GUIDELINES FOR CHOIR DIRECTORS

This document provides conducting guidelines and skills for choir directors. It includes
information on
(1) Introduction
A. History of Music
B. The Objective of a Choir
C. Your calling as a Music Minister
(2) Advanced Conducting Techniques
A. Skills for Conducting a Choir
B. The Preparatory Beat
C. Facial Expression, Body Expression, and Eye Contact
D. Use of the Tempo or Base Arm
E. Using the Expression Arm
F. Choral Conducting Techniques
(3) Choosing The Right Music
A. Divine Service Setting
B. Other Occasions
C. Music That Is Right for The Choir
(4) Teaching Music to a Choir and Holding Effective Rehearsals
A. Prepare Yourself
B. Guidelines For a Healthy Rehearsal
C. Teaching methods
(5) Principles of Good Singing
A. Posture
B. Breathing
C. Tone Quality
D. Blend and Balance
E. Diction
(6) Giving Successful Performances.
A. Guidelines for successful performances:
B. Ingredients of a Successful Choir
This is a guideline and not a complete teaching on choir directing. It is not intended to create any
conflict with any Minister nor does any topic covered take precedence over the guidance and

teachings of the Lord Jesus Christ, the activities of the Holy Spirit, or the local teachings or
guidelines within your local church or congregation. Please feel free to contact me at if you have
any thoughts, ideas, suggestions, or concerns. (AllChoralWorks@gmail.com)
Humbly
Wade Phelps

(1) Introduction
A. History of Music
Excerpts from the bible
1. I will be glad and rejoice in thee: I will sing praise to thy name, O thou most High. Psalm 9:2
2. Be thou exalted, Lord, in thine own strength: so will we sing and praise thy power. Psalm
21:133
3. The Lord is my strength and my shield; my heart trusted in him, and I am helped: therefore my
heart greatly rejoiced; and with my song will I praise him. Psalm 28:7
4. Praise the Lord with harp: sing unto him with the psaltery and an instrument of ten strings.
Sing unto him a new song; play skillfully with a loud noise. Psalm 33:2-3 The harp and Ten
strings refer to the common instruments use to praise God in the temple.
5. Exodus 15:1 Then Moses and the people of Israel sang this song to the Lord, saying, I will
sing to the Lord, for he has triumphed gloriously 2nd verse The Lord is my strength and my
song, and he has become my salvation; this is my God, and I will praise him, my father's God,
and I will exalt him.
6. "Let the word of Christ dwell in you richly in all wisdom: teaching and admonishing one
another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord"
(Col. 3: 16, see also Acts 16: 25, I Cor. 14: 15, and Heb. 13: 15).
7. "Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody
in your heart to the Lord" (Eph. 5: 19).
History during the time of Martin Luther (pre-reformation):
1. In the time leading up to the reformation, Harmony (polyphony) was considered a sin by the
Church and Satans music. Luther over time wrote over 30 harmonious songs of his own and

translated hundreds more into different languages

2. Music is more than a human invention. It is one of the greatest gifts of God, an essential part
of your own personal piety and of a healthy church program.
3. The congregational song both symbolized and realized the principle of direct access of the
believer to the Father, and thus exemplified in itself alone the whole spirit of the worship of the
new Church.". (also used Intimate connection with the Father in another paper he wrote)
4. When confronted with all the new Harmonious music that was considered Sinful and evil he
stated Why Should the Devil have all the good music?
5."Whoever does not want to sing and speak of it shows that he does not believe it"
B. The Objective of a Choir?
In The Divine Service
1. To remain in tune with what the Holy Spirit brings forth throughout the divine service
2.To be the Mouthpiece of the congregation. This includes the love, joy, hope, sorrow, faith, etc
that the congregation brings to the alter. This is done through prayer and preparation from the
choir director and organist
3. To admonish the members and bring a closer connection between them and their God.
Assist in the completion of Gods plan of Salvation
1. Music touches the soul and in many cases can bring a soul to Gods plan of salvation
2. Music can calm the soul in order to create a more intimate connection with God
3. Music can sometimes express what words or prayer cannot.
The Return of the Lord - The Choir needs to continuously bring out a constant desire for the
return of the Lord. This can be done by completing each service with joyful hymns that speaks of
our future
The Stance of our church:
1. D Ap. Kolb wish is that music will inspire and motivate souls in the house of God. Example,
all the new music programs and initiatives (reference Nov 2008 Our Family)

