Choral Conducting with a Baton: An Invaluable Lesson in Professional Growth Most choral professionals in the field have had the normal set of conducting classes in college or in summer conducting seminars. With many of these conducting experiences, students have been confronted with the dilemma of when to use or not to use a baton. In general, most conducting teachers at the university level advocate the use of the baton when the choral performance requires instrumentalists. The exclusive use of the hands is generally advocated in straight choral performance and in particular, a cappella singing.
This June, I attended the Fifth International Choral Conductors’ Symposium sponsored by the Toronto Children’s Chorus. Working with Jean Ashworth Bartle, Anne Howard Jones, and Sir David Willcocks brought an entire new perspective to the use of the baton in choral rehearsals and performances. This article is an outgrowth of that enlightening experience.
Most of us are considered competent and even gifted conductors, but like any professional, all of us are capable of developing bad habits or gestures that are unclear. Some of the circumstances that bring about bad conducting habits:
1) The constant conducting of amateur singers and in particular training the young singer.
2)Conducting music that requires limited or no instrumentalists.
3)The lack of conducting supervision or positive criticism.Conducting the Treble Chorus of New England over the past twenty-four years has been filled with artistic challenges. The choir sings most of the major repertory for treble voices of all periods, including very difficult contemporary music. In trying to help my students present a more artistic performance, I slowly began to develop some exaggerated gestures that left me both physically exhausted and unclear in what exactly I wanted my choristers to do. Some of the habits I developed which were captured on video:
1) Exaggerated beat gesture, that was too large and difficult to read.
2) Conducting the text for phrase shape which caused the tempos to be unsteady.
3) Assuming a metronome mark, rather than consistently checking for the proper, constant tempo.
4) The exaggerated mouthing of the words to help the children remember the text.
5) Indicating too many entrances and conducting cut-offs that were clear but distorted in their shape.
6) Conducting to the side, rather than keeping the beat square in the middle of the body.These were a few of many bad habits I had developed and did not like. In a humorous quip to Anne Howard Jones, “No wonder my children don’t watch me as they should. What’s to like about what they are seeing?” Anne immediately put a baton in my hand and the rest is history. I have been conducting both rehearsals and performances with a stick the entire summer. The end result:
1) The beat pattern is clearer and the children are following me easily.
2) All the cut-offs and entrances are much cleaner in rehearsal and performance.
3) The tempos are more consistent.
4) The stick helps to keep the beat over the center of my body.Many professionals view the use of the baton in non-instrumental environments as arrogance, a mark of a conductor’s authority, rather than a useful and necessary tool to improve one’s conducting technique. The children in the TCNE found the entire process fascinating, learning to closely watch the point of the stick. They also became excellent critics, reminding me when my beat pattern was unclear or uncentered. My tempos grew in consistency and the music performance became more exact. The students simply watched my beat rather than my face. I was constantly being reminded that I was unnecessarily mouthing the words. The level of trust and artistry grew by leaps and bounds very quickly.
The following equipment should regularly accompany you to rehearsal:
1) A set of finely balanced batons that fit your hand nicely. A medium length or short stick is ideal in choral conducting.
2) A fine quality metronome should be close by so that you can regularly check your tempos.
3) A marking board and markers that clearly display the order of the music to be used in rehearsal.
4) A good music stand that is at the proper height for you to conduct above it.
5) A stool and small podium is also handy, making it easy for the singers to see you.
6) A microphone is also helpful, making it possible for you to give instructions in a calm, natural fashion.
7) A video camera is also a tremendous resource for studying your rehearsal techniques.Attending positive conducting seminars on a routine basis will help you maintain a fine conducting technique.
