Striking the Balance: Creating and Nurturing Positive Relationships
between Voice Teacher and Choral Conductor
Since the dawn of our modern
vocal tradition, there have been
singers, choirs, and the mentors who
guide them. Somewhere along the
way, many of these professionals
have become convinced that their
goals, and the processes involved in
reaching them, led them down sepa-
rate and conflicting paths. In 2017,
we conductors and voice teachers
have reached a point of evolved
pedagogy, yet our philosophical mis-
understandings and lack of strong
professional relationships continue
to impair our ability to move for-
ward. Stepping away from insular
perspectives to recognize a larger
picture and committing ourselves to
cultivating positive relationships will
help us to better understand how to
set up both ourselves and our singers
for success.
Many outstanding choral pedago-
gy sources have made valiant efforts
to encourage healthy vocal tech-
nique in the choral rehearsal. Recent
pedagogical articles and disserta-
tions by professionals in both cho-
ral and voice areas indicate that the
by Miguel Felipe and Maya Hoover
need for change still exists. Amid all
of the valuable offerings from both
sides of the discussion, we seem to
reach a similar conclusion: we need
to do better. In his two-part article
“The Choir Issue,” vocal pedagogue
and Journal of Singing Associate Edi-
tor Scott McCoy addresses some
of the larger concerns and charges:
“I am now officially standing on
my soap-box calling for one simple
thing: Let’s talk.”1
The authors of this article took
McCoy’s charge seriously and con-
ceived this article to encourage oth-
ers to do the same. Written from
dual perspectives of a voice teacher
and a choral conductor, this article
offers observations and opinions
born of our daily quest to peacefully
and collaboratively build a robust
program while serving as exemplary
models of professionalism. At the
core of this discussion is the relation-
ship between the voice teacher and
the choral conductor, which, in the
past, has been derailed by concerns
that distract us from our singers’ best
interest and from opportunities that
CHORAL JOURNAL Volume 57 Number 9
would otherwise allow for musical
growth and development. The au-
thors advocate forward motion by
acknowledging the perceptions, as-
sumptions, and conflicts of the past
and present; exploring a shared mis-
sion with common ground; address-
ing current individual and collective
needs; and mending unhealthy rela-
tionships, growing new relationships,
and nurturing existing ones. The aim
is to open doors for new angles of
discussion that will allow us to work
toward a more holistic collaboration.
Discussing the Past
Philosophical Conflicts
Acknowledging the perceptions,
assumptions, and conflicts of the
past and present requires us to re-
connect with our primary charge as
educators. The primary responsi-
bility of the voice teacher is to help
singers build a solid and sustainable
vocal technique that will serve as the
foundation for a lifetime of healthy,
efficient, expressive, and beautiful
45
singing. The undergraduate years
are often a student’s first introduc-
tion to serious vocal study. While
there are a handful of students who
come to college with some sense of
vocal technique, the majority of un-
dergraduate singers come in with
little experience. Time in the voice
studio becomes triage, with the voice
teacher addressing the most dam-
aging habits first. Convincing stu-
dents to embrace a different sound
ideal and helping them to develop
a singer’s vocabulary takes time,
and students are often overwhelmed
with new ideas about singing. Some
embrace technique quickly, and oth-
ers find it difficult to feel and talk
Choral
Workshop Locations
workshop for choral conductors at all levels
Alexandria, Virginia
July 10-14, 2017
Seaside, Oregon
July 24-28, 2017
For more information, contact:
George Fox University’s
Department of Music
503-554-2620
dhawblit@georgefox.edu
Information is also available at
choralconductorsworkshop.com
46 CHORAL JOURNAL Volume 57 Number 9
about the sensations they are expe-
riencing while they sing. The voice
teacher becomes the guardian of
the student’s voice, serving as trans-
lator and technical filter for all of
the information they receive. Voice
teachers become overwhelmed by
the amount of damage control in-
volved, and they begin to stereotype
various roles in some effort to help
students categorize and control the
information coming in. This logic,
fair or not, forms the essence of the
conflict.