2. D Ap. Barnes: Music is the Echo of Gods word. As Children of God, we should sing with
Joy and Zeal
3. 2 years ago, a survey was completed. The one question was: What would you want to see with
the choir? Some comments were:
A. I want to be uplifted and inspired.
B. I dont want to feel like I am coming to a funeral service.
C. Music breaks down my wall of defense so that I can focus on what God has to tell me.
4. Look at the successful congregations in the USA, look at their music programs and initiatives.
Is there a successful congregation in this country that does not have a healthy and growing
music program(s)?
C. Your calling as a Music Minister
Definition of calling - An inner urge or a strong impulse, especially one believed to be divinely
inspired to accept the Gospels as truth and Jesus as one's personal savior
Definition of Minister - A. Attend to the wants and needs of others and B. Exert oneself by
doing mental or physical work for a purpose or out of necessity
Anyone can learn music or wave their arms. As children of God, we are asked to accept the
Strong inner urge to Attend to the (spiritual) needs of (all of Gods Children) Within this
urge must carry with it the awesome responsibility and the passion entrusted to us to excel in our
part to complete Gods plan of Salvation.

(2) Advanced conducting techniques

A. Skills for Conducting a Choir
Whether you conduct a congregation or a choir, your basic duties are the same: keep the singers
singing together and help them interpret the music. A choir should sing with greater artistic
refinement than a congregation, though, so you must use conducting skills beyond those needed
to direct a congregation.
The skills you need to successfully conduct a choir are:
1. Effective preparatory beats.
2. Meaningful facial expressions.
3. Conducting with the left arm.

Using these skills, you can conduct a variety of tempos, dynamics, and musical styles. The choir
can respond to your signals by singing with added feeling, making the music come alive for the
listeners.
B. The Preparatory Beat
The preparatory beat and the moments just before it are when you get the music off to a
successful start. As you take your place in front of the choir and raise your arms to conduct,
make sure every member of the choir and the accompanist are ready to begin. In this brief
moment, feel the rhythm and mood of the music. Feel the beat in proper tempo or count
a measure of beats to yourself. In this moment, an insecure feeling or facial expression can lose
the trust of all those singing. Be confident in your calling and do not be afraid to lead the Choir.
Do not be fooled, the Choir/Congregation picks up on insecurity/fear. Do not draw confidence in
yourself, but draw confidence in God and that what you are doing is a ministry of serving him.
When all is ready, conduct the preparatory beat. Let this beat reflect your intentions for tempo,
dynamics, and emotion. If the music is slow and solemn, the preparatory beat should be slow and
give a feeling of solemnity. If the music is joyful or bold, the preparatory beat should show these
moods. The choir can then respond from the very first note, singing with the musical expression
you desire.
C. Facial Expression, Body Expression, and Eye Contact
Facial expression, body expression and eye contact are some of your most important tools. Use
them constantly. To do this, you must know the music well enough to look away from it much of
the time. Use your eyes, body, and face to tell the choir what expression you want them to put in
the music. Before the music begins, give an alert and encouraging look. Use your shoulders to
help start and stop the choir. When the music ends, show an expression of appreciation and
approval.
D. Use of the Tempo or Base Arm
The job of the Tempo or Base arm (generally the Right Hand) is to be a constant source of
timing and stability for the choir. It is wise to know some music theory here and choir directing
basics so that as time goes on you may know more and more how to lead the choir. The basic job
of the Tempo or Base arm is to set the pulse of the song. Directing an up and down 2 beat
motion is ok as long as the choir knows and feels the tempo of the song. The first beat of every
measure or phrase must always come back to the same spot every time. For example, if the 1st
beat of the song is a down beat that stops near your naval, every subsequent down beat or
beginning beat must also stop there as well. This Foundation is the key in which all of your