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New Releases ~ Sacred SATB Voices ~ Sacred
Ave Maria, by Morten Lauridsen, Latin text, Presser, 61919-121, SATB a cappella. Composed for the 70th birthday of Paul Salamunovich, this wonderful setting contains serene counterpoint and glistening harmonies. Premiered in Los Angeles in December of 1997, this short work contains hauntingly beautiful sections at a slow adagio. Difficulty rating 4. $1.40
Concertato on Westminster Abbey, by Henry Purcell, arr. Larry Visser, English text, ECS, WL100044, SATB, congregation, and organ. Sonorous harmonies accompany this setting to a translated text by John M. Neale with alternate advent text by Charles Wesley. The arrangement uses organ, choir, and congregation in elegant fashion. Difficulty rating 2. $1.35
Four Psalm Motets, by Ruth Watson Henderson, English text, G.V. Thompson, Let Us Lift Up High the Lord, VTS-4059, We Sing and Make Music to the Lord, VTS-4060, Sing Joyfully, VTS-4061, Let All Who Take Refuge, VTS-4062, SATB a cappella. Stately harmonies and powerful counterpoint are part of the musical fabric of these contemporary settings. Henderson continues to contribute significant music to the permanent choral repertory. Difficulty rating 3-4. $1.50
Ex zion species (From Zion, in Splendor); Tres Sunt, Qui Testimonium (For There Are Three Who Testify), by Johann Michael Haydn, Latin/English text, Presser, 312-41713, 312-41698, SATB and keyboard. Beautifully edited by David Stein, these motets for advent or general use were written after 1781 when Haydn was composer and organist for the Archbishop of Salzburg. Straightforward harmonies and simple, elegant counterpoint dominate the musical fabric. Difficulty rating 3. $1.60
How Lovely Is Your Dwelling Place, by Jane Marshall, Augsburg, 11-10884, SATB,
and organ. A powerful setting, the piece contains some challenging rhythms. Difficulty rating 3. $1.25Marienlieder, op. 22 (Marian Songs), by Johannes Brahms, German/English text, ECS, 5253-5259, SATB a cappella. These editions of the seven famous songs in praise of Mary are brilliantly done. The editions are clean and easy to read, with each being sold separately. Written in 1862 for the Hamburg Frauenchor, these pieces were adapted for SATB voices by the composer at the time of publication. They contain some of Brahms’ finest choral writing. Difficulty rating 3-4. $1.35-1.75
Treble Voices ~ Sacred
Come, Ye Makers of Song, by Ruth Watson Henderson, English text, G.V. Thompson, VG-363, SSA and piano. Parallel motion and bright harmonies on changing meters are part of this brilliant setting of the famous text from Purcell’s Come Ye Sons of Art. Written in celebration of the 50th birthday of Jean Ashworth Bartle, this joyous piece is quite spectacular. Difficulty rating 3-4. $1.75
E’en So, Lord Jesus Quickly Come, by Paul Manz, English text, MorningStar, 50-0450, SSAA a cappella. Originally written for SATB voices, this edition is adapted by the composer for trebles. A popular contemporary piece, it requires an advanced ensemble with sopranos who can easily sing a b flat 2. Difficulty rating 5. $1.25
Meditation-Oseh Shalom, by Ben Steinberg, traditional Hebrew text, Transcontinental, 991553, SSA and keyboard. Written mostly in unison, this exquisite piece is taken from Steinberg's beautiful Friday evening Sabbath service Kol Shalom. The simple melody is effectively placed over an elegant accompaniment. The piece closes in simple unison in the lower tessitura of the treble voice. Difficulty rating 2. $1.00
Exite Sion Filiae (Go Forth, Daughters of Zion), by Carl Czerny, Latin text, Treble Clef, TC-145, SSAA a cappella. This joyous setting of a text by Isaac Habert is edited by Martin Banner. The powerful harmonies and simple counterpoint require a large, accomplished chorus to be effective. Difficulty rating 4. $1.90
O God, Creator, by Benedetto Marcello, English text, MorningStar, 50-9420, SA & keyboard. Edited and arranged by Dale Grotenhuis, this setting of this famous tune is quite effective. Difficulty rating 2. $1.50