The charge to the conductor is to
develop within singers a love of sing-
ing with others; sensitivity to various
aesthetics and styles; and sophisti-
Conductors Workshop
with Rod Eichenberger
Master Teacher, Conductor, Innovator
Professor Emeritus, Florida State University
A five-day professional development
3343 12.16
cated musicianship skills supportive
of teamwork and musical indepen-
dence. With high school and young-
er singers, when the choral conduc-
tor is often the only musical guide,
the aims are rather easily achieved
and morale in the choral ensemble
runs high. At that stage, singers be-
lieve in the worth and value of en-
semble singing. As students advance
and begin private study, however,
conductors sometimes feel that voice
teachers start to work against their
program and its goals. Singers start
to come to rehearsals unwilling to
contribute as enthusiastically; some
start to openly doubt the worth of
the choral repertoire or tradition;
and some even leave the choir believ-
ing that choral singing is unhealthy
and dangerous for them. Already
feeling defensive, conductors then
learn that their studio colleagues ad-
vise singers away from participation
in choirs in an effort to reprioritize
students’ focus and energies. Voice
teachers appear to be actively work-
ing against the ensembles. Suddenly
the idyllic goals of the conductor
are threatened as the most skilled
singers disappear, and artistic qual-
ity and morale suffer. Assumptions
like these, fair or not, feed acrimony
amongst colleagues.
Practical Conflicts
Conflicts of the past stemmed not
only from philosophical misunder-
standings but also from differences
in how voice and choral teachers
execute their professional respon-
sibilities. Choral singing is a group
activity: technical language is used
to encourage the sound of dozens of
people and not to inform the habits
of one. The conductor works toward
a unified sound, and many students,
lacking proper information, manip-
ulate their technique as a means to
comply. As a result, voice teachers
have drawn the conclusion that cho-
ral singing is unhealthy, may damage
technique, and presents unrealistic
expectations for developing singers.
Further, for many years it appeared
that conductors were not concerned
either with the vocal health of sing-
ers or their long-term vocal develop-
ment. At the same time, conductors
assumed that private teachers did
not know how or did not care to
teach a variety of vocal techniques
that might apply in the choral/en-
semble setting. Perceptions like these
led professionals to doubt each oth-
er’s pedagogical skills and their in-
tent when guiding singers.2
Repertoire selection can raise
similar doubts about intention and
ability. Voice teachers select reper-
toire that is intended to address the
specific technical or artistic needs of
an individual singer, whereas choir
conductors do not have that luxury.
Conductors must select repertoire
that meets the needs of a larger
group, form a reasonable program
each semester, and provide a balance
of opportunities (style, language, ac-
companiment, etc.) for the mem-
CHORAL JOURNAL Volume 57 Number 9
bers. In response, the voice teacher
often concludes that the choral
conductor ignores the students’ in-
dividual needs in favor of ensemble
and programming ambitions. The
conductor assumes that the voice
teacher does not appreciate the role
of a choral program or the value of
the centuries-old tradition of choral
singing.
These conflicts extend past purely
artistic matters. The perception of
the value of vocal music as vocation-
al versus avocational further widens
the gap. Voice teachers tend to focus
on training singers for professional
careers and frequently will not ac-
cept students who do not have that
47
goal. Choral directors, on the other
hand, regularly encourage music
making as having lifetime value, re-
gardless of professional ambitions.
For these, and myriad other reasons,
both parties have taken a defensive
stance. These antagonistic feelings
undermine a chance at collegiality
and a unified, well-rounded experi-
ence for singers with a range of in-
terests.
Toward a Collaborative Future
Finding Common Ground
The question, then, becomes: how
does one change the relationship
model? The history is long and the
misunderstandings deep, yet we voice
and choral teachers share a common
motivation to serve our students and
our art. This is the foundation upon
which conductors and voice teach-
ers can build a new understanding.
A shared mission stands as a central
component to any successful collab-
orative effort. No two professionals
proceed from identical motivations,
but it is important that there be a de-
gree of unity and agreement on cer-
tain core principles. The discussion
begins here and is an essential first
step. For these authors, the mission
is to guide singers in healthy vocal
production; to help them mature as
intelligent, thoughtful, and sensitive
musicians; and to prepare them for
lives rich with music in various forms.
The authors acknowledge the
diverse paths toward realizing this
mission. The private studio and the
choral rehearsal are not going to
function in the same way, nor should
48 CHORAL JOURNAL Volume 57 Number 9
they. Rather, they are different but
complimentary paths that lead to a
similar goal. The mission unites cho-
ral and voice colleagues in an end
goal without restricting the process
or taking away a professional’s au-
tonomy. With these assumptions ac-
cepted, we gain new perspectives and
may begin to address our individual
and collective needs.3
A New Perspective on Choir
Looking toward a collaborative
future, ensemble and studio teachers
can start to build a strong connection
in service of their singers. Elements
of this new collaboration include
providing an honest appraisal of
professional and amateur vocal op-
portunities in the twenty-first centu-
ry; modeling openness to the role of
strong applied and ensemble study in
every singer’s life; committing to best
practices in the studio and rehearsal;
and practicing sensitivity in our in-
terpersonal, workplace relationships.