directing will come from. Listen to a lot of music to see where the pulse or down beat of the
song is.
E. Using the Expression Arm
The Expression Arm (generally the Left hand) is very important tools in conducting a choir.
Here are some ways to use them:
1. Use both arms to give the preparatory beat and downbeat. Continue conducting with both arms
for a full measure or more, letting your expression arm mirror your right. Then drop your
expression arm to your side.
2. Use both arms for cutoffs and for mirroring the beat pattern for emphasis (especially when
slowing or quickening the beat).
3. Use your expression arm and hand to clarify the style, mood, or phrasing.
4. Sometimes one or more vocal parts do something different than what the rest of the choir is
doing. Use your expression arm to signal instructions to the choir while your Base arm conducts
the beat.
Using your expression arm and hand can improve your communication with the choir. Too much
use of the expression arm will limit your control of the choir. The expression arm is an effective
tool but dont overuse it. When you only need to conduct the beat, use your Base arm, letting
your expression arm rest at your side.
If you are conducting a large choir, a baton helps singers see what you are doing and stay
together. But a baton cannot express what the hand can in interpreting the music and is not as
useful with smaller groups.
F. Choral Conducting Techniques
Expression

Conducting Technique

Loud (forte or f)

Use a large beat pattern, holding arms Solemn, reverent, or

Use a smooth, rounded beat pattern with away from the body.
Hold the expression palm legato soft bounces on the beat up,
or let the expression arm mirror the beat pattern for emphasis.

Soft (piano or p)

Use a small beat pattern, with arms close to the body. Hold
expression palm down.

Fast (allegro)

Use a quick beat pattern, with sharp motions and crisp bounces
on the beats.

Slow (andante)

Use a slow beat pattern, with graceful motions and soft

bounces on the beats.

Getting louder
(crescendo or cresc.)

Use a beat pattern increasing in size. Hold the expression palm

up and push it upward, moving the arms away from the body.

Getting softer
(diminuendo or dim.)

Use a beat pattern decreasing in size. Hold the expression palm

down and push it
downward, moving the arms closer to the body.

Speeding up
(accelerando or accel.)

Make the beat pattern faster, with motions becoming more

crisp and the beat more pronounced.

Slowing down
(ritardando or rit.)

Make the beat pattern slower, with motions becoming more

graceful and the beat less pronounced.

Solemn, reverent, or legato

Use a smooth, rounded beat pattern with soft bounces on the

beat.

Bright, joyful, or staccato

Use an animated, angular beat pattern, with sharp bounces on

the beat.

One vocal line is more

important than the others

Use the expression hand to signal palm up to the important

vocal group, palm down to the other groups.

One part of the choir sings

while the other is silent

Face the group that is to sing.

The silent part of the choir

joins the singing part

First look at the singers who are to begin singing; then do a

preparatory beat with your expression hand and bring them in.
Mirror the beat pattern with your expression hand for a
measure or more.

Part of the choir sustains a

note while the other part
sings other notes

Hold your expression hand, palm up, in the direction of the

group that is sustaining. Continue the beat pattern with your
Base hand.

(3) Choosing the Right Music

Choosing the right music means choosing music that is right for the occasion and right for the
choir.
A. Divine Service Setting
Most choir performances will be in a Divine Service Setting, but there will also be other
occasions when a choir might be asked to perform and would need to sing music appropriate for
the setting. The music should enhance the theme of the service as set by the Bible Text from the
Divine Service Guide. Music should be a balance of modern and classic music tailored to the
spiritual needs of all of the members in the congregation, not just one group. Try to balance the
music that both the young and old could enjoy. Ask yourself these questions in the selection of
music.
1. Am I promoting joy and health in the congregation?
2. Am I utilizing all the talents in the congregation?
3. How many people are listening to the choir at the time the Choir starts to sing?
4. Am I fostering growth?
5. Could the Choir double its own size in a short period of time?
6. Could the choir create an atmosphere where the Congregation could double?
7. Am I fulfilling my Ministry and promoting Spiritual growth within each and every
member?
8. Do I ask the members if the music is fitting to their spiritual needs?
B. Other Occasions
A choir might also be asked to sing for other activities, and community events. Considering the
season, theme, or purpose of the meeting or event will help you choose the best music.
Pay close attention to future activities and community events. It can give a choir an opportunity
to perform popular selections or try out new material that may be of a different style.
C. Music That Is Right for The Choir
Consider the following when choosing music for the choir.
For a small choir (eight to twelve voices) or for a childrens choir, music written in unison or in
two parts may be best. For larger choirs, choose unison, two-, three-, four-, multi-part music. If
your choir is small, avoid music that needs a big, full sound to be effective. Dont use the
Mormon Tabernacle Choir or the London Symphony Choir as your guide for choosing music.
For Smaller Choirs, you can enhance the performance by:

1. Occasionally having a group of children or youth sing with them. This also promotes
growth.
2. Add varied accompaniments to the music.
3. Use music that is re-written to the strength of your choir. Sing in Unison or 2 parts.
Other
hymns are better in a two-part combination using the soprano and alto parts.
Women or men
might sing both parts, or men might sing melody and women sing
alto. If you have only females
or males in your choir, obtain music that is written
for a 2-, 3-, or 4-part Womens/Mens choir.
4. Ability of the Singers- consider the ability of the singers in your choir. Avoid music
with notes
that are too high or low for them to sing comfortably.
5. Voice Mix Consider the number of singers you have for each vocal part. If you have a
small
number of men, you will weaken their sound by dividing them into bass and tenor
sections. It
may be better to choose or arrange music that unites the mens voices into
one part, usually the
bass part.
6. Variety- choose music that brings variety to a choirs rehearsals and performances.
Solemn
hymns, joyful praise, music for special occasions, seasonal music,
patriotic tunes, and
inspirational songs all have a place in a choirs repertoire.
Choose music not only that you like
but that the choir/members likes; choir members
will be faithful and enthusiastic if they enjoy
what they are singing.
7. Have a quartet (a singer from each section or all men or all women) sing a verse.
8. Have the congregation join in singing the last verse of the hymn.
9. Have a violin or flute play a verse alone, with the choir humming, or play a descant
while the
choir sings.
10. Vary the dynamics, singing one verse louder or softer than the others.
11. Vary the tempo by singing a verse slightly faster or slower than the others.
12. Use a specially prepared piano or organ accompaniment as the singers sing the
melody in
unison.
13. Sing a verse (usually the last) in a different key, moving up a half or a whole step.
14. Combine these suggestions. For example, have the choir sing verse one in unison and
verse
two in SATB; in verse three have the sopranos sing the first phrase, altos join for
the second,
tenors for the third, and basses for the last; have a soloist sing verse four;
and have SATB again
in verse five.
15. Any variance or combination that is
A. Inspired by the Holy Spirit
B. Fitting in your congregation
C. Proper timing fitting for the time

(4) Teaching music to a choir and holding effective

rehearsals

A. Prepare Yourself
Before the rehearsal you should prepare yourself, plan the rehearsal, and prepare the rehearsal
place. Just as a public speaker spends 3 times the amount of time in preparation than in actual
speaking, or an athlete who spends more time working out than playing the game, you too must
spend more time in preparation than standing in front of the choir.
To prepare yourself, you need to
1. Study the music thoroughly. Decide how to interpret the music and make pencil markings to
help you teach and direct it. You need to learn the music well enough so you can
look up as you
conduct. Many professional directors memorize the music and rarely looks
at the music itself,
only the pencil notes he/she took.
2. Read the text aloud to understand its message and its mood. Ask yourself what the original
composer was thinking or feeling when he wrote the music.
3. Go through the music, noting the time signature, the tempo markings (how fast or slow), the
dynamic markings (how loud or soft), and any other expression marks. You may want to circle or
underline changes or difficult parts in advance in order to make the practice more productive.
4. Go through the music again, saying the words in rhythm as you conduct or tap a steady beat.
Identify the pulse of the song and tap for hand of foot to it.
5. Learn the melody line and sing it while you are practicing conducting, following the tempo
and dynamics indicated on the music. Come to a feeling of the style and mood of the music.
6. Become familiar with each of the vocal parts, circling any notes or rhythms that may be
difficult. Difficult passages will need special attention during rehearsals. Start the practice of the
song on the hardest part first, not spending too much time on it but to introduce it to avoid
difficulties later.
7. Find places in the music where one vocal line begins or ends independently of the other lines
or where one line becomes more important than the others. Mark these places in the music so
you can signal the singers at the appropriate time.
8. Practice conducting the music from beginning to end, using good technique and expressive
gestures. Picture the choir in front of you, visualizing where each section of singers will be
seated. Practice facing or gesturing in the direction of the section that will need cues from you.
Conducting in front of a mirror may help improve your skills.

