PREPARING MUSIC THEATER WITH YOUR CHORAL ENSEMBLE
GUIDELINES FOR A SUCCESSFUL DRAMATIC PERFORMANCE
Part II: The Cast and Production Have Been Chosen ~ Let the Rehearsals Begin!
By Marie Stultz, Contributing EditorAs pointed out in the previous newsletter, a successful music theater or music dramatic experience is determined by meeting the artistic needs of your students and turning those needs into a satisfying performance on stage. To be artistically effective, the director's greatest challenge is the preparation of a well thought out rehearsal and performance schedule with the goal of ensuring that everyone in the cast is properly prepared and artistically challenged.
Artistic Respect for the Student
Artistic respect should be the most important attitude you possess when making plans for the production. Directors sometimes forget that there is artistry in everyone, just waiting to bloom. The best way to meet the artistic needs of everyone in the production is for you to be completely prepared and have a carefully drawn out plan of execution.1. Study the score carefully - During your study, think about the cast members in a thoughtful fashion. Determine how your cast might best be utilized and trained. Think through the parts, making sure you have a complete understanding of what you are asking each cast member to do.
2. Determine where you might cut the score - Look for sections where students might have difficulty or struggle with the score. The most obvious abridgements to consider are repeated sections, lengthy da capo arias, prolonged melismatic writing or recitatives that repeat the action. As director, you are dealing with young singers who can be vocally damaged if not properly trained or supervised. Remember less is best! As long as the score has continuity and you respect the composer/writer's artistic gesture, cutting or abridging sections that might lead to a struggle on stage is perfectly acceptable towards building a great performance.
3. Decide which students have the greatest vocal and acting gift -Give these students the larger performance opportunity, but give them that responsibility subtlety. With the gifted student, cutting is not always necessary. It is important to constantly stretch their capability. This will astonish the other students as they inspire the next generation of aspiring performers. Adaptations can be avoided when the student has an unusual gift. If you like and feel entertained with what you see and hear, so will the audience.
4. Stretch and properly grow the artistry of every student - This is where the conductor must learn to strike an even balance, when to stretch and when to pull back. Don't be afraid to learn by trial and error. Everyone in the company, including the teachers, is participating in a great adventure. Determine which students are on a long learning curve and which need to be nurtured to reach that same curve in years to come. Teach accordingly.
A Rehearsal Schedule Where No Students Time is Wasted
One of the most important considerations, after picking the cast and dramatic vehicle, is the rehearsal schedule. There is nothing more discouraging to young artists than to be called to a rehearsal where nothing is accomplished with their parts.1. Feel out the students' daily schedules - You will not be able to accommodate everyone, but as a thoughtful director, you at least need to make the effort. Have the players fill out a pre-prepared form indicating their availability. Again, showing respect for the students will pay off at performance time.
2. Group the cast into sections or scenes - Always work in units, covering all cast members on an efficient basis. Using an opera like Purcell's Dido and Aeneas as an example, an efficient rehearsal schedule would be based on the following groupings:
[1] The full court
a] Dido & her train (Belinda, Second Woman, & Courtiers
b] Aeneas & his train (Guards and Attendants)
[2] The Sorceress (Witches & Furies)
[3] The Sailors
[4] Full cast3. Assign groups to a colleague, assistant, or yourself - It is very important that the students study with the same coach; this makes for more efficiency in the teaching process. Once the rehearsals are well underway and notes have been learned, groups can be swapped amongst the various teachers expanding the students' knowledge of the score.
4. Make a complete schedule and post it for everyone - This is so important, even if you have to change or modify the schedule slightly because students need more time. Changes in the schedule are inevitable, but give the students as much lead time as possible when making those changes. When changes in the schedule happen at the last minute, the conductor must help the students understand that these changes are for their benefit.
5. Alternate scenes - It is important to cover the majority of the score on a weekly or daily basis, depending on how your program is organized. Build consistency and continuity in your rehearsals, helping the students begin to feel like their roles are second nature.
