ILFERAGE. If I had to define our organization in one word, I might choose “pilferage” (a.k.a. thievery). The aspiring choirmaster must seek out excellent directors and pilfer from them as many tricks, techniques, warmups, exercises, and repertoire choices as possible. Indeed, the conscientious choirmaster must never stop pilfering good ideas! Needless to say, each idea should be tested in front of your choir—but once it passes muster, it should be added to one’s quiver. The reverse is true, too. When I was in graduate school, I had to observe all the high school choral programs in Corpus Christi, Texas. During that process, I noticed bad ideas and techniques (which crashed and burned before my eyes). I took note of the bad, even as I pilfered the good.
Today’s Pilferage • Below, I offer some techniques that I believe will make your life easier as a choirmaster. If you’re so inclined, feel free to steal them!
[1 of 6] Surprising Your Soloists • Those who sing sacred Renaissance polyphony know that certain sections are sung by soloists. Then, a wonderful ‘dramatic’ effect is achieved when the full choir enters again. I like to “keep my choir members guessing.” That is, I tell all of them to learn the soloist sections and be prepared to step in at a moment’s notice. We did this recently with William Byrd’s MASS FOR FIVE VOICES. I chose the soloists at the last second, and had them rehearse in front of everyone (which I believe keeps them focused). Here’s how that section sounded at Mass:
[2 of 6] Change The Pitch • I have suggested that authentic sacred music should be a delight, for both listener and singer. Singing at Mass should not be drudgery! In the 19th century, CANTUS GREGORIANUS was sung in a very heavy, plodding, accented, choppy manner—which led some monks to refer to singing the Divine Office as the “Divine Burden.” It is a fallacy to believe that humans can only offer to God what they hate. I diligently try to teach my children to offer up each day to God: their sorrows and their joys. Changing the pitch of a hymn can add ‘delight’ for the singers, and I attempted to raise the pitch in this live recording from Mass:
[3 of 6] Don’t Be Dreary! • Decades ago, I played one of my Responsorial Psalm settings for my brother (now a priest), who is an excellent pianist, singer, and conductor. My brother has—and still has—deep appreciation for the music he plays, whether it’s Mozart, Brahms, Schubert, Franck, Mendelssohn, Chopin, or Schumann. Anyhow, when I showed him my setting, he said: “Jeff, this is extremely morose; don’t you have anything happy?” It made me realize not everyone has my taste in music. For myself, I would be thrilled to spend every day of my life listening to Bach’s ART OF THE FUGUE, which was described by Schweitzer as “a still and serious world…deserted and rigid, without color, without light, without motion; it does not gladden, does not distract; yet we cannot break away from it.” So it’s good to select some ‘happy’ music for Mass. My choir loves a hymn tune called CUPERTINO, which was composed by Kevin Allen. I have added a counter-melody and alto line to it. Do you agree this piece is a delight?
[4 of 6] Richness Of Our Faith • When I was assisting in the production of the Brébeuf Catholic Hymnal, one of the priests on the committee said something I’ll never forget. He had been working on translating some of the ancient hymns into English. (Indeed, certain ancient texts were translated into English for the first time in history by the committee which produced the Brébeuf Hymnal.) He said: “Jeff, I have been praying these hymns every day in Latin for the last twenty years—yet I never realized their utter depth and richness until I was forced to create these literal translations.” Our Catholic patrimony contains more than 10,000 Latin hymns. You can verify this statement if you Google “Analecta Hymnica Medii Aevi” by Father Guido Maria Dreves. It is good to sing different translations of the ancient hymns, to help make their meaning clear. My volunteer choir often does precisely that. Below is a recent recording of Ad Cenam Agni Providi. Notice how we alternate between women (in unison) and full choir (in SATB):
[5 of 6] The “RRR” Secret • Dr. Theodore Marier said: “Three things are necessary for a successful choral program: (1) A supportive pastor; (2) A supportive pastor; (3) A supportive pastor.” I don’t quite agree with that statement, because you also need The Three R’s. That stands for: “Repertoire; Repertoire; Repertoire.” Appropriate repertoire will make your choir sound amazing. Repertoire that’s too difficult will demoralize your choir members and make them sound horrible. In Chopin’s (unfinished) METHOD TO PLAYING PIANO, he said: “On fingering, all depends.” I would suggest that for the conscientious choirmaster: “On repertoire all depends.” The following is an excellent example of repertoire suitable for a volunteer choir, because it’s not too difficult. It’s based on a wonderful hymn tune called OLD HUNDREDTH, but has an a cappella section that places the tune in the tenor voice. Moreover, the text is appropriate for use anytime during the very lengthy season after PENTECOST SUNDAY, as you can see by the lyrics (PDF).
Rehearsal videos for each individual voice await you at #40691.
[6 of 6] Let Singers Sing! • The Second Vatican Council solemnly declared that the THESAURUS MUSICAE SACRAE must be “preserved and fostered with great care.” I realize that some high-ranking clerics have tried to say that “preserved and fostered with great care” actually means “denigrated, discarded, and treated with contempt”—but that’s incorrect. There is no greater part of the THESAURUS MUSICAE SACRAE than music of the High Renaissance: Guerrero, Victoria, Palestrina, Marenzio, and so forth. Singers love to sing this music. Therefore, don’t forget to include it! Below are two brief excerpts of our volunteer choir singing at Sunday Mass:
* Mp3 Download • GLORIA by Father Morales
* Mp3 Download • KYRIE after Orlando de Lassus
I recently showed some recordings taken during our Sunday Masses to someone whose judgment I respect. This person said: “Your volunteer choir sounds like a professional group.” And singers love this music! Indeed, there is no greater vocal music than that of Father Morales, Father Guerrero, Palestrina, Lassus, Father Victoria, and so forth.
