The Choir And The Art Of Singing Well (3)
By Very Rev. Dr. Isaac Udoh
Tpoints should be noted for effective voice training and voice production.
4. One should have a good knowledge of rudiments of music.
5.
include: These
It is a common problem for some choral groups to start a piece on a particular key (say Key of D), but end up in a different key at the end of the performance, even when there is no modulation or transposition. This happens mostly in vocal music and the accompanist is forced to stop playing in order to salvage the situation. This problem arises from poor ear training (aural perception) and poor intonation.
Poor voice production and pronunciation have rather become the problem of many choral groups. Sometimes, a piece of music is performed and one cannot really understand the language used, until after serious and critical listening – sometimes towards the last verse or end of such piece. This should be corrected.
In some choirs, some parts are bottom heavy. There may be many female singers in Soprano and Alto, with few men in Tenor and Bass or vice versa. There should be a balance of parts during choral performance for a better production.
In any choir, everything should be done in uniform. Where there are dynamics, it is the duty of all to observe at the same time. The choir uniform should always be kept clean and every member should endeavour to wear such when required.
A wise man once said, “He who lives without discipline, dies without honour”. Every choir must be disciplined, if need be, there should be some rules and regulations or bylaws. There should be some level of morality expected of members.
Some choirs are still groping in the dark: they don’t know their left from their right. They cannot effect modulation in a piece of music. Almost everything is mutilation. They should learn to modulate according to the rules of music.
Many singers are copycats. They sing what they hear. They cannot pick a piece of music on their own and begin to sing without somebody’s assistance. Every singer or performer should master his/her part or role and be able to sight read well and fast. This ability surely lessens the burden of the music director during rehearsals.
“Practice makes perfect” is another wise saying that cannot go unnoticed. Poor attendance does not allow for a general progress of any group. Indeed, those who do not attend practices only come to spoil the music or piece during performance. I’d rather suggest – “No attendance to practice, no partaking in performance.” You will find this saying very useful when you begin to apply.
The ‘genius’ in the choir must be prepared to co-operate with the ‘mediocre’. This co-operation, in love and desire to learn and improve, may help the mediocre to become an expert. If all amateurs (and mediocre choristers) turn into experts, what a great choir of geniuses that will be!