In recent years, the definition of
successful singing has changed dra-
matically. The concept of “the ca-
reer” has expanded to include ac-
tivities other than singing opera in
A-level houses. Success in the field
now includes a number of options
that allow people to profit from vari-
ous skill sets that they have acquired
during their studies. It is more com-
mon now to see singers with greater
repertoire specialization; singers who
have founded their own opera com-
pany or festival; singers performing
in professional ensembles; and pro-
fessional rosters including underrep-
resented voice types. Marketing and
business, with the idea of the singer
as small business owner, have come
to the forefront. The more skills with
which singers are armed, the more
likely they will be able to take ad-
vantage of the many different types
of twenty-first-century professional
singing opportunities.
Many voice teachers now agree
that choral ensembles are a place
where vocal technique can be prac-
ticed. They arm their students with
additional information to help them
feel comfortable in the ensemble re-
hearsal and, most importantly, they
encourage students to be technically
aware in these rehearsals. Framing
ensemble rehearsal time as a posi-
tive experience and as extra time
allotted to practicing technical work
encourages the student to be vocal-
ly successful in rehearsal. Teachers
may also remind students that it is
the conductor’s job to serve a musi-
cal end goal, while it is the singers’
job to respond within a healthy vocal
framework and to take responsibility
for their own instrument.
Ensemble singing can be a pro-
ductive part of a student’s musi-
cal education in other ways. Choral
singers have unique access to reper-
toire that stretches from the twelfth
century; they develop ensemble and
tuning skills unique to unaccompa-
nied ensembles; and they cultivate
interpersonal and teamwork skills
that can support them throughout
their lives. In terms of musicianship
skills, singers develop music reading
facility; sensitivity to stylistic matters;
and interpretive/musical awareness
at a level akin to working individu-
ally with a vocal coach. Conductors
can further help students value the one of productivity and positive col- be consistent in the two settings. For
importance of text, phrasing, and legiality. A shift in the perceived value example, there should be one vocal
vocal coloring. These skills prepare of both private study and the choral technique (for each student) with
students for a career in the highly- instrument and tradition furthers the many different ways to utilize it.
competitive, multi-faceted, modern connection of the two perspectives; In the past few years, a significant
world of singing. no longer hostile, the teachers can pedagogical conversation has been
grow to become colleagues. taking place at professional meet-
ings of ACDA and NATS. These
A New Perspective on Voice Study discussions have been summarized
As in the applied voice arena, at- Defining Needs: Coming Together and published in a series of essen-
titudes have also improved among on Vocal Matters tial articles in Choral Journal in 2014.5
ensemble directors. Most now ap- Certain elements of the choral re- In them, the authors contextualize
preciate that individual vocal in- hearsal differ from the private studio. these conflicts as myths and offer sci-
struction forms the foundation for Acknowledging these differences can entific reasons for these differences
a good choral sound. Conductors lead to more productive lessons and and specific pedagogical solutions
know that they cannot possibly ad- rehearsals. At the same time, many for the choral rehearsal. Readers
dress the many considerations of aspects of the vocal experience could of this article are urged to consult
each student’s vocal technique while
effectively leading rehearsal, nor is
it their training or purview. Rather,
a team approach to developing stu-
dents’ unique vocal and ensemble
skills is a more productive scenario.
Many conductors will also agree that
voice colleagues can make excellent
partners in the choral rehearsal pro-
cess.4 With shared educational goals
and respect for each other’s pedago-
gy, voice teachers become effective
collaborators in the choral setting.
Finally, many more conductors now
acknowledge that the voice teach-
er-student relationship is central
to singers’ maturation. Recogniz-
ing the primacy of this relationship All the scores, all the time.
may challenge a conductor’s ego, Snugly secured or instantly released, your music scores
but working with the voice teacher are at your command with the touch of one thumb. And
as the singer’s primary mentor can our snag-free closing mechanism makes every page turn
create a conduit for communication (and performance) jitter-free. It’s why our RingBinder is Optional imprinting
and mutual support of the student’s the pick of so many musicians around the world. See all adds your number,
needs and goals. our folders and accessories at MUSICFOLDER.COM today. name or logo.