9. Meet with the accompanist before the rehearsal to discuss your interpretation of the music and
practice conducting with the accompaniment.
10. Know how you are going to communicate with your choir. Dont wing it when you stand
in front of your choir. This shows a lack of respect to your choir and you will lose respect and
control. If the choir knows what direction you are going in, and they feel like you are not making
it up as you go along, greater things can be accomplished. A more joyful environment will be
established in rehearsal/performance
11. Plan the Rehearsal - To efficiently use your rehearsal time, you need to have a plan. Look at
the choirs performance schedule and decide which pieces the choir needs to rehearse. List the
titles and page numbers of the pieces and how much time you will spend rehearsing each one.
Tell your accompanist what you plan to do. Sometimes pieces will need more time than you
planned for; be flexible enough to let rehearsals meet the needs of the choir.
12. Prepare the Rehearsal place. Work with your Ministers well in advance to schedule the
rehearsal time and place. Make sure choir members know about the rehearsal. Then be sure the
building will be unlocked at the scheduled time. Arrange the seating so that every member of the
choir can see you and hear the piano or organ. Usually the sopranos are seated on your left as
you face the choir and are near the basses; altos are usually by the tenors. But any arrangement
that works for your choir is fine. Arrive early to make arrangements, lay out the music, and greet
members as they arrive.
B. Guidelines For a Healthy Rehearsal
Not only are rehearsals a time to prepare for performances, they also help choir members
develop the sense of unity and friendship so important for a successful choir. This can only be
accomplished if you create a positive environment for this to happen. When the rehearsal is
positive and enjoyable, members attend faithfully. Since nonmembers and less active members
may be invited to sing, choir rehearsals can be a time of fellowship and learning. A choir fulfills
its purpose when each member experiences personal growth through singing in the choir. You
can help this happen through effective, enjoyable rehearsals. A good guideline is:
1. Opening prayer
2. Announcements
3. Welcome new members
4. A short warm-up period, using warm-up exercises or a familiar simple hymn,

5. More difficult parts in the difficult hymns. (new hymns) Do not pound parts here. Just go over
it, to plant the seed for future rehearsal time. Do not go over parts. Have every member involved
by humming their part as another part sings aloud or all sing. If you go over parts, you have
already set a tone where the members have less enthusiasm and respect for you. Use the
call/repeat teaching method or sight-reading method
6. Go over music learned from prior practices. This builds and maintains confidence in the choir
to sing songs they are semi familiar with. A good Director will be able to plan far enough ahead
so that a hymn is practiced at least 3 times before being added to your repertoire. First practice
the song completely as a run through. It is good to just go over the difficult parts of the song and
then come back to it at a later time. The next time you practice, you will notice that half of the
problems will go away without ever having to spend a significant amount of time on it.
7. Any additional pieces that are known but could use one more run through before using it in a
concert, divine service.
8. Future goals
9. Prayer
C. Teaching methods
Individual parts The practice of going over one part at a time and then putting all the
parts together to form a hymn. This practice is the most common practice among amateur
choirs. Once the individual part is learned, the director will then take 2 or more sections and
have them sing together to work on harmonization.
Advantage: A thorough and well known way of teaching music in harmony
Disadvantage: It fails to engage all choir members at all times. This concentration on one
section while leaving the others alone to wait until it is their turn can create negativity,
conversation between the members, or kill the enthusiasm of the choir. This practice can
create a lot of re-rehearsing parts since the same notes can sound different together as a choir
(complete chord) than when singing the individual part.
Advice If you need to go over parts, have the individual section sing their part while the
remaining choir hums along. This will help with keeping everyone active while speeding up
the learning process. Another process is to divide the singers by vocal group (soprano, alto,
tenor, bass) for sectional rehearsals. Sectional rehearsals save time and keep the singers busy
learning their parts instead of waiting for their turn to rehearse. Although it is best to send
each group to a separate room, it may be more practical to divide the choir into two groups,
men and women. Assign section leaders that can teach the music.
Outline the Hymn A technique where you go over the song verbally prior to singing any