These Holy Lights (Haneirot Halalu), by Allen Shawn, English/Hebrew text, MorningStar, 50-9915, SA & keyboard. This Chanukah piece was written for Barbara Kourajian and the Bennington Children’s Chorus. It is artistically satisfying as well as fun to sing. The clapping sections and accessible Israeli text make this piece ideal for school or concert hall. For the educator needing a multi-ethnic Holiday program, this piece is perfect. A teaching tool and pronunciation guide accompany the edition. Difficulty rating 3. $1.50
Men’s Voices~Sacred
Mass, by Paul Gibson, English text, ECS, 5175, TBB a cappella. This small mass was composed for and premiered by Paul Salamunovich and the Men’s Chorus of Loyola Marymount University, Los Angeles. The effective, small mass includes a Kyrie, Gloria, Sanctus, and Agnus Dei. Chant-like in nature, the rhythms and counterpoint are challenging. The shifting meters add to the artistic challenge. A brilliant new work for men’s voices, the contemporary harmonies against the melodic setting of the text contribute to the piece’s effectiveness. Difficulty rating 4. $2.80
Two Dvorák Biblical Songs, by Antonin Dvorák, English text, MorningStar, 50-9700, TTBB and piano. Arranged by Dale Grotenhuis, these pieces are effective on men’s voices. The harmonies created from the solo song cycle, Ten Biblical Songs, op. 99, carefully follow the harmonies found in the piano part. I Will Sing New Songs of Gladness alternates between solo and choral singing. God Is My Shepherd is more choral in structure. Difficulty rating 3. $1.50
SAB~Sacred
O Lord, You Are My God and King, by C.H.H. Parry, Augsburg, 11-10892, SAB, trumpet, handbells/4 oct., opt. congregation, and organ. Arranged by Donald Busarow, this setting is liturgically very useful. A celebratory piece, the anthem is perfect for large festival choirs or small choirs for special occasions. Set at a stately tempo, the piece is extremely accessible. Difficulty rating 3. $1.25
When Jesus Wept, by William Billings, Warner, GCMR9804, SAB, and organ. Originally written for SATB a cappella voices, the downward melodic lines in the accompaniment are appropriate. When possible, sing the piece a cappella; this is more appropriate to historic performance practices. Difficulty rating 2. $1.30
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New Releases ~ Secular SATB Voices ~ Secular
A Set of Chinese Folk Songs, by Chen Yi, Chinese text, Presser, 312-41731/32/33, SATB , opt. piano. These fabulous settings in three volumes were written for Chanticleer under the composer-in -residence. Chen Yi studied music in Beijing, where he was exposed to hundreds of authentic Chinese folksongs. These collections are a real treasure. Filled with repeated motivic materials, colorful harmonies, and engaging counterpoint, the editions contain a comprehensive pronunciation guide, translations, and background information. Difficulty rating 3-4. $2.30
Earth My Song, by Kirke Mechem, English text, Hal Leonard, 50483106, SATB and piano. Brilliant harmonies and shadowy atmospheres are of all part of the word tone painting of this challenging choral cycle. Set to a text by Mechem’s father, the piece is ideal for an advanced choral society or college choir. Difficulty rating 5. $2.95
Fare You Well, Mary Ann, arr. George Emlen, English text, Presser, 392-03056, SATB, bar. solo, violin, accordion, guitar, and double bass. An effective, simple setting of this Canadian folksong, the piece is one in a series from Boston Revels. Difficulty rating 2. $1.15
La Doble, arr. Rubén Urbiztondo, Spanish/English text, Kjos, 8803, SATB a cappella. This Argentinian folksong about love uses nonsense syllables and a mixture of Latin American rhythms. This piece uses a poly-rhythm made by 6/8 and 3/4. A chacarere is a joyful dance from a Province northwest of Argentina. Castanets can be added to add to the authenticity of the performance. A pronunciation guide is included. Difficulty rating 4. $1.40
Santafecino de veras, arr. Oscar Escalada, Spanish/English text, Kjos, 8804, SATB a cappella. This original Argentinean melody was written by Ariel Ramirez. It is a joyful dance from the eastern part of Argentina and is called a chamamé. The motivic figures and Spanish rhythms are fun to sing and provide a charming counterpoint as the couple dances cheek-to-cheek. Difficulty rating 4. $1.40
