Lordswood Choir

This is a resource that firstly provides basic information on how to lead a choir of young girls voices in
terms of looking at vocal production and how to utilize these voices to the best of their ability, but
secondly documents the work that vocal animateur Michael Betteridge undertook at Lordswood Girls
School in the 10-11 school year.

Understanding Young Girls Voices
My main issue as a vocal animateur and working with young girls voices is the fact that a large
proportion of them do not like using a very important part of their voice called the head register. This
is most likely due to the fact that the repertoire that most people engage with nowadays is
predominantly commercial and/or popular in which the majority of female singers use what we called
the chest or lower register. Think Adele, Amy Winehouse, etc, etc. This is often more of a
psychological thing to challenge rather than a physical one, although unfortunately sometimes it is a
physical issue which I will detail later.
Why is a young girls voice different to an adults or a childs?
Like boys, with the onset of puberty, girls voices also change albeit not as drastically. The prepubescent
voice of boys and girls is very similar encompassing the range from a middle C upwards. As the body
starts changing and hormones are released then girls voices, like boys, often drop slightly, and they
become richer and more mature. Whilst these hormones are reacting with the body the voice continues
to change and eventually the voice settles in the early to mid 20s.
Range
Generally a teenage girls voice will sit between these two points (give or take a few of the high/low
notes), with a transition very approximately around a B.

This transition point is where the chest register can transition into the head register. It is not a fixed
point in any voice and with training girls can learn to adapt where they transition, although common
practise is to always transition in the same place. The head register and the chest register overlap,
sometimes quite significantly, which means more experienced singers can pick the sound quality they
desire if they decide to not keep their transition point fixed. In classical singing the transition point is
usually relatively low in order to engage with the head register, whilst in pop it is relatively high to
produce a richer, chestier sound closer to speech. Most girls wont have a lot of strength in all these
notes and will definitely have a preference where they sing. This is their tessitura or voice type.
Tessitura
The tessitura is where the voice sits most naturally and this differs drastically between girls. From my
experience often girls assume they are most comfortable in the lower part of their voice due to their
musical preferences, although rarely is this actually the case. Before categorizing your choir into
different parts ensure that all your girls know how to use their head register as some may discover that
they have a much stronger sound up there!
Registers(/Voices)
Some educators dont believe in discussing registers at all with their pupils/choirs, others divide the
registers into three (chest, middle and head). My experience, from listening and working with young
people, is that working in terms of two registers head and chest provides the best results.
Head Voice
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the head voice is the floatier, lighter sounding part of the voice usually occurring above
the B above middle C, although a comfortable transition can occur anywhere from E above middle C to
the D an octave above this.
Chest Voice the chest voice is the lower, meatier and more popular sounding part of the voice which
sounds closer to the speaking voice than the head voice.
In classical singing a lot of sopranos (the higher voice) will never use their chest voice, developing their
head voice all the way down to Middle C strengthening it through use and vocal exercises. The opposite
occurs in pop where singers will push their chest voices as high as they can go, and even use a technique
called belting to obtain the higher notes.
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The head voice can be exceptionally weak in singers who are not use in engaging with it. Unfortunately
this puts a lot of individuals off singing or encourages them to strain when singing notes considered
low as they try and push their chest voice higher instead of transitioning. The benefit of singing in
choirs is even if your voice is weak in a particular area then you can sing with others to strengthen it
without feeling embarrassed.
Transitioning between these two voices can occur almost anywhere between Middle C and up to a ninth
above this. The two registers use separate parts of the vocal chords meaning that they can (almost) be
developed separately, although it is unhelpful to think in terms of two separate voices. When
conducting a pop sound I encourage using this lower sound as high as possible as long as it is produced
healthily, but some singers may need to transition earlier. The sound should always be comfortable
when produced; if a girl is straining at an F just above Middle C I would encourage her to use her head
voice above that point even if it was a weaker sound and even if it feels unusual or she is not used to
singing in this way. The head voice will strengthen in time.