6. Finish each rehearsal with the full chorus - Even if some cast members are not called that day, it is important that everyone come together, singing at each rehearsal's conclusion. In the performance, it is critical that the full choruses sound vocally strong and secure. This is an important element in developing a brilliant artistic impression. Once these sections are memorized, the staging process can begin in earnest.
7. Working alone - This is the most difficult scenario but sometimes can be a blessing in disguise. You control all of the training of the ensembles, but you must plan your time carefully. At no other moment in the preparation of a dramatic production does the term "less is best" apply. Working with small groups is best under these circumstances.
a. Plan individual coaching with the leads.
b. Train in small ensembles.
c. Plan choral rehearsals of the full choir.
d. Put the production together when most of the music is taught and not a minute before.
e. Solid assistance must be engaged at full production time. An adequate number of knowledgeable volunteers are critical under these circumstances. Evaluate your pool of parent and student volunteers and make clear assignments for them.8. Be careful not to over rehearse - There is nothing worse than watching a performance that is dead or rigid. Great performances need life and spontaneity. You always want to stretch your students, having them reach for that better moment in time.
Qualities of an Accomplished Conductor/Director
There can never be enough emphasis on the importance of a positive attitude. When working with amateur performers, patience and an almost cheerleading environment will lead to great success. Some of the characteristics or techniques to develop:1. A good sense of humor - Humor can go a long way in a long, sometimes tedious rehearsal. Laughing brings about a release everyone needs when the pressure is on to perform or perfect a certain section. Engage in humor about yourself rather than about the students. Situation comedy always works, where the entire group can laugh about a blunder. The conductor that can learn to laugh will be able to lead the performers through some delicate moments. Lengthy, tense rehearsals are groundwork for an off-balance performance.
2. Patience - It is very easy to lose your temper when things are not going well. It takes tremendous control and hard work to stay calm. How to ruin a beautiful, trusting relationship with your students: start yelling. Prima donna behavior in the conductor is more destructive than that type of behavior in a student.
3. Positive attitude - Excitement and enthusiasm that sounds loud should not be confused with temper. Even the most gifted and talented students will pick up on a conductor's frustration level. You must be a good actor as well, maintaining control and high inspiration. A negative conductor will reap a mediocre performance.
4. Gentle nurturing - If you see a student struggling, rather that demonstrating frustration, turn on the encouraging charm. The more you can encourage, the more confidence the students feel inside. Begin to stretch the students, getting them to realize how much is inside of them waiting to come out. When they learn to reach for something they didn't know was inside of them, you will have a greater performance.
5. Fast and efficient rehearsals - Run a student-driven rehearsal rather than a conductor-driven rehearsal. This cannot be emphasized enough. Talking at the players rather than training the players is deadly to a production and the entire artistic experience. When your feelings, inexperience, or needs are larger than that of the students, failure is just around the corner.
6. Avoid talking at them - The number of conductors I have seen fall into this "den of iniquity" over my years of teaching is too numerous to count. If there is a problem, don't talk about it, do something about it! Get everyone to knuckle down, make the task clear, and then work to smooth out the problem.
The Day of the Performance
After running successful and efficient rehearsals, the "game plan" on the day of the performance is more critical than your conducting of that performance. Basically, everything should fall into place and instincts by the cast should abide. You now move into the role of the facilitator. Again, a clearly thought-out pre-performance game plan, that uses everyone's time efficiently, should be the order of the day. (I remember Sir David Willcocks saying to me, "Children never let you down, do they?") This should always be in your thoughts as you make contact with your students.1. Call times -This is determined by a number of issues, including the needs of a supportive artistic staff. The game plan should include a layer of call times rather than a universal call for everyone in the performance. Too many players getting prepared at one time is unmanageable. Makeup is usually the first consideration in determining call times. Those that need more makeup should have an earlier call time than those needing less. Similarly, if the costume is intricate and requires more time than others, that call time should be second on the schedule.
2. Leads - The lead call time is based on the above considerations along with a proper warm-up. The leads need time to settle into the performance with a calm pre-performance experience. Make sure their voices are properly warmed up and check any section of music that concerns them. Take time to be around everyone. Promote a feeling of excitement and positive thinking. The mood of the cast will impact everyone's performance.
