Stop, Look, and Listen:

Abstract

An old railroad crossing warns: "STOP, LOOK, and LISTEN," but it is equally applicable to the choral endeavor. It is those final moments before the music begins that make all the difference. If you take the time right then to stop, look, and listen, many choral disasters will be averted. In this essay, I will focus on the director's role. Singers will learn how to do their share of the work next time. I. STOP! Choir directors are always in a hurry. How often do we jump up in front of the choir, open the music, give the pitch and away we go? How often do we wonder why everything crashes and burns around the fifth measure? The first step is simply to stop. Slow yourself down. Take the time to make sure that your music is in order. Take the time to settle your own breathing. Take the time to consciously let go of the tension around your eyes and open your ears. Yes, you have the time to do this because it can be accomplished in less than thirty seconds. Doing this simple step will set you free from the chaos that may be surrounding you. If you're in rehearsal, there may be singers fluttering around with their music, adjusting their chairs, searching for cough drops, or complaining about how far they had to walk from their cars. Your demonstration of poise and recollection won't be lost on them. Instead, it will radiate out towards them and help them pull themselves together. (The back row of basses is often immune to this, but don't let that deter your efforts.) Ideally, the rustling, shuffling, and chattering will stop and attention will shift to you. If it is the beginning of Mass or the start of the offertory or communion chant, you need to move into place with enough time to do these steps and not cause unnecessary delays. Even if your choir is relatively settled down, there can be sonic and visual distractions behind or next to you from crying children and wandering ushers. You don't need to stand like a soldier at attention, but an easy and confident posture will reassure the singers that you know what you're doing. It will also ensure that you are really one hundred per cent "there." After you've taken that minute to stop and get yourself centered, it is time for the second step--looking. II. LOOK! Take a moment to look at the music in front of you. For openers make sure you're actually looking at the piece you wish to perform. Review the first several measures and remind yourself of the key, the tempo, the structure of the motet, chant, or hymn. Sense the movement of the work internally before you start your singers. If you are directing the piece without a score, think through these steps. Only a few seconds are needed. Now look at the choir. Truly look at them and don't simply see a herd of singers. Acknowledge them as individuals who have taken time from their own lives to bring sacred music to life. It is neither necessary nor desirable to make "goo goo" eyes at the choir; however, this connection is essential. Choral music, whether it is created around the campfire or in the world's greatest cathedrals, is a collaborative project. If you have had the good fortune to sing with a great conductor who truly connects with his or her singers, take a moment to recall the experience. Yes, it was hard work, but it was joyful work. It was tiring, but it was a happy exhaustion. You found yourself singing, listening, responding, and performing at a higher level than you thought possible. See if you can remember the moments immediately preceding the singing. It's those last few seconds when the conductor sends the message of "engaged optimism" to the singers--and it's all done with a look. [ILLUSTRATION OMITTED] If your singers are not truly engaged with you in this work, you will never achieve the result you desire. Instead, you'll either drag or cajole your singers from the beginning of the piece to the end. …