note. As you go over the song, you share the thoughts, ideas, text, phrasing, tonality, tempo,
and other goals you have already set for the piece of music.
Advantage: Very effective for those who have a deep knowledge and skill for music.
Disadvantage: for less skilled choirs, this can hurt the enthusiasm or come across as
demeaning, demanding, or degrading to their skill level.
Directing by committee A style of teaching where you assign different directors to teach
different songs.
Advantage: Allows more involvement and builds on individual leadership skills. Fosters an
oneness type playing field among directors forcing additional communication.
Disadvantage: Very hard to maintain a positive attitude or maintain control with so much
transition. High quality practice time will be lost in the transition. A lack of central
leadership will open up to an environment of lack of trust from the choir members creating
the possibility of the choir member deciding to do their own thing
Sight-reading The practice of singing a hymn for the first time by strictly looking at the
music and either humming or singing their parts while the organ/piano plays.
Advantage: Forces the choir to sharpen their music reading and harmony skills. This makes
it easier to learn music as time goes on. A quick way of introducing new music. Keeps all
members involved in the learning process.
Disadvantage: Can be disheartening to new members or anyone who does not know how to
read music. This technique can be over-done. It should be used sparingly. It may create
discord between more musically inclined members and those who know very little about
music.
Call/Repeat teaching - The director divides the song into sections or phrases. He sings the
phase to the choir and then has the choir repeat the line. The director gets a good flow going
by pointing to himself to sing the phrase and then pointing to the choir to repeat the phrase.
Advantage: Great technique to establish control and to learn the song. Fastest way possible
to learn for those who do not know how to read music or a choir that gets scared when
looking at new music or a lot of complicated looking notes. Great way to introduce a song.
Disadvantage: The director needs to be able to sing the tune as well as project confident
singing and a joyful disposition in his voice. Not as effective for an educated choir.

***These following teaching methods are highly recommended

to use in conjunction with the above methods
Interactive teaching The ability to get everyone involved in the process. Assign tasks to
members for future services and do not micro manage their progress or suggestions. Nothing
can hurt a choir member more than they trying to do the best they can only to find out it was

not enough or that it was done the wrong way based on how you perceived it to be.
Use of technology Use Musiccompanion.org, practice CDs, or other websites to make and
help with the process. Send email reminders to the members. Always keep your eyes open
to new methodologies of getting what you want accomplished. Watch videos of other
directors to pick up techniques that they use. Feel free to contact Local leadership or myself
for any assistance you may need.
Organize/Plan ahead Make a plan and stick to it. A constant change to this plan creates
an inconsistency and a lack of trust from your choir members. A professional director knows
a year in advance what they will accomplish. A school teacher has a yearly, quarterly goals
and objectives that they try to accomplish. It is wise to know at least 90 days in advance
what you want to accomplish. Last minute rushing around causes the choir to lose respect
and many may decide to take control and do their own thing. Of course, things will change
when you plan that far ahead but be flexible. Still try to maintain as much of a standard as
you can. If the choir has been given a list of all the songs they are expected to sing as well as
an advanced list of music to learn, they will in turn show respect to the choir as a whole and
feel more confident in their calling as a servant of God.
Continuous Education People schedules and lives are complicated and full of many
difficult time constraints. We however must make time to build upon what talents God gave
us and enhance on it. There are many free powerful sources of training and learning.
Creating a plan of education is also helpful in providing a consistent improvement. For help
in providing free training and creating a customized plan, email us at
wandrphelps0130@yahoo.com.
Be an example Sing different parts (if possible) during congregational singing. Be 10
minutes earlier than everyone else. Do not ask something of a choir member that you have
not done yourself. Remain confident in what you do and make sure this confidence always
comes from God, not your own abilities. Be passionate. Music is passion and an expression
of the soul. Do not pull surprise practices on the choir. Do not make a divine service a choir
practice, (i.e. Do not introduce new music to a choir during a service no matter how well it
fits) Be careful what you say. Comments like We are not a professional choir or I am not
expecting much are meant to be helpful but only ends up degrading the choir. Imagine what
it is like to be in the shoes of every one of your choir members. Get to know them and know
their hearts.
Promote music excellence/growth Always try to set the standard at a level where most or
all of your goals will barely be obtained. Once you reach that level, do not be afraid to set
the standard a little higher. This is a lengthy ongoing process that will always require work.
You may take a step back from time to time but keep your eyes focused on the goal, to do
your part in the return of Christ. Remember, it is the continuous effort that God blesses, not

the results. The results belong to God.