Today, the voice teacher and
Canada/USA (toll-free): 1-877-246-7253
conductor relationship seems to be Tel. and Fax: +1 604.733.3995
evolving from one of antagonism to

CHORAL JOURNAL Volume 57 Number 9 49

them and to consider the following
reminders.
Sound ideal
The definition of sound ideal is
likely the largest difference between
the two vocal settings. In the cho-
ral setting, an especially tall, warm
sound might dominate and create
the most opportunity for unification
of sound, whereas in the studio, a
bolder, more resonant tone is likely
more desirable. Voice teachers gen-
erally use a combination of techni-
cal language and imagery to encour-
age a change in sound. Conductors
should follow suit by using specific
and scientifically informed language
to shape the choir’s sound, remain-
ing wary of an over-reliance on
vague imagery.
Vowel modification
Vowel modification serves a vari-
ety of aesthetic and practical goals,
and it is therefore an important topic
for all parties to understand. Vowel
modification (and vocal acoustics in
general) is a complex topic that has
been studied by many and probably
truly understood by few.6 Simply put
I magine …
singing in the venues
of the great
Sing Where Inspiration Was Born.
composers, in awe
inspiring cathedrals and
charming village churches,
for appreciative audiences
around the world.
Let us take you there.
CULTURA
ULTURAL TOUR CONSULTANTS
(866) 499-3799 |www.CulturalTourConsultants.com | info@CulturalTourConsultants.com | 259 E. Michigan Ave., Kalamazoo MI 49007
50 CHORAL JOURNAL Volume 57 Number 9
and as it relates to this discussion,
singers modify vowels to change the
acoustical properties of the sound.
This can serve many purposes in-
cluding, but certainly not limited to,
unification, intonation, diction, and
color/timbre. Using technical termi-
nology and offering an explanation
for why a vowel must be modified
can help a singer contextualize the
changes that need to be made while
staying true to their vocal technique.
Support from both studio and en-
semble teachers can help young sing-
ers understand the range of options
available to them. Although studio
time for voice lessons is extremely
limited (especially when compared
to hours spent in rehearsals), five
minutes devoted to reviewing some
of these options at the top of the
hour will surely save singers fatigue
and frustration.7
Vibrato
Much is said about vibrato, and
it is often cited as a top complaint
in the disconnect between studio
and rehearsal hall. It is the authors’
belief, however, that the conflict is
manageable and that an informed
It Starts With An Idea...
approach to vibrato can serve the
singer in all settings. John Nix, in his
article “Shaken, Not Stirred: Practi-
cal Ideas for Addressing Vibrato and
Nonvibrato Singing in the Studio
and the Choral Rehearsal,” explains
the phenomenon of vibrato and
succinctly synthesizes scientific and
pedagogical research on the topic.8
It is an excellent and comprehensive
literature review of all of the princi-
ple sources pertinent to current voice
pedagogy.
Conductors and voice teachers
generally accept that vibrato is the
sign of a healthy, well-coordinated
voice free of undesirable tension.9
We also generally agree that no
single approach to vibrato suits all
repertoire. In the rehearsal setting,
consider exercises in which vibrato
is addressed and that explore a spec-
trum of vibrato.10 The spectrum ap-
proach helps singers sense the mech-
anism behind their own vibrato and
to appreciate the range available to
them.
Vocal and choral pedagogues
seem to agree that it is safe for more
developed singers (i.e., traditional
collegiate-aged and above) to experi-
ment with vibration modification.
In her article “Vibrato, Science, and
the Choral Singer,” choral peda-
gogue Gayle Walker offers pointed
suggestions for addressing vibration
indirectly during rehearsal. She ad-
vocates using semantic language
(modify vs. eliminate), aesthetic dis-
cussions (balance and style), and
other practical matters (program-
ming and rehearsal strategy).11 An-
other useful example is Rebecca
Sherburn’s article “Straight Tone
in the Choral Arts: A Simple Solu-
tion,” which gives specific pedagogi-
cal advice on controlling or limiting
vibrato through breath registration
and vowel modification.12 Above all,
conductors and teachers must be in-
formed and willing to offer technical
support.
