Coaching

Zooming along with Route Sixteen

Borrowed from their facebook pageBorrowed from their facebook page

Wednesday evening saw me virtually heading across to the Netherlands to coach my friends RouteSixteen in preparation for the Holland Harmony Convention this spring. As with last time I worked with them on contest prep, I had intended to take a screen shot to share with you, but they turned up in costume so I didn’t so as not to give any spoilers.

Much of our work focused on the theme of continuity of sound. This is of course both a function of voice-technical and a musical matters, and I find it helpful to triangulate between the two dimensions as we work, connecting up what we are want to achieve with how, practically, to achieve it.

SWITCHing it Up

Just remembered to catch a screen-shot before we got into the detailJust remembered to catch a screen-shot before we got into the detail

I spent a happy couple of hours on Monday evening coaching SWITCH quartet from the Netherlands. I realised as I came to write this post that one of the things about online coaching is that you don’t necessarily know exactly where the people you are working with are based, but as I had met one of them previously in Dordrecht, that is where I imagined them!

We were working on an arrangement I did about 7 years ago, and it was interesting to revisit it with them. I remembered a good deal about how and why I had made the bigger-picture decisions, and also found the individual lines quite easy to sight-read (which may be due to familiarity, or because I like to write lines I find sight-readable!), but there was also a sense of both discovery and re-discovery on working through it with them.

Workshopping with Junction 14

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I spent Saturday in Milton Keynes where I had been asked to deliver a workshop on Vocal Health and Developing Resonance with Junction 14 Ladies A Cappella. I have worked with the group every so often over quite a few years, but always previously in the more standard coaching format. It made an interesting change to approach the day through a single theme. It was overall probably physically less tiring than a coaching day – there were many more opportunities to sit down – but also more cognitively tiring as we were dealing with information as well as skills.

The day was structured around exploring the fundamental elements of vocal craft, introduced in the order in which one needs to get them established in order to set up the instrument: body, breath, phonation and range in the morning, moving onto the resonant cavities in the afternoon. Each involved some sharing of concepts, some exploring in exercises, and some application to repertoire.

Finding the Candy with Heartbeat

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It is apparently over a decade since I last worked with Heartbeat (where did all that time go?!), and I see that back then I was remarking on the number of new faces that had arrived since my previous visit. This time I was struck by how many faces I recognised even after all this time; I don’t know how much of a chorus’s story you can infer from just two snapshots, but it does feel like there’s something in there.

Anyway, I remembered the chorus as being a lot of fun to work with, and that remains true. You can tell there’s a fundamental sense of up-for-it-ness in the room if on the first song you start work on you ask them, ‘Shall I be a complete bitch right from the get-go?’ and they all nod cheerfully. Accordingly we started out with an exercise that mercilessly reveals any and all flaws in rhythmic precision and found ourselves 10 minutes later with a much tighter execution.

Building Confidence with Celtic Chords

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I spent a happy day on Saturday with Celtic Chords chorus down in Truro, with the remit to help them develop performing confidence. We approached this from a variety of angles; indeed it turns out that all kinds of development activities that you might think of in terms of vocal or musical skills can helpfully be addressed through the lens of how they contribute to performing confidence. And front and centre through all of them was the principle of why we perform: to share the delight that is music, to put joy into the hearts of others.

We started the day with a focus on vocal skills, since security in your technique facilitates security in performance. The essence of technique is being able to do something at will; having that sense of control over yourself means that you feel much less at the mercy of the vagaries of fate. And addressing this first meant that we continued to get the benefit of enhanced continuity of sound throughout the rest of the day.

Being Sensible with Silver Lining

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My title today comes from one of the more surprising bits of feedback I have had after a coaching session. To be fair, it wasn’t actually me that was described as ‘sensible’ (I was as daft as ever), it was the ideas we had worked on. The point was that the singer didn’t feel she had a long shopping list of things to remember, because the ideas fitted in with her existing musical concept of the songs, but her use of the word ‘sensible’ to articulate this point still made me laugh out loud (well, squawk).

My day with Silver Lining chorus had the brief to help them discover more musical opportunities with the package they will be taking to LABBS Convention in the autumn, with its first complete outing at a local festival this month. They already had a clear concept of what they wanted to do with the two songs, so it was a matter of finding ways to help them realise that vision more vividly.

On When to Persist, and When to Forgive…

I’ve been thinking quite a lot recently about the balance between being uncompromising with one’s standards, and about when to let things slide. I’ve been having a number of conversations with people about this, and have also (possibly as a consequence) been particularly aware of it as a question in my own praxis.

Clearly, holding people (including oneself) to a level that you know they can achieve is key to maintaining and developing performance standards. Jim Clancy puts transforming good things that you do sometimes into things you do all the time at the heart of excellence; John Bertalot writes about choral rehearsing as being like pushing a man up a greasy pole.

Building the Arc with Norwich Harmony

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Note that’s ‘arc’ with a C; whilst it was a bit rainy in Norfolk at the weekend, we didn’t need to construct emergency rescue vessels for us and all land mammals on this occasion. But we did have a productive time thinking about expressive musical shape and how it relates to both narrative and vocal legato.

I have visited Norwich Harmony for coaching days several times over the years, but this was the first time I joined them for a full weekend’s retreat. They had an interesting model, choosing a venue that consisted of a number of holiday cottages around a central courtyard and event room. Most of the catering was organised within the groups sharing each cottage, except for a bring-and-share dinner on Friday and a meal delivered by outside caterers on the Saturday.

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