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Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and two sons.
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The soul is distracted from that which is sung by a chant that is employed for the purpose of giving pleasure. But if the singer chant for the sake of devotion, he pays more attention to what he says, both because he lingers more thereon, and because, as Augustine remarks (Confess. x, 33), “each affection of our spirit, according to its variety, has its own appropriate measure in the voice, and singing, by some hidden correspondence wherewith it is stirred.” The same applies to the hearers, for even if some of them understand not what is sung, yet they understand why it is sung, namely, for God's glory: and this is enough to arouse their devotion.
— St. Thomas Aquinas

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Teaching New Singers
published 8 September 2015 by Lucas Tappan

320 kids HORISTER REHEARSALS are currently underway and the children are working on some exciting repertoire. At the same time, I am in the middle of auditions for new choristers (probationers) and looking over plans for their weekly rehearsals. As I have posted before, we are in the process of integrating the Schola Cantorum into our parish school, so the new students will be receiving a solid music education in the school as well. Still, I like to cover (or re-cover) all of the basics with the boys and girls. I thought I would share my goals for the lessons and some general lesson plans in hopes that they might be of benefit.

Because of current time restraints, I meet with the probationers only once a week, for two hours immediately after school (yes, a number of shorter rehearsals would be better, but this is how it is). I first take them to the gym for 10 minutes to run out pent up energy from being in a seat most of the day. During the rehearsal, I make sure that no one exercise lasts more than 8-10 minutes, otherwise I lose them quickly. I also give them a 10 minute break in the middle of the rehearsal when they can eat their snacks and talk. This is the basic overall outline of each class.

In the first month of rehearsals (4 of them), I have only three main goals: 1) to ingrain a healthy vocal technique in the students (while getting rid of any unhealthy singing habits they have picked up), 2) to teach proficiency in solfege (only the diatonic notes of the scale) and finally, 3) to teach a proficiency in reading basic rhythms (eighth note through whole note, no dot) and their corresponding rests. There are other musical items the students learn in the first month, but those are only secondary to these three goals.

Next week I will give a basic outline of how I approach the teaching of the three main goals.