Further discussions of vocal peda-
gogy are developing at a rapid rate
with excellent contributors and new
scientific knowledge. While this ar-
ticle seeks primarily to explore the
collegial relationship, readers would
be well advised to refer to expanding
literature from ACDA, NATS, like-
minded organizations, and in indi-
vidual books, articles, presentations,
and dissertations.
A Day at the International Children’s Choir Festival
Since 1997 — Canterbury Cathedral and London — info@euroartstours.com
July 22 - 29, 2017
Canterbury FesƟval Evensong - Day 3
Canterbury Evening Concert - Day 4
Southwark, London, Final Concert - Day 6
Sing Three Major Concerts Under the
DirecƟon of Henry Leck and David Flood
Beyond Technical Matters Building and Nurturing the
The paragraphs above present Relationship
several considerations for a more A healthy collegial relationship,
aligned pedagogical approach in like any other relationship, is based
both the private studio and rehearsal on mutual respect and trust that
hall. There is, however, more to strik- must be built over time. And, like
ing the balance than the way voice any other relationship, it often re-
and choral professionals carry out quires a good deal of effort.
their individual roles. The authors
have acknowledged the past and ar- Relating on a personal level
rived on common ground, both con- Every reader of this article can
ceptually and pedagogically. Now, to likely think of extreme examples:
fully carry out our mission, we turn the colleagues who do everything
to the heart of this article: the rela- together, and the two who actively
tionship. avoid any chance of a passing hello.
Successful collegiality, however, need
not be so extreme. The goal is to
build an enjoyable and sustainable
~ July 21 - 28, 2018 ~ July 20 - 27, 2019
Hong Kong Children’s Choir, CHINA
Three Morning Rehearsals w/Leck & Flood
Amabile Children’s Choir, CANADA
Two Evening Rehearsals w/Leck & Flood Each Choir Enjoys a Private Workshop with
Both Henry Leck and David Flood!
Indianapolis Children’s Choir, USA
Dress Rehearsal for Final Concert Australian Children’s Choir, AUSTRALIA Allery Flood Leck Searles
Six Rehearsals Under the DirecƟon Each Choir Sings a Solo Concert Your FesƟval Team! 63 Years Experience
of Henry Leck and David Flood in Canterbury Cathedral With This Incredible FesƟval!
i
CHORAL JOURNAL Volume 57 Number 9 51
rapport that will allow you both to
do your best work as a team.
Building a good relationship can
begin as simply as making an in-
formal connection beyond a casual
mailroom greeting. For example,
stopping by a colleague’s office when
you both have a spare moment is a
gracious gesture that is simple and
quick. Visiting your colleague’s space
also sends a thoughtful message.
A visit without any specific agenda
might be welcome, or a conductor
might even seek a voice teacher’s
perspective on a vocal issue that re-
curs in rehearsals. Similarly, a voice
teacher might stop by for an opinion
52 CHORAL JOURNAL Volume 57 Number 9
about stylistic interpretation in ora-
torio repertoire. These types of ex-
changes are a great way to open the
door for communication.
Relating on a professional level
Identity is fundamental and core
to how we voice teachers and choral
conductors see ourselves as profes-
sionals. Relating to and recognizing
your colleagues’ identity as an art-
ist and/or scholar sends an impor-
tant message of support and worth.
The degree to which you engage is
not the central issue; the important
thing is that you make the effort and
develop an awareness of their work.
Colleagues are often happy to share
their upcoming projects and per-
formances. Ask. Listen. Doing so
models important behaviors for col-
leagues and students alike.
Nurturing what you have built
In order for any relationship to de-
velop and grow, the parties involved
must remain aware of the constantly
shifting dynamics of life. Colleagues
are affected by both personal and
professional events. While one may
not always be privy to personal situ-
ations, colleagues can remain sensi-
tive to changes or challenges in the
work place. For example, under-
standing and supporting conflicts or
successes with students or other col-
leagues reinforces both the profes-
sional relationship and the model of
teamwork.
Putting Philosophy into Practice
In this discussion, the authors in-
vite readers to thoughtfully consider
the literal meaning of collaboration,
or working together. Acknowledging
that each professional brings a valu-
able set of skills to the table, working
together is the best way to create an
optimal experience for our singers.