3. Chorus members - Always give them a feeling of importance, but if their make up and costume requirements are limited, they should come in all at once towards the end of the call cycle. Warming up the chorus and giving them proper artistic attention is critical to good feeling. Remember you are developing that next generation of individual performers.
Preparing the Instrumentalists or Orchestra
This area is always fraught with danger. Conductors are usually under time and money constraints, making it difficult to pull together an adequate group of players. You never want to engage a group of players that ruins the artistic experience for a thoroughly trained cast.1. Engage competent players - Hire players that are sensitive to the students and your artistic goal. In your communication with them, share your goals for the performance, encouraging them to work towards a unique artistic experience with the students.
2. Plan for adequate rehearsal time - Send the music with cuts to the orchestra in advance. Encourage them to practice or at least take a few moments to study the score. Plan a separate rehearsal if at all possible with them. This will insure a better experience for the young cast.
3. Work for a good vocal/orchestral balance - Engage players that are sympathetic to young voices and are willing to play with sensitivity and restraint.
The Final Moments
Bringing the cast together before the performance is absolutely mandatory. After the costuming and make-up have been completed, bring the full cast together around you, preferably at the piano.1. Warm them up again - This is critical to insure a safe vocal performance. Check the full choruses one last time, getting the entire cast to sing together. Always go through the final chorus a number of times. You want the performance to bring the audience to their feet, celebrating the fine job the students have done. A strong singing of the final chorus will insure that enthusiasm.
2. Build group camaraderie - Whether they have a lead, bit part, or just sing in the chorus, everyone is important in these final moments. Express your passion and confidence through high energy and positive outlook to everyone. Pointing out fine individual performances is appropriate at this time.
3. Point out pit falls - This is totally appropriate, but do it in a positive manner, getting the players to think and perform through the section rather than freeze. When everyone feels good and challenged, working with the knowledge you have faith in all of them, the performance is truly ready to begin and hit heights you never dreamed possible.
Conducting With Joy and Confidence
Finally, enjoy this artistic experience with your students. You're on the road to having a brilliant performance filled with respect, challenge, mutual respect and great artistry, so revel in the joy of everyone's accomplishments. The more fun you have, the more fun the cast will have.
New Releases ~ Sacred The Beatitudes, by Charles Callahan, English text, Concordia, 98-3760, SATB & organ. Set to Matthew 5:3-12, this haunting setting of the text opens with an organ introduction of great length. A pleading motive on the word "Blessed" is interwoven throughout the musical fabric in all of the voice parts. Set on changing meters, the word versification in the voice parts is prayerful in phrase gesture. The short vocal motivic phrases are polyphonically set over a simple organ part, composed on sustained homophonic constructed chords. One of the hallmarks of Callahan's compositional style is his sensitivity to the overall musical gesture that seems to come from within. This beautiful piece is no exception. It was commissioned for the choir of All Saints Church in Atlanta, Georgia, in memory of a lost son. Difficulty rating 3. $1.65
Climbin' Up the Mountain, arr. Moses Hogan, English text (dialect), Hal Leonard, 08744319, SATB (divisi) a cappella. Commissioned by the Oklahoma Music Educators Association 2003 All State Choir, this homophonic setting of this lesser-known spiritual is filled with dense harmonic chords and complicated, off-beat rhythms. A challenge for the average high school chorus, the arrangement is ideal for the capable college or community chorus. Set to a quick tempo, the choir will have to carefully practice the word alliterations and complex rhythms. The ascending phrases in the melody and harmony are descriptive and appropriate to the text. Difficulty rating 4. $1.60