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Head voice or head register? Whats in a name? Most educators prefer to use register as it implies the
instrument works as one rather than two separate voices. So long as your clear about what you are reading and
later discussing with your choir it shouldnt be too important. I will use the terms interchangeably.
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Belting is a wonderful, fantastic technique, but for many reasons isnt really suitable for choral singing (regardless
of repertoire) everyones belts are very different and it is very hard to achieve a good blend. Also many teenage
girls (and boys) are not fully developed enough to engage with this technique properly. Many belters have a
particular physiology which allows them to utilize this part of their voice, so many individuals find the technique
difficult, if not impossible, without causing damage.
Am I soprano or an alto?
Most girls say they like singing low. Truth be told most young girls are actually sopranos or at a push
mezzo-sopranos. True altos rarely exist as to have the richness, resonance and power down to a bottom
G is exceptionally rare to find physiologically and also difficult to achieve even with extended training.
Most girls assume they are altos again due to this chest voice. In choral singing you need a blended
sound, strong sections and healthy singing which are qualities often very difficult to bring together.
Often I will place sopranos with strong chest voices and a healthy, high (around a B) transitions on the
alto 1 part in order to carry the sections. Girls who will develop into mezzo-sopranos or even altos may
have a very low transition meaning that they will push their chest voices when singing an alto part, so in
a perhaps contradictory way I sometimes put them onto a soprano part. Also putting some girls on a
soprano part who are less confident singing so high will mean they engage with their head voices
without damaging it and strengthen the voice at the same time. Most of choral repertoire I use rarely
ascends above an E on the top of the ledger line, which almost all teenage girls voices can reach, so
therefore I always assign parts based on tessitura and also what is best for the choir as a whole. At the
end of the day healthy singing and the choirs sound is more important than the individual, unfortunate
and frustrating as this may be for some of the singers.
Pop vs. Classical
All singing has a basic technique be it pop or classical. So long as the sound is supported from the
diaphragm and the body is relaxed then it is all about the way you shape that sound. You can sound
poppy in the head voice, especially in a large group, by finding a really resonant, forward, pingy
sound; at the same time you can sound very classical in the depths of the chest voice by keeping it
warm, wide and rich. Further on there are some warm ups to develop different colours and qualities in
all parts of the voice.
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One of the hardest things for a young girls voice to do is transition from the chest register into the
head register. Often girls will want to push the chest voice to high, and this is physically visible by
tension in the shoulders/neck and a lifting of the chin. Hopefully the warm ups and technical
exercises below will help alleviate this and other problems.

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I havent particular explored in detail creating different colours in the voice as this would require a much larger
and more complicated document! I have however discussed how to create a pingy sound which will be helpful
for more popular and/or gospel styles. A lot of colour can come from dynamics, musical phrasing and other
cheats which dont require extensive training.
Warming the Voice Up and Using the Voice
When warming up a choir I think of warming up in three ways: warming up the body, warming up the
voice and warming up the mind. The body, like when playing sport, needs to be ready for action,
especially key muscles like the diaphragm.

