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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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“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina's funeral (in Rome) in 1594.”
— Dr. Robert Stevenson, 1961 (mod.)

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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.