Cor meum et caro, by Jean-Philippe Rameau (1683-1764), Latin text, National, NMP-392, SSATBB & keyboard (or orchestra). This joyous setting is filled with wonderful counterpoint and sections of imitative beauty that can only be found in the late Baroque period. The piece is filled with sustained phrases in contrast to imitative, contrapuntally set phrases that ring on the voice. Edited by Gregory Gentry, a full score and parts are available from the publisher of this marvelous short work in celebration of the deity of God. There is no background or information on the source of this edition, nor is the piece listed in Groves. Famous for the dramatic quality in his operas and oratorios, this sacred work is as dramatic as any of Rameau's extended works. Difficulty rating 3-4. $1.65
Deep River, arr. Moses Hogan, English text, Hal Leonard, 08744331, SATB (divisi) a cappella. Surprising harmonies and dense homophonically constructed chords make for a startling and dark setting of this famous spiritual. Commissioned by the Peace Lutheran Church in College Station, Texas, the arrangement requires an accomplished choir that has excellent tuning and a fine understanding of how to perform this style of writing. The bass section must be able to sing low E flats with ease. In general, the part writing lies mostly in the mid-to-lower tessitura of all the voices, adding to the dark quality of this arrangement which perfectly emulates the text. Difficulty rating 3-4. $1.60
Exsultate, by Anthony Iannaccone, Latin text, Theodore Presser, 392-01145, SATB a cappella. Terse, dark harmonies dominate this spectacular piece commissioned by the Illinois Wesleyan University Collegiate Choir. This shout to the Lord is realized on a fast allegro, where the tempo remains constant between the meters in four and the meters in eight. The homophonic sections are brilliantly composed with contrasting middle section constructed polyphonically. Premiered in March 2004, the four-minute anthem uses a text from Psalm 33 and requires an accomplished choir. The anthem is quite spectacular but not for the faint of heart. Difficulty rating 5. $1.95
Glory to God on High, by Felice de Giardini (1716-1796), English text, Hinshaw, HMC 1969, SATB (divisi) & organ. This arrangement, by Douglas L. Ipson, was prepared for the Mormon Tabernacle Choir as part of Mark Wilberg's appointment as associate director of this great institution. This simple anthem, set to a text by James Allen (1734-1804) is accessible for small or large choirs. Easy to learn, it is ironic that it was written for this enormous, world-famous choir where simplicity must have been the order of the day. The divisi in the choral parts are attainable and written homophonically, easily handled by a few voices. A powerful adaptation, this anthem will work with varying forces that are on a short learning curve. Difficulty rating 3. $1.40
O vos omnes, by Giovanni Croce (1557-1609). Latin text, Hal Leonard, 08596749, SATB a cappella. This devout motet for solemn days of the church year is another edition of an enormous volume of church music composed for the Catholic Church by fine Italian composers. Spending his life in Venice, Italy, Croce was a priest and composer who wrote many a cappella pieces, both sacred and secular. This fine motet based on a text from Lamentations 1:12 is set homophonically with some simple and slightly diverging counterpoint between the voice parts. Difficulty rating 3. $1.60
Let the Heaven Light Shine on Me, arr. Moses Hogan, English text, Hal Leonard. 08744320, SATB a cappella. The music legacy of Moses Hogan continues after his premature death, with the publication of his last years of fine arrangements of Afro-American spirituals by Hal Leonard. This arrangement was commissioned by the Pennsylvania Chapter of the ACDA and premiered under the conducting of Anthony T. Leach at Penn State University. Homophonic in structure, this is one of his more accessible arrangements for mixed voices. A short 2 and 1/2 minute work, the spiritual will develop the choir's artistic understanding for this genre of singing. Difficulty rating 3. $1.60
Little Tree, by Matthew Harris, English text, Hal Leonard, 50485073, SATB a cappella. This stunning setting of the great E.E. Cummings poem "Little Tree" is an early work of this fine American composer. Premiered by the Western Wind Vocal Ensemble in New York on June 18, 1998, this diamond laid in a drawer in the composer's home for years. "Just as in Cummings's poem a child expresses intricate thoughts with very simple language, in my piece the melodies can be quite chromatic yet the harmonies consist of only major and minor triads." A true gem, the music is brilliantly expressive of the charming Christmas poem we have grown to love for years. Difficulty rating 4. $1.60