Be Cautious with criticism/Generous with praise - Professional speakers often say that
their job is 90% promotional and only 10% informative. As a minister of music, the numbers
may be a little different, but the majority of what you do should be positive. Promote the
accomplishments and be very very very cautious to correct or criticize. If a correction is
needed, do it in a one on one conversation at a time where it is convenient for both. Right
after a service or a choir practice is generally a poor time to speak with this person one on
one. Wait until a later moment when there is not so much attention or the wandering eye that
wonders why you are meeting with someone one on one. Recognize their sacrifice of time
and make every effort to understand their point of view. You must realize that they are
called by God to serve him and that you should not do anything to jeopardize that, promote
it instead.
Water, Water, Water The vocal chords can perform better and with a greater range if
properly hydrated. Encourage the members to bring water bottles. You will notice an
increase in range, tone and volume control.
Create Visual Effects Use of individual visual effects can enhance and change the
perception in the choir members. Use of these aides can also be used in the performance
(singing) as a reminder of a feeling or purpose you want the choir to remember.

(5) Principles of good singing

Good singing includes correct posture, breathing, tone quality, blend, balance, and diction. Every
director should teach these principles and continually remind the singers of them. When one
singer improves, the entire choir improves.
A. Posture
The correct posture for singing is standing with feet slightly apart, back comfortably straight, and
head held easily erect. The shoulders are back and down, the chest and rib cage are high. Singers
should hold the music up, arms away from their bodies, so they can see the director just above it.
Singers should stand without stiffness or tension, the body alert but relaxed. If singers are seated,
they should sit upright and away from the back of the chair. When you direct, hold your body in
an example of good posture as a reminder to the choir.
B. Breathing
Proper breathing is essential to good singing; it helps the singer develop beautiful tone quality,
sustain musical phrases, and sing consistently in tune. When singers breathe, they should open

the throat and inhale deeply, filling the lungs to capacity. As they sing, they should let their
abdominal muscles support and control air flow. Breathing needs to take place in the abdomen
area and not the shoulders. Keep an eye on the shoulders of your choir to make sure they do not
go up and down while singing. There should never be a tightness in the throat; an open throat is
essential for a free, relaxed tone. As a director you decide where the choir should breathe
usually between phrases or at a comma or periodand the singers breathe together. In longer
passages singers should stagger their breathing in order not to break the flow. Singers may want
to mark their music with a pencil at the points where
they should breathe.
Techniques to promote Breathing
1. Have the choir sing through their eyes to the object as if their singing through their
eyes is like
a laser. (breathing and tone)
2. Have the choir intentionally sing airy (with a lot of air)
3. Triad scales on a ha or a hee A triad chord is to sing the 1st, 3rd, and 5th note of a
chord
i.e. C note, E note, then G note. Raise the note a half step and repeat rapidly.
Another
alternative is to sing a simple quick tempo song on a ha or a
hee
4. Have the choir fold their hands and then lift their folded hands over their head on the
back of
their neck. Have the choir sing or warm-up to this. This freezes the
shoulder blades so that the
choir member is forced to sing from the abdomen area.
While practicing this, attempt to get the
choir to sing as loud as they can and then as
soft as they can in quick up and down motions.
They should notice more ability to
control their volume and sudden changes in the music.

C. Tone Quality
The sounds singers produce are called tones. When singers have poor tone quality, the sound is
thin and breathy, has a nasal quality, or is unsteady. Good tone quality sounds resonant, rich, and
precise.
Techniques to promote Tone Quality
1. Sing with an open, relaxed throat. Think of using body energy to sing and consider the
throat
only as an open tube.
2. Support the breath with a firm diaphragm. This eliminates wasted air.
3. Keep the tone vigorous and firm, even in soft singing.
4. Do not think of the vocal tone as coming from the chest or the throat; think of it as

