Workbook This workbook comprises the worksheets and checklists from all the lessons in the Performance Technique course. You can access all the lesson documents individually on the lesson pages. This book is intended simply to be a convenient way to download the materials if you wish to view them offline, for example on a tablet or smartphone, or printed out.
Lesson 3 When to start focusing on performance The central message of this lesson is to focus on performance as early as possible. Careful planning will ensure that your repertoire is ready for performance at the right time, without being over-rehearsed and risking the choir becoming bored and complacent. Aspects to focus on throughout the rehearsal process Facial expression Posture Watching the conductor Engaging with the meaning of the text Aspects to focus on nearer the performance Formation Running order Stands & sits Aspects to introduce earlier than you might think Putting down scores or lyric sheets (if performing from memory Acoustic differences between rehearsal and performance venues Formation changes between rehearsal and performance Practical strategies to prepare for performance Use season-level planning to ensure you have the right amount of rehearsal time Put scores/lyric sheets down early Experiment with formations Make sure you re familiar with the performance space The more flexible and responsive you can encourage your choir to be, the easier they will find it to go from rehearsal room to performance venue.
Fundamentals of Choir Leading Performance Technique Lesson 4 Thinking about formations Different performance venues present different formation opportunities. Each will have its own restrictions and challenges. Here are some formation ideas for you to experiment with in rehearsal. We ve used the example of an SATB choir, but the same principles will apply to any vocal line-up. Vocal parts from high to low Vocal parts, low centre, high outside Antiphonal - two choirs in vocal parts Mixed - random order Mixed - pairs Mixed - quartets The more you can experiment with formations in your choir rehearsals, the more confident your choir will become about adapting to circumstances in performance venues.
Lesson 5 Preparing your choir for challenging performance spaces Use this checklist when you visit a new performance venue to ensure that you take note of all the important details. Don t forget to measure and sketch the platform space. Before the performance Where will the choir assemble when they arrive? Is there somewhere secure for the choir to put belongings? Where will the choir warm-up? How will the choir enter and exit the performance space? During the performance Will all choir members be able to see the conductor? Will the choir be able to hear each other and any accompaniment? Is there sufficient light for the choir to read scores, if appropriate? Will the choir sit down during the performance? If so, where? If the choir is backstage, will there be a stage manager to usher them on and off? Conductor/leader considerations How will the conductor enter and exit the performance space? Where will the conductor stand? Is there sufficient light for the conductor? Will the conductor need to talk to the audience? If so, will they be able to hear? Is a microphone needed? Audience considerations Will the audience be able to see the performers? Will the audience be able to hear sufficiently? Where will the audience go on arrival/during any interval? Will seats be assigned or will the audience choose seats?
Lesson 7 Getting on and off stage With the myriad considerations involved in a choir performance, it s easy to forget about something as apparently straightforward as getting on and off the platform, but it s a really important part of how your choir comes across to an audience. Advance preparation Reccy the space. Make notes on the layout. Rehearse entrances and exits, either at the venue or in the rehearsal room if necessary. Instructions to the choir They are in performance mode from the moment they stey onto the platform. They should stay quiet and professional. Individuals will be noticed by the audience! Planning entrances and exits Make sure people at the ends of rows know who to follow. Appoint leaders and give them clear instructions. Plan in advance when the choir will exit and who will lead. Standing and sitting Decide in advance when the choir will sit, if applicable, and if all sitting together, appoint a leader. If sitting at the start of the performance, decide when everyone will stand and, again, appoint a leader. Attention to detail about getting on and off a performance platform is a great way to give your choir a boost of professionalism for little extra effort.
Lesson 8 Stage etiquette Here s a quick reminder of some things that you might want to encourage or discourage from your singers. Appropriate behaviour will differ with venues and events. Whatever you decide your golden rules for platform behaviour are, make sure you communicate them to your choir. Things to encourage Engaging with the audience Standing tall Smiling Taking individual responsibility for the performance Enjoying the performance Things to discourage Waving at people in the audience Pointing Chatting (especially when instrumentalists are tuning) Applauding and receiving applause at the same time Drinking from water bottles Turning pages unnecessarily and audibly Tapping toes The most important consideration when performing is what the audience sees and hears.
Lesson 9 Addressing the audience A lot of choir leaders find public speaking very challenging. Here are few quick pointers to keep in mind when you have to address an audience. Start with music, not talking Pause and smile before speaking Speak slowly and clearly Don t shout - use vocal support to project Keep comments short Don t read Don t duplicate programme notes Keep comments positive End with music Try not to be scared! The audience is there because they want to hear your choir. If what you re saying enhances their musical experience, they ll appreciate it.
Lesson 10 The difference between a good performance and a great performance Don t forget that when we re striving for a great performance, we re not necessarily talking about musical excellence in an objective sense. Choirs of any musical standard or ability can give a great performance. Good performance Walking on stage at the right time. Singing the right notes in the right place. Pronouncing the text correctly. Most of the choir looking engaged most of the time. Everyone standing and sitting at roughly the right time. Great performance Walking on stage in a confident, organised and rehearsed way. Singing with attention to detail in onset, vowel shape, consonant accuracy and dymanic colour. Understanding the text fully and singing with emotion. Every individual in the choir taking responsibility for giving their best performance; engaging with the audience. Stands and sits rehearsed in advance. Your personal contribution to the performance will influence your choir. If you re prepared, confident and professional, you ll impress the audience and carry the choir with you.
Lesson 13 A bit about microphones A detailed analysis of the different types of microphone available and their applications and uses is well beyond the scope of this course. However, even if you rarely get involved in sound engineering, it s useful to know deal with mics when you encounter them. Here are some do s and don ts. Do sing into the end of dynamic mic, not the side. take the time to adjust the mic stand before you start singing or speaking. trust the sound engineer. sing or speak about two inches away from the mic. rehearse with a mic if you know you re going to be using one. Don t be frightened. It won t bite! touch the mic unless you re singing or speaking into it. tap the mic to see if it s live; it will probably be muted anyway. sing with your lips touching the mic. worry about proximity to condensing mics; let the sound crew place them. If you take the time to get comfortable with microphones, you can forget about them, trust your sound crew and concentrate on the music.