There Shall a Star from Jacob Come Forth (from Christus), by Felix Mendelssohn, English text, Concordia, 98-3783, SATB & piano. This straightforward arrangement of an original work by Mendelssohn is a credible edition and makes this wonderful composer's music accessible to choirs worldwide. It is a clean edition and fairly priced. Difficulty rating 3-4. $2.25
Dans cette Étable (Now in the Manger), arr. Derek Holman, French/English text, Hinshaw, HMC-1992, SSA & piano (brass quintet). Set in 6/8 meter, this first of a three- part work expands the range of the voice. Composed homophonically with some divergence in the choral writing, this charming carol is arranged in strophic form. The altos function as cellos, while sopranos ring through the air with the seconds holding the middle harmonies that relate both to the soprano and alto part with cross voice writing. This set of three pieces is wonderful to program when you have a brass quintet available (see below for more reviews of the other two carols.) Difficulty rating 3. $1.40
Entre le boeuf et L'ane gris (There, 'Twixt the ox and Donkey), arr. Derek Holman, French/English text, Hinshaw, HMC-1991, SSA & piano (brass quintet). Another striking carol in this set of three, the vocal requirements are again large in range. The altos must maintain a lovely, cello-like sound, while the sopranos shift from melody to ringing descant. The French carol tune has a great legacy and these arrangements of what is better known as the French Noél is a welcome addition to the French repertory. All three of these carols arranged by Holman are edited by Jean Ashworth Bartle. The editions contain extensive background on the composer's compositional experience with treble voice. Difficulty rating 3-4. $1.40
The First Shepherds (Los primeros pastores), by Francisco J. Nunez, Spanish text, Boosey, 48004523, SSA, solo, piano, maracas & conga. This three-movement work is filled with glistening and inquiring atmospheres. Telling the story of the birth of Christ through the eyes of the Shepherds, the vocal writing helps in the storytelling from crowing rooster to dancing Shepherds jumping for joy at the child's birth. This 6-1/2 minute piece is filled with charm, substance and vocal challenges that will train young singers to sing descriptively. Set in trochaic meter, Nunez has set the traditional Spanish poem into three parts: Dawn, Meridian and Twilight. This is a must for the accomplished children's choir. Difficulty rating 4. $3.95
Magical Kingdom, by John Rutter, English text, Hinshaw, HMC-2000, SA & piano. The meter changes in this piece, specifically written for children, are a great challenge on a text by the composer. The simple melody with parts composed on a text that tells of dragons, trumpets, giants to slay, castles and fairy-like thoughts suggests a secular experience rather than a sacred one, although the publisher has placed the piece in its sacred catalog. The piece is charming, yet poignant in this world describing dreams rather than reality. Perhaps this is Rutter's unique view of a dream worthy of all children to think about and explore. Difficulty rating 3. $1.60
Music for the Christmas Season (Volume II & III), by Hildegard von Bingen, Latin text, Hildegard Publishing, 492-00176-77/492-00177, unison (women and men) a cappella. These medieval chants, written by the first published woman composer in the world, are a wonderful resource. Composed for the season of Advent or Christmas, they are perfect for all choirs whether singing mixed or in unison. Including this composer in your choral repertoire and training singers to perform this great early music will help everyone understand the origins of choral music. Difficulty rating 3. $5.95 each
Quittez pasteurs (Come, Shepherds, Come), arr. Derek Holman, French/English text, Hinshaw, HMC-1993, SSA & piano (brass quintet). Composed in three verses, with some canonic references, this is one of three carols by this fine composer. This popular French carol tune is brilliantly crafted by Holman. The melody is beautifully and simply laid out, with the second verse melodic line assigned to the altos, while the divisi sopranos sing an original homophonic descant. The brass parts are available from the publisher. Difficulty rating 3-4. $1.60
