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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 • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“Much of the reordering [in 1970] of the pieces of the Roman Gradual seems arbitrary and useless; nevertheless, with some exceptions, it does not affect the shape of the service, since like pieces are exchanged for like.”

— Dr. William Peter Mahrt

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