The Lone, Wild Bird, arr. Alf Houkom, English text, Boosey, OCTB7069 SATB a cappella. Warm harmonies accompany this simply set Southern folksong. Written homophonically, the parts divisi in a number of places, but are very straightforward. Difficulty rating 2. $1.25
Treble Voices ~ Secular
Calico Pie, by Valerie Shields, English text, Kjos, 6266, Unison or SA & piano. A charming setting of this famous text by Edward Lear, the piece is ideal for building headtone singing in a young chorus. The crossing voices in the last section are simply written and are easy to sing. Difficulty rating 1. $1.30
Dirait-on, by Morten Lauridsen, French text, Presser, 61922-106, SSA & piano. This touching piece was originally written for SATB voices and is taken from a larger work, Les Chansons des Roses. This setting by the composer was premiered by the Piedmont Children’s Chorus. Set to a French poem by the German poet Rainer Maria Rilke, the music is folk-like in style. Difficulty rating 3. $1.40
El Pajarito Cu (The Little Cu Bird), arr. Evy Lucio, Spanish/English text, Kjos, 6283, SSA & piano. An authentic arrangement by the conductor of the San Juan Children’s Choir, the piece is filled with challenging rhythms. Stylized Latin phrase shapes and nonsense syllables make the piece great fun to sing. Difficulty rating 4. $1.30
February Twilight, by Stephen Gryc, English text, Boosey, OCTB7114, SA & piano. Set in the dorian mode (all white keys), the tessitura of this gentle melody is set in the middle and lower tessitura. The simple partwriting requires gentle, focused singing with a warm tone. Difficulty rating 2. $1.25
Ketsele, Shtil (Kitten, Be Still), arr. Charles Heller, Yiddish text, Kjos, 6265, unison & piano. Ideal in a school environment, this simple, sweet lullaby is ideal for building headtone. A pronunciation guide and teaching tool are included in the edition. Difficulty rating 2. $1.25
Music on the Waters, by Ruth Watson Henderson, English text, G.V. Thompson, VG-274, SSAA & piano. Shimmering, almost clairvoyant harmonies are an integral part of the text painting by the great poet Lord Byron. The dynamics, harmonies, and counterpoint create marvelous atmospheres. This is simply a stunning piece of music. Difficulty rating 4. $1.75
When Music Sounds, by Ruth Watson Henderson, English text, G.V. Thompson, VG-273, SSAA & iano. Triumphal harmonies and simple counterpoint make this piece spectacular. Difficulty rating 4. $2.25
Men’s Voices ~ Secular
March And Chorus, by Franz Schubert, German/English text, Lawson-Gould, TTBB &
piano. This stirring edition/arrangement by Bruce Trinkley is taken from Schubert’s singspiel The Conspirators (Die Verschworenen). Written to a text by Ignaz Castelli after Aristophanes’ Lysistrata, the piece was premiered in Vienna on March 1, 1861. This rousing march is the perfect opening to a concert or to a concert devoted to opera, operetta, etc. Homophonic in structure, the fanfare-like quality of the piece will ring on men’s voices. Difficulty rating 3. $1.25Ra-ta-plan, by Gaetano Donizetti, French/English text, Lawson-Gould, 52926, TTBB, & piano or orchestra. Sung at the stirring tempos of Allegro con brio, this edition by Bruce Trinkley is taken from the opera The Daughter of the Regiment. Written homophonically in thirds, this is a truly rousing chorus that creates a marching band. The simple counterpoint is great fun to sing as the men imitate the drum section. Difficulty rating 3. $1.25
SAB~SATB Voices ~ Secular
Tonada y Cueca, arr. Rubén Urbiztondo, Spanish/English text, Kjos, 5764, SAB/SATB & piano. A slow piece, the love song Tonada is always followed by the Cueca, which is a rhythmic, joyous dance. Both pieces come from the Andes area in Western Argentina. Latin rhythms and interesting counterpoint are part of the musical gesture of the SAB portion of the piece Quicker rhythms and more dramatic counterpoint dominate the second part. A pronunciation guide is included. Difficulty rating 3. $1.25
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