Give Us Your Body and Your Blood, by George. F. Handel (1685-1759), English text, Concordia, 98-3785, SB or TB & organ (opt. Violin & Cello). This type of edition is always welcomed for the small choir of varying forces. It is accessible and introduces an inexperienced choir to Handel's music. String parts are available at the back of an edition that can clearly be sung by diverging forces. The perfect choice for a conductor with a desire to introduce the choir to great music accompanied by instruments, this anthem is edited by Don Petering and is a good resource for communion. Difficulty rating 2-3. $1.75
Lift Up Your Heads, O You Gates, by Samuel Scheidt (1486-1526). English text, Concordia, 98-3763, SB & keyboard (continuo). This edition by William Braun is another accessible anthem for small forces. Set to Psalm 24:7-10, the arrangement is joyful in its gesture. Difficulty rating 3. $1.65
MEN'S VOICES ~ SACRED
Deep River, arr. H. T. Burleigh (1866-1949), English text, Kjos, 5583, TTBB a cappella. This arrangement displays charm and deep affection for the spiritual form. Burleigh's compositions influenced such notables as Victor Herbert and Antonin Dvorak during his time at the National Conservatory in New York. Dvorak was so struck by this music that he found inspiration in both his "American String Quartet" and "From the New World Symphony." An accomplished baritone, Burleigh arranged over 265 solo vocal and choral compositions. A fabulous arrangement of this great tune, it has been edited by the renowned men's ensemble, Cantus. Difficulty rating 4. $1.30Heav'n, Heav'n, arr. H. T. Burleigh (1866-1949), English text, Kjos, 5582, TTBB a cappella. The spirit of this little known spiritual is brilliantly captured here. The arrangement calls for an accomplished choir that can throw itself into the style. Understanding off-beat rhythms and extremes in phrase gesture is extremely important in building an artistic performance. This great shout for joy is a must for the accomplished men's chorus. Difficulty rating 4. $1.40
New Releases ~ Secular Ihr musici, frisch auf! (You Musicians, Refresh Yourselves), by Hans Leo Hassler (1564-1612), German text, Hal Leonard, 08596755, SSATBB a cappella (opt. Piano). A wonderful piece about the joy of singing together, this madrigal is nicely edited by Matthew Michaels. Born in Nuremberg, Hassler embraced the Venetian School of compositional style after extensive musical study in Italy. Choirs will enjoy singing this excellent Renaissance secular piece, filled with charming counterpoint and joyful spirit. Difficulty rating 3-4. $1.60
Written on a Rainy Night, by Chen Yi, Chinese text, Theodore Presser, 312-41837, SATB a cappella. This a cappella piece set to a poem written during the Tang Dynasty (813-858) in China is one of a set of pieces entitled Tang Poems composed for the famous male ensemble Chanticleer. The opening is inspired by folk songs heard in the Southwestern part of China. The nostalgic writing almost seems to hover in the air in endless suspension. The text painting is beautifully done and evocative of atmospheres often experienced on a rainy night. The entire set of Tang Poems for men's chorus is available separately (312-41756). Difficulty rating 5. $1.50
Proverbia, by Otmar Mácha, Latin text, Alliance, AP-1465, SSAA a cappella. Composed by a Czech composer born in 1922, this set of three proverbs displays Mácha's advanced compositional style. The three movements translate to Hail! (Salve!), Woman (Femina), and Live! (Vivite!). They are composed in contrasting styles displaying great ingenuity and vocal expression. The first two pieces are homophonic in structure with the last movement using marvelous minimalist phrase shapes that are great fun to sing. There is a great deal of folk material in his compositional style. The edition includes a translation and extensive background on this little known composer who continues to gain in popularity worldwide. Difficulty rating 4. $2.50
MEN'S VOICES ~ SECULAR
Weep, O Mine Eyes, by John Bennet (1575-1614), English text, Hal Leonard, 08596753, TTBB a cappella. Originally composed for SATB voices, this madrigal works brilliantly on men's voices. Their voices lend an empathetic timbre to this expressive madrigal that may have been based on John Dowland's madrigal "Flow, My Tears". Beautifully edited by William C. Powell, the piece by this great English late Renaissance composer requires the singing of long contrapuntal phrase shapes on secure breath control. This is a piece that will build the expressive singing of the choir. Difficulty rating 3-4. $1.60