Warming the Body
Yawn and stretch I always like to start with a simple stretch to the ceiling and a big yawn. A yawn
does three things: stretches the jaw, gets us breathing and, often, gets the voice making a very natural
easy sound. I like to extend this exercise by seeing how long (and how stupidly) we can yawn now it
becomes a bit pantomimic, but gets the voice and body working.
You can also stretch to your left and right over your side with one hand on your waist (rested on the
lower ribs on the side thats stretching) and one hand over your head. Ask the choir to breathe deeply
and feel the sensation in their lower ribs.
Pat Down does exactly what it says on the tin. Gets the blood flowing to all different parts of the
body. Start patting the chest, move downwards to your toes, do the back of your legs, then your back,
then your arm, then the face (this can be a rub rather than a pat!). You may want to encourage the
choir to drop/stretch their jaws and faces here too.
Big Face, Little Face a personal favourite of mine. Mainly used for Key Stage 1/2 I like to throw in it
when working with older groups as well as adults. It gets people using their faces and, hopefully, will
encourage people to lose any inhibitions. You create the face and the choir copy:
Big Face the biggest face possible: eyebrows up, jaw down. A silent scream!
Little Face everything screwed up pursed lips, closed eyes, etc
Long Face like a big face but as looooong as possible.
Wide face big smile wiiiide
Out face make a big kissy face
In face suck the lips in
Sideways face an excuse to make another stupid face
Sideways face (other way) ditto.
Repeat this each time but quicker. If you like you can add the body as well (ie big arms, small arms, etc).
And if your ears can take it encourage the choir to make sounds they think match the faces they are
making...
Posture a very important part of singing. Not does incorrect posture look awful (choirs looks sloppy
and under confident) its impossible to produce the best sound from the choir without it. Many simple,
and very frustrating, issues with choirs (mainly to do with tuning) come from poor posture.
Firstly always explain that good posture is not just about standing up straight. Unfortunately if you tell
a young person to stand up straight often they will immediately tense several important muscles which
wont encourage good singing technique. Good posture means being exceptionally relaxed, but with
feet firmly planted on the ground hip distance apart, broad shoulders, strong, straight back and a nice
long neck with a relaxed head and jaw.
Here are a few exercises to obtain a good posture:
Diving Board Pretending your about to dive. You can really milk this one and turn it into a little skit
about nerves...
Imagine youre standing on the end of a diving bard
Put your arms out directly in front of you
Slowly raise yourself onto your tiptoes
Take a short, sharp intake of breath
Change your mind!
Lower yourself back onto the soles of your feet very slowly
Slowly lower your arms.

Piece of String Imagine youre a puppet and youve got a piece of string attached to the top of your
head. Pull it nice and slowly upwards so youre head is level with the ground, your neck is long and you
are standing tall. This can be modified with ease and extended further if you wish to make something of
it.
Arm Raise Similar to diving board but without a narrative. Also this one is much more focused and
takes longer, therefore is good if you need to calm a group down.
Stand normally fee hip distance apart and relax the body
Slowly (very slowly!) lift you arms to bring them in front of you then continue up to
reach the sky.
When you get there try to stretch a little further, then a little further again, then try
stretching the left hand further, then the right hand
When fully stretched very slowly start bringing the arms down this time to your sides
rather than the front.
Insure that the shoulders are relaxed (most important part of the exercise!) it is best
to lead with the elbows.
Feel the chest almost expand and get higher as the arms come down.

Working the diaphragm a very important part of singing is engaging the diaphragm. Lots of different
sounds can get young people feeling and using their diaphragms and will also help warm up this part of
the body.
To find the diaphragm I always get young people to find the middle of their chests and slowly follow
down the sternum with their fingers until they get to the first squishy bit this is the diaphragm. The
best sound to engage this muscle is a short, sharp loud sh!. It should feel like it is pushing out as the
sound is made. Other good sounds are ff or k. You can also encourage panting like a dog to get the
muscle working, although this can tire singers very quickly
Try creating different rhythms using these consonants/sounds and lead as a call and response. The
quicker the rhythm the more challenging for the singer. Here some examples:


My personal favourite is slightly more cruel

Count the amount of Shs on your fingers as you demonstrate and count out loud for them as they do
the exercise. Encourage your choir to crescendo throughout the exercise.
Another wonderful diaphragm warm up is the bubble. This is a brrrr sound made by blowing air past
the lips very quickly the sound you make when you step outside in the middle of the winter and its
blimming freezing. This sound is the easiest way to see if a singer is connecting and engaging their
diaphragmatic muscles. Unfortunately not everyone can make this sound, be it due to the strength of
their diaphragms or for another anatomical (or even psychological) reason. Encourage all singers to
practice this sound in between sessions and, when achieved, then sustaining the sound for as long as
possible. If individuals find it difficult then can substitute in a vvvvv sound (like a motorbike revving).
Initially this is just a random sound, but it can be used in a more substantial and focused way as
discussed below.
Warming the voice
Now the body is working we can move on to actually getting the voice engaged. Many leaders will work
on specific exercises that the choir may know well. Im more of a make-a-sound-and-see kind of
director. The great thing about this approach is that you can warm up the voice in a very relaxed,
informal way so singers dont get stuck into bad habits even before they start working on repertoire! If
you are looking for something more structured there are plenty of resources out there that feature an
abundance of warm up material. Or just make up your own!
Sirening an easy, natural way to warm up the whole range. Take a non-vowel sound (I prefer Mmmm
or Nnnng
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) and explore up and down the vocal register on this sound. Dont work in unison, but go at
your own pace. Really stretch to the highest and lowest notes. You can also do this to a bubble (brrr
discussed above).
Four different sounds Another warm up aimed at slightly younger children, but this is a great exercise
to work on the different parts and sound qualities within the voice. There are four distinct sounds which
you first perform in isolation and then perform one after another:
Woooh! - A loud, high woo. Imagine the sound is coming out of the top of your
head (I often do it with an action: clenched fists placed on my head then releasing
them upwards with the sound). The jaw should be relaxed and the sound should fly
out easily and without effort. Dont force the sound.
Ping! A really nasal, focused sound with an emphasis on the ng of the word. Still
in the head voice, but slightly lower than our woooh. I describe it as elastic bands
firing out of the nose. Make sure there is a strong differentiation between this one
and the previous. One is open and light, one is nasal and focused.
Bluuuurgh get the tongue and jaw working here. Place your hands on your cheeks
and draw the face down with your hands as you say it. Stick out your tongue a bit
and make it really disgusting Imagine youve slopped pizza down your face.
Huh! right from the pit of your stomach make sure you use the diaphragm for
the h bit of the word. I try to think of the New Zealand Rugby team doing the
haka.
Call and Response Sounds often I warm up the voice by picking random sound and getting the choir to
copy me. They may feel/sounds stupid but they work on accessing certain parts of the head and chest
registers separately and later connecting them without using specific pitches (ie without thinking about
actual singing). Try and get the choir to copy you exactly. Use these ideas as a starting point and
extend: mix the sounds up, make the sequences longer, use a wider range.
Some of the sounds I use:

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A very important warm up sound which some people can find difficult. The sound created should sound very
closed as the soft palette (the spongy bit at the back of the mouth which form shapes to form sounds) is closed.
The easiest way of finding this sound is to say the word sing in slow motion and hold onto the last sound. This is
our ng sound!
o Sh! as discussed above its good for engaging the diaphragmatic muscles
o Ooh! a nice closed and easy sound. I often use this in the head register or going into
the head register. Try descending to a minor third then going back up again starting
well into the head voice (ie Eb to C) or try sliding from one note into a non-specific head
register note (more of an upwards Wooo than an Ooooh).
o Mmmm you can do lots of slides up and down here perhaps even taking them slowly
through their transition point.
o A ha! As if youve made an amazing discovery. Try taking it as high as you can in the
chest voice without straining. This is a great one for warming up the chest voice nice
and high for more a popular sound in a comfortable and easy way.
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o Gasp gets the diaphragm going, gets the performers acting and helps think about
breathing.
o Na, na, na-na, na! the childrens taunt. Makes the sound focused and gets a bit of ping
into the voice. Try both in chest and head.
o Sigh the opposite of a gasp? You can make both of these increasingly more dramatic
o Hello! - use both in the head and chest voice after one another and then try crossing
the transition whilst saying the word (ie say hel- in the chest voice and lo in the head
voice or vice versa)
o La, la, la! another transition sound. Pick random upward notes starting in chest and
moving into head. I stick to three notes or five notes Also good for getting a big,
broad sound. You could even use operatic arm movements whilst doing this one.
o Plosive consonants ie t, d, k or g. Mix and match or use in quick succession.
Make up interesting rhythms perhaps? Wikipedia can tell you more
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More focused sounds moving away from more general sounds I often focus on the head register using
a descent of 5-1 down a scale to specific vowels/sounds. The two I use are Oo because of its closed
and easy quality and a yawny Ah which keeps the sound nice, open and wide.