Inviting your colleagues in
Collaboration happens primar-
ily in two ways: teaching and per-
forming. While welcoming a voice
colleague to rehearsals or featuring
them in a concert is hardly a new
idea, conductors should consider
sharing specific rehearsal aims in
order to prepare an effective, col-
laborative approach. Specific ways
to feature a voice teacher in the re-
hearsal might include asking them
to lead vocal exercises, coaching the
choir from a vocal perspective while
the choral conductor continues to
conduct, rehearsing the choir from
the podium themselves, coaching so-
loists, or covering rehearsals on spe-
cial occasions.
Likewise, voice teachers might
consider inviting the conductor into
the studio as a coach in repertoire
that involves ensembles. Conductors
can offer different perspectives on
things like music learning, interpre-
tive process, ensemble singing in op-
era, and performance practice. They
can also bring valuable insight to the
oratorio and symphonic repertoire.
Furthermore, inviting the conductor
into the studio (as opposed to send-
ing the student out to work with them
on their own) sends an important
collaborative message. Performance
collaborations are often more publi-
cally visible than teaching collabo-
rations; therefore, consider taking
established practices to a new level.
For example, feature a colleague on
a recruiting trip, in a clinic, or on a
concert tour.
Beyond rehearsal or performance,
voice colleagues often enjoy being
involved in the selection and prepa-
ration of soloists and casting for
select ensembles. Voice colleagues
can also be a wonderful resource for
repertoire selection in unique situa-
tions such as performances that have
an emphasis on the opera repertoire,
performances involving many solo-
ists, or concerts for a specific demo-
graphic.
Regardless of the type of col-
laboration, when music is central, it
presents opportunities for us to learn
from each other, model collegiality
to students, and further build on a
mutual respect for one another as
artists.
Scheduling and Repertoire Planning
Scheduling is, quite simply, one of
the most challenging matters for col-
leagues, especially in a large school
or busy community where compet-
ing interests can never be fully sat-
isfied. More important than getting
all the dates and venues each party
may want, however, is communi-
cating and remaining flexible with
CHORAL JOURNAL Volume 57 Number 9
colleagues. When scheduling major
events, consider the effect on stu-
dents’ time and voice. This impact
comes not only from the concert but
also from extra rehearsals, extended
hours of singing, and loss of time for
other activities and rest. Schedule
with your colleagues in the process:
consider work cycles in the semester
or community; consider the timing
of major recitals and guest artists;
and, most importantly, consider the
relative value of your event within
the student’s full experience. Think-
ing this way—with the choral or
studio schedule as a part of a big-
ger picture—can be humbling and
sometimes lead to fewer activities.
The benefits, however, are vastly
greater, with colleagues becoming
supporters and advocates for each
other’s programs.
On the broader annual scale,
there are various opportunities for
conductors to be good colleagues.
Planning repertoire always stands
as a major responsibility and oppor-
tunity for conductors. Among the
many considerations when selecting
repertoire, conductors are wise to
note the vocal implications of each
piece. The benefits of a varied pro-
gram extend beyond the aesthetic:
different types of music present dif-
ferent types of vocal challenges. In
other words, by varying repertoire,
conductors can avoid undue empha-
sis on any particular vocal challenge.
Works with aesthetic demands
that are appropriate to singers’
skills must also inform decisions.
For example, just as conductors ac-
cept the vocal challenges and risks
associated with concert programs
53
comprised largely of Renaissance
music, so must they accept that a
concert program comprised entirely
of large, nineteenth-century music
has certain vocal risks if chosen for
the wrong voices.13 Finally, consid-
er the ways in which a conductor’s
repertoire choices may support and
enhance the sorts of repertoire that
singers will address in other parts of
their studies: applied lessons, vocal
literature, or diction courses.
• Rehearsal Planning
Rehearsal and repertoire plan-
ning consume both the conductor
and voice teacher in various ways.
Much exists in the literature about
planning warm-ups, rehearsals, and
how different conductors structure
various choral programs. This dis-
cussion focuses on how the decisions
a conductor makes impact singers
and, therefore, the collegial relation-
ship.
With the understanding that sing-
ers need to be their own vocal health
advocates, conductors should con-
sider the many ways in which their
rehearsals affect the voice. During
the warm-up period, conductors
should take care to balance vocal ex-
ercises that address vocal readiness
with the skill-focused exercises often
employed.14
Ensemble seating also impacts
a student’s vocal experience. Many
conductors assign seating according
to how it affects the choral sound,
but they should also consider the
way seating affects the singer. Mov-
ing larger voices away from the front
provides the freedom for these sing-
ers to sing out and allows them the
space to avoid holding back. Chang-
es for different repertoire can also
give singers a sense of vocal freedom
and help the conductor emphasize
different aesthetic goals. Mixed for-
mation versus sectional seating also
affects singers in different ways.