coming

from high in the head. Try to focus it there for a rich, resonant sound.
5. Imagine a ladder coming out of your head and that your tone is pushing over the ladder
6. Have the choir hold their hands horizontally just under the eyes. Promote singing over
the
hands through the eyes (tone). Focus on a point or object across the room or draw
a dot on a
piece of paper and hang it on the wall.
7. Carefully shape and control the vowel sound. All singers should shape the vowel the
same
way.
8. Be careful of Diphthongs. A Diphthong is a word with multiple vowel sounds between
two
consonants like choir (sounds like Kwai er) or Fire (sounds like Fie er)
have the choir
sing one vowel (generally the first vowel). Singing both vowels will force
the choir to go flat and
may make it harder for the audience to understand
D. Blend and Balance
When a choir blends well, no individual voice stands out but there is a unified choral sound.
When a choir is well-balanced, no section stands out either unless it is intended to.
Techniques to promote to achieve blend and balance
1. Ask singers to listen carefully to those around them and try to match the sound they
hear.
Move their seating around during practice.
2. Have them stand on the outside walls of the church facing inward so that they can hear
better
(Blend, Tone, Breathing)
2. Have the men sit up front with the women behind them. (blend and tone.)
3. Stress uniform pronunciation of vowels and words and legato singing.
4. Make sure each section is heard clearly and in proper relationship to the others. For
example, the altos should not be louder than the other singers unless their
part has more
importance in the music.
5. Notice how the size of each vocal section affects balance. If there are only a few
basses, they may need to sing louder or the other sections sing softer to create a balanced
sound.
E. Diction
When singers have good diction, they clearly enunciate the words they sing. Good diction is
essential for the audience to hear the words and understand the message.
Techniques to promote Diction

K.

1. People sing vowels not consonants. (except for M and N) Try to sing a B or a
Consonants are a note killer so save the consonant till the very end of the note.

2. In some hymns you want a strong or Hard consonant to end the song or phrase, other
hymns will want a Soft sound depending on the style, or mood, of the hymn. A
Director needs
to be precise with both. For a Hard consonant, close your hand or
fingers quickly and hold it
there. if you want a Soft consonant teach the choir to
add a silent A at the end of the word.
This will have the choir drop the jaw to stop the
consonant sound. To direct a Soft consonant
open your hand or fingers, wide open
after you cut them off. It is also advisable to use your
silently mouth expression
your wish as well.
3. Be careful of the S probably the harshest letter when it comes to singing. You almost
never
want to sing a hard S. If a song has a lot of Ses in it, try to add a silent A to
the end of
the word, this will shorten the S sound

(6) Giving successful performances.

The choir spends most of its energy and time rehearsing, but it exists to perform. The best choirs
rehearse and perform regularly. Weekly rehearsals and at least two performances a month are
suggested for ward choirs. A performance at every sacrament meeting is even better. Always
strive for musical excellence and spirituality. Even with limited talent the choir can be wellbalanced, well-blended, and in tune. If each singer focuses on worshiping the Lord and inspiring
the listener, the choir can enhance the spirituality of a service or any event it is called to perform.
A. Guidelines for successful performances:
1. Hold a brief warm-up session before the performance. If this is not possible, have the choir
sing non difficult joyful music for the first hymn. This warms the voices and sets a good tone.
2. When calling out the order of the numbers, be clear, confident and precise.
3. When it is time to perform, you and the accompanist take your places. You signal the choir to
stand and after the song you signal them to be seated. Then you and the accompanist return to
your seats.
4. Ignore mistakes during the performance. Do not make negative facial expressions even if you
hear a mistake. Use small visual aids or signals if needed to set the tone before a hymn. If a
major mistake occurs and the singers cannot continue, stop the music, tell the choir where to
start, and begin again at that point or move on to the next hymn.
5. Always have at least 6 extra hymns ready to sing in a service. (2 of praise, 2 of traditional
worship, and 2 solemn pieces)
6. Advise your choir members to be cautious with perfumes and colognes. Even though they may

be nice, these odors constrict the vocal range of not only that one choir member, but the whole
choir.
7. Promote the members bringing water bottles.
B. Ingredients of a Successful Choir
In summary, these are the ten ingredients of a successful choir:
1. Prayer
2. Regular work-intensive rehearsals
3. Learnable, enjoyable music
4. A dedicated, enthusiastic, and well-prepared director and accompanist
5. Love for your choir members
6. Good Communication
7. Passion for God, Gods plan, and in serving God through music.
8. A mindset to promote healthy Spiritual and Natural growth
9. Fellowship
10. Joy in serving God