AST WEEK I wrote an article about the chorister audition process and this week I would like to follow it up with another that tackles the ensuing problem of how to deal with the child or adult who either lacks the necessary choral skills to thrive in the choir or whose temperament prevents him from being a fully committed team member. I realize that even suggesting such a termination runs counter to the modern philosophy that everyone should be able to follow his dreams and do as he pleases, but if I had followed every whim in my life I might currently be the worst heart surgeon in America, quite possibly jailed and on death row for have killed more patients than I helped. I thank God that I realized early on that music, and not science, was my avocation. The choirmaster, too, has to help those under his care to reach their potential.
First of all, I want to stress that the vast majority of children and even adults are capable of singing in some sort of choir, if only to fulfill the basic human need for community and joining in the joy of making music. But what does one do with the chorister (child or adult) whose presence in the choir poses a detriment to the group? I find the following categories generally encompass such singers:
(1) Those who cannot match pitch;
(2) Those who can match pitch but who don’t enjoy singing;
(adults in this category rarely join the choir, but children who find themselves in this camp are sometimes forced to by well meaning parents who desire that their children enjoy the fruits of the choral experience)
(3) Those struggling with vocal issues that cannot be corrected by vocal coaching alone;
and finally:
(4) Those who possess a decent voice, or even a very good one, but who consider themselves better than the rest of the team, or worse, sow discord among their fellow singers.
Generally, adults who can’t match pitch aren’t running to join their local choir, although it has been known to happen. More often than not one finds the adult who struggles matching pitch in certain situation. The director must decide if he has the time to work individually with that person or not. Perhaps he or she is in the wrong section, has never sung in the head voice, sings next to someone whose voice does not blend with his or hers or needs to stand next to a strong voice. Ultimately, singing in tune is more about listening than anything else. However, if such helpful attempts fail, you have a problem.
I do accept a child into our Junior Choir as long as he or she can match pitch at even the most elementary level (accepting such children into the Senior Choir is another matter entirely) and find that with continual training most children advance in time. I remember one chorister in particular who grasped music theory very quickly but couldn’t sing and match more than a few notes. Her mother and I agreed on a six week trial period for her in the choir, during which time she made slow but continual progress. After a year she became one of the leading choristers in her age group. At the same time, this isn’t always the case and it is possible and even likely that one will encounter the child who is unable match more than a couple of notes even after individual instruction. What is one to do?
What about the child whom God gifted with gold in his throat and a healthy dose of musical intelligence, but who simply doesn’t like to sing (why does God do this?). Sometimes spending a few extra minutes befriending him will change his attitude, especially if he enjoys being with the other children in the choir. On the other hand, I have encountered children who simply dislike the physical act of singing and nothing I do changes their attitudes. Often they excel playing instruments or singing in other types of choir and I encourage this.
As for those with physical vocal problems that cannot be corrected, I find this rare in children and more prevalent in adults, especially those who have abused their voices through years of misuse, such as constant yelling or singing improperly, which results in nodules on the vocal chords. Sometimes the director can correct or mitigate these problems with judicious vocal coaching and/or vocal rest, while at other times a doctor’s help is necessary.
Lastly, one encounters the prima dona attitude, or worse, the singer who sows discord amongst choir members. While the first is annoying, the second is unbearable. The first endangers choral moral, the second will destroy it. In general, a full choir of amateurs who work as a team is preferable to a choir with one or two leaders and sixteen followers. Your choir will advance much faster working as a team. As for the singer who sows discord, there is no other course of action save the termination of such a relationship. It simply won’t work.
Of course, these situations beg the question of how to deal with them effectively. First, charity is key. If each of your singers knows that he or she is appreciated as a person as opposed to a voice, he or she will bear constructive criticism better. Also remember that the director is not just looking out for the welfare of his choir, but also the welfare of each of his singers. Is it charitable to leave a person in a situation in which he has no hope of flourishing? If the above situations can’t be rectified, the choir director has no choice but to charitably ask the chorister (again, child or adult) to leave. Sometimes this conversation turns out well and sometimes it doesn’t, but it does need to take place. There is no way around it. Be sure to pray before you do it and perhaps inform you pastor who he isn’t blindsided by an angry email or phone call.
I readily admit that I am not confrontational by nature and have often allowed personnel problems to fester until they become emergencies—but this only results in good people leaving the choir before the proverbial “rotten apples.” I realize it is hard, but perhaps this is the balance we are called to live—truth in charity. Your program will be better for it.