Learn and grow professionally through ACDA’s Mentoring Program.

Open to all undergraduate and graduate students and beginning to established choral directors.
More information is available at: http://mentoring.acda.org

54 CHORAL JOURNAL Volume 57 Number 9

Some singers may feel empowered
singing on their own surrounded by
different voice types, while others
may feel exposed and choose to re-
strict their sound as a means to com-
pensate. Staying in communication
with singers and remaining flexible
can lead to comfortable singers, and
therefore, the best sound.
Conductors can plan rehearsals
with the same considerations as they
plan the concert program. Reper-
toire, tessitura, dynamic variety, and
stylistic and timbral variety will all
directly affect singers and their vocal
experience. Plan with an eye toward
the singer’s overall vocal life, taking
into consideration other vocal de-
mands the semester may present. In
addition, students should be excused
from rehearsal before major perfor-
mances. Doing so is a sign of respect
for their need to focus on the more
significant performance and sends
an important message of support for
the voice teacher’s work.15
Conclusion
Acknowledging the past in order
to understand the present is an im-
portant step toward a shared mission
on common ground. As we conduc-
tors and voice teachers address our
needs and shift our focus to nurtur-
ing professional relationships, we al-
low ourselves to move forward in a
positive and collegial environment.
The process will differ for each rela-
tionship and will require both philo-
sophical and practical discussions.
Some efforts will be individual, and
others will be collaborative, but ev-
ery effort counts. With relationship
at the core of the discussion, the
charge has advanced. Investing in
the relationship is difficult work, but
accepting this new charge is the first
step on the journey toward striking
the balance.
Miguel Felipe is associate professor
of music (conducting) and director
of choral activities at the University
of Hawai‘i at Mānoa.
mfelipe@hawaii.edu
Maya Hoover is a professional
singer and professor of music (voice)
and voice area head at the Univer-
sity of Hawai‘i at Mānoa.
mhoover2@hawaii.edu
Bibliography
American Choral Foundation. Vocal
Pedagogy Texts of Interest to Choral Con-
ductors. Philadelphia: The American
Choral Foundation, 1999.
Detwiler, Gwendolyn Coleman.
“Solo Singing Technique & Choral
Singing Technique in Undergradu-
ate Vocal Performance Majors: A
Pedagogical Discussion.” DMA
diss., University of Cincinnati, 2009.
Ferrell, Matthew A. “Choral Con-
ductors and Voice Teachers: Finding
Common Ground.” Choral Scholar
Vol. 5, No. 1 (Fall 2015): 30–42.
Hansen, Sharon, Allen Henderson,
Scott McCoy, Donald Simonson,
and Brenda Smith. “Choral Direc-
tors are from Mars and Voice Teach-
ers are from Venus: The Top Ten
Complaints from Both Sides of the
Isle (or ‘The Farmer and the Cow-
CHORAL JOURNAL Volume 57 Number 9
man Should Be Friends’),” Choral
Journal Vol. 52, No. 9 (April 2012):
51–58.
Haasemann, Frauke, and James
Mark Jordan. Group Vocal Technique.
Chapel Hill, N.C.: Hinshaw Music,
1991.
Lamartine, Nicole Christopher. “A
Curriculum of Voice Pedagogy for
Choral Conductors: The Effect of
Solo Voice Exercises on Individual
Singer Technique, Choral Tone, and
Choral Literature.” DMA diss., Uni-
versity of Arizona, 2003.
McCoy, Scott. “Your Voice, An In-
side View: Multimedia Voice Sci-
ence and Pedagogy.” Princeton: In-
side View Press, 2005.
Miller, Richard. The Structure of Sing-
ing. New York: G. Schirmer Books,
1986.
Rundus, Katharin. Cantabile: A Man-
ual About Beautiful Singing for Singers,
Teachers of Singing, and Choral Con-
ductors. San Pedro, California: Pa-
vane Publishing: Distributed by Hal
Leonard, 2009.
Smith, Brenda and Sataloff, Robert
T. Choral Pedagogy, Third edition. San
Diego, California: Plural Publishing,
2013.
Webb, Jeffrey L. “Promoting Vocal
Health in the Choral Rehearsal.”
Music Educators Journal; (May 2007);
Vol. 93, No. 5; Music Periodicals
Database: 26–31.
