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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Five Pro Tips for Amateur Choirs

Daniel Tucker · November 27, 2022

Conducting Technique: For Beginners and Professionals by Brock McElheran

S BROCK McELHERAN famously observed in his book Conducting Technique: For Beginners and Professionals, only one percent of conducting is conducting. After many years on both sides of the baton, I’ve found the same thing to true of singing. Of the many secrets of good singing, only a few have to do with singing itself. In fact, the vast majority of them have to do with the physical and mental preparation that takes place in the split second just before singing. To that end, here are five pro-level tips that can help your amateur choirs to both sound more unified and feel more confident.

1) Use the right muscle groups.
I always tell my choirs that singing is a “whole body sport.” Amateur singers often conceive of singing as something that happens from the collar bones up, but professionals know that a well-supported sound depends on the large muscle groups in the thoracic, abdominal, and pelvic regions. I tell my choristers that they should be expending energy from their collar bones down (the intercostal muscles, abdominal wall, glutes, etc.) and from their chin up (lifting the soft palate, and using their lips, tongue, and teeth to articulate consonants and vowels), but that in between (that is to say, in the neck) they should feel nothing whatsoever. Anything more than the bare-minimum use of the muscles surrounding the larynx leads to a sound that is audibly strained and forced; instead, singers should feel that the work of singing happens elsewhere, and that their larynx is just “along for the ride” or “flapping in the breeze!”
(By the way, don’t ever let a choir director tell you to “use your diaphragm!” or “sing from your diaphragm!” The diaphragm doesn’t have any nerve endings in it, and therefore it cannot be consciously controlled. We choir directors ought to be precise in the language we use to educate our singers on vocal technique.)

2) After hearing, before singing, audiate!
Many amateur singers jump right from hearing a note into trying to sing it. I make the concept of audition explicit for them by breaking it into three steps: 1) listen to the starting pitch, 2) imagine singing that pitch; imagine what your body will have to do to make that sound precisely and beautifully, but don’t actually sing it. Only after spending a moment in imaginary singing, 3) start singing.

3) Breathe in the shape of the vowel.
Rather than breathing any-which-way and then having to form the initial vowel of the word or phrase, I insist that my choirs form whatever vowel shape is needed for the first word of each phrase and then breathe in through that mouth shape so that they are ready to begin singing immediately. This is the most efficient way to breathe, and also makes the singers have to think ahead about what word comes up next.

4) Initial consonants with duration come before the beat; initial consonants without duration come on the beat.
That is to say: initial pitched/voiced consonants that have a duration (think [l], [m], [n], etc.) should come before the conductor’s beat lands, so that it is actually the vowel which coincides with the precise moment of the beat. Unpitched/unvoiced initial consonants, or those that don’t have substantial duration (such as [t], [p], [d], etc.), should come precisely on the beat.
If you’ve never thought about initial consonants this way, it might take a moment to wrap your head around. But if you explain this to your choir and have them try it, I guarantee you’ll be amazed by how confident and unified their entrances will start to be!

5) Take your time stagger-breathing.
I instruct my singers to drop out for a whole beat (or longer, depending on the music and the size of the choir) when it’s their turn to stagger-breathe. This gives them enough time to take an unhurried and fully restorative breath, rather than a frantic and shallow catch-breath.

I hope that these five pieces of advice are a big help to you and your choirs! May the Lord bless us all as we begin this new liturgical year.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: December 21, 2022

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About Daniel Tucker

Daniel Tucker is choirmaster at the Cathedral of St. Matthew in South Bend, IN. He holds degrees from Western Michigan University and Yale University. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

In the United States, Archbishop Kenrick had said in his “Moral Theology” that it was acceptable to sing the “Véni Sáncte Spíritus” before the sermon.

— Monsignor Schmitt (1977)

Recent Posts

  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

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