was a development opportunity not just for their MD, section leaders and assistant section leaders, but also for the team they had deputised to run the rehearsal in their absence.

As the evening progressed, how to pay a compliment emerged as a specific technique to hone. Role-playing section rehearsals to explore the Intervention/Enforcement cycles, it became clear that the team were already quite adept at identifying appropriate interventions, and they took quite readily to framing them briefly and positively. The apparently simpler task of starting off by saying something positive about what they’d just heard took more work.

Chip and Dan Heath’s Switch: How to Change Things when Change is Hard reports a useful analysis of the emotional shape of projects.* At the start, spirits are high. As you get stuck into the project, people start to get bogged down – things go wrong, unforeseen obstacles emerge – and the initial positive emotional tone drops. As you get towards the end, when you’ve worked through the problems and the finish line is in sight, spirits rise again. These three phases are labeled Hope, Insight, and Confidence.

At last year’s A Cappella Spring Fest I ran a session for choir members about how to get the most out of rehearsals. It was partly about how to prepare for and review rehearsals in between to consolidate, but also about things you can do during the rehearsal itself. One specific item we covered was about asking questions in rehearsal – when and how to do it. I’m coming back to write about this now because I’ve had several conversations about it recently and so it seems a good moment to share those discussions.

From a director’s perspective, questions from choir members are a mixed blessing. On one hand they give you really clear information about the singers’ needs, and how the whole process is being experienced from within the ensemble. This is information we want and need. On the other hand, they slow the rehearsal down by increasing the talk:music ratio, and their timing often distracts the whole choir from the rehearsal focus of the moment.

So, the question is: how do we gather that vital information without breaking the flow of the rehearsal?