55
 NOTES
1
Scott McCoy, “The Choir Issue,
Part 1,” Journal of Singing 67, no.
3 (Jan/Feb2011), 301. Also see
Scott McCoy, “The Choir Issue,
Part Two,” Journal of Singing 68,
no. 3 (Jan/Feb 2012), 287–289.
4
This pedagogical conversation
continued with a series of panels
and discussions at professional
meetings of ACDA and NATS
and was summarized in the Choral
Journal in 2014. Sharon Hansen
et al., “Choral Directors are from
Mars and Voice Teachers Are from
Venus: ‘Sing from the Diaphragm’
and Other Vocal Mistructions Part
1,” Choral Journal 54, no. 10, 47–53;
and Sharon Hansen et al., “Choral
Directors are from Mars and Voice
Teachers Are from Venus: ‘Sing
from the Diaphragm’ and Other
5
Vocal Mistructions Part 2,” Choral
Journal 54, no. 11, 47–53.
2
In his doctoral essay conclusions,
Ferrell discusses the various
adjustments singers make
between choral and solo settings,
referencing the work of McCoy
and Miller and survey responses
from Lesley Leighton, Robert
6
Sataloff, Matthew Hoch, Jan
Bickel, and others. Matthew
Ferrell: “Perspectives on Choral
and Solo Singing: Enhancing
Communication Between Choral
and Conductor s and Voice
Teachers” (DMA essay, University
of Miami, 2010), 57–65.
3
Although the subject of ego is
certainly a consideration for this
topic, the authors assume that
7
readers who have chosen to enter
56 CHORAL JOURNAL Volume 57 Number 9
this stage of the discussion have
accepted its negative implications
and the negative implications
of a teacher-centered approach.
For a focused discussion of ego,
see Lynn Eustis, The Singer’s Ego:
Finding Balance Between Music and Life
8
(Chicago: GIA Publications, 2013).
Stories abound about the productive
collaborative relationships of
conductors working closely with
vocal coaches such as Wilhelm
Ehmann and Frauke Haasemann,
Robert Shaw and Ann Howard
Jones (who, in addition to being
9
an accomplished vocal coach, is
an established conductor in her
own right), and Philip Brunelle
10
and Sigrid Johnson (also an
11
accomplished conductor), to name
a few. Little, however, has been
written about the nature of these
12
working relationships.
For an excellent discussion on
semantics in pedagogical
instructions given in the choral
13
rehearsal, see Hansen et al.
“Choral Directors are from Mars
and Voice Teachers Are from
14
Venus: ‘Sing from the Diaphragm’
and Other Vocal Mistructions Part
1,” 47–53.
For more information on formants
and the vocal tract, see Barbara
Doscher, Functional Unity of the
15
Singing Voice (Metuchen: The
Scarecrow Press, 1994), 133–170.
For a closer look at formants as
they relate to a choral setting, see
Scott McCoy, “Formantology,”
Jour nal of Singing 70, no. 1
(Se ptember/October 2013),
43–48.
Consider options such as vowel
choice, marking techniques, and
other strategies for effectively and
safely altering sound. Doscher
defines marking as “a technique by
which one sings softly in a normal
voice without decreasing breath
energy or air flow,” Doscher, 236.
John Nix, “Shaken, Not Stirred:
Practical Ideas for Addressing
Vibrato and Nonvibrato Singing
in the Studio and the Choral
Rehearsal,” Journal of Singing
Volume 70, No. 4 (March/April
2014): 411–418. Also see Doscher,
198–210.
Scott McCoy explains the acoustical
implications in non-vibrato singing.
McCoy (Jan/Feb 2011), 298–299.
John Nix, 415–416.
Gayle Walker, “Vibrato, Science, and
the Choral Singer,” Choral Journal
47, no. 6 (December 2006): 44.
Sherburn, Rebecca, “Straight Tone
in the Choral Arts: A Simple
Solution,” Choral Journal 47, no. 8
(February 2007): 61–69.
We refer here to the large debate
about vibrato, non-vibrato, and
straight-tone singing.
The authors recognize the larger
discussion surrounding the concept
of warming up the voice versus
exercising a choir. We operate on
the assumption that both types of
exercises are important.
Note that voice teachers can extend
the same courtesy by offering to
reschedule lessons that directly
follow large choral activities (e.g.,
choral festival weekends or major
concerts).