You can use any vowel or sound here really these two are just the easiest! Make sure that the jaw is
always relaxed and that the head is level with the floor (no straining for the high notes).
Another good sound to use is The with the tongue sticking out each time. This places the sound in the
right place (ie not too nasal, not too breathy) and is a very good exercise if you find girls are struggling

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This is a technique used by many people who engage in Speech Level Singing a technique that uses the
speaking quality of the voice to obtain a sound for pop music.
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See http://en.wikipedia.org/wiki/Plosive and related articles.
with how their head voice should sound. Once youve mastered The change to Tha then La then to a
nice round Ah. I often use this when one particular voice in the choir is sticking out like a sore thumb
Mm-Ng-Ah a focusing exercise. This makes a lovely warm round sound. Make sure that the Ng
sound explodes into the Ah sound. Never let singers force any of the sounds here. This opens up the
closed soft palette into a nice round shape within the mouth. Try it at different registers.


Na! This technically counts as a sound that I covered above (na, na, na-na, na!) but it can be such a
powerful tool for getting a desired sound quality that I thought Id include it separately. I always start
with a 1-5-1 scalic figure with a finger pinching the nose to a Na. If using the chest voice make sure they
dont force the sound. Then remove the finger, then try to La, then to Ah. Also try at different
pitches.


Moving by Step the previous exercise has started to cover the idea of moving up and down by step (as
have a few others). This is the simplest way of warming up in a more conventional way. You can start
with a bubble (or brrr discussed earlier) or try ee going up and ah going down. Also you can try
nee-nah, or lee-lah.
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Moving by Thirds essentially we are moving onto arpeggios now. Although boring (!), it is important
to do these exercises with more experienced choirs to ensure they can carry their voices over a certain

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Vowels. I havent discussed much about vowels which a lot of more traditional books might. Girls do not like
singing high on Ee is the only piece of advice I have. I will talk briefly about vowels later, but do use more than
just Ee Ah and Oo in your warm up if youd like. Other interesting and common vowels are Eh, Oh (keep this
one Italianate as in orh rather than owh or oeh) and Ae/I.
distance with good tone, tune, and where necessary, a good, confident transition into a different
register. My favourite exercise for this is this one:

Try and keep the whole phrase smooth with no extra weight or volume on high or low notes. Also make
sure chins stay level with the ground.
Moving by Fifths again important for the same reasons discussed above. I like to use the word Bella
whilst doing fifths to keep the sound bright and interesting.
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Make sure that they stay in tune on the way down. Be careful of the rhythm often people want to
move off the dotted crotchet too early.
Moving by Octaves Octaves are difficult intervals not only because you will often have to leap
between registers, but also the space between the notes is physically and psychologically very large.
There are plenty of exercises for this. I just like a simple three notes: 1-8-1.
Sliding between intervals If young people are having issues changing voices, or keeping their head still
try any exercise with an interval jump with a long, drawn out and slow glissando between the two notes.
This is good for any interval larger than a third and especially if its an awkward vowel (like ee up high!).


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Italian is a wonderful language for this because the vowels are less complicated and usually brighter. Also its
psychological as well and young people will naturally smile more when saying the word Bella. Especially if you
make them say it in an Italian accent first
Warming the Mind
Tongue Twisters always a great laugh. Here are two of my favourite:
Red Lorry, Yellow Lorry...

Try at different speeds, even add a harmony or try as a round?
An extension... (in 6 8)


Unique New York same scalic figure as Red Lorry, Yellow Lorry.
Make your own! Really easy to do. You can take names of people in the choir, the school name, a
local thing, a current celebrity. Possibilities are endless!
1, 1-2-1 a fantastic warm up that can be used in a variety of ways
A very simple sequence involves the performers counting numbers from 1 to 8 up a scale.


It looks much more complicated on the page than it actually is. You can try it in many different keys and
also try it at different speeds. As you can also see you can reverse it so the singers start on 8 and go
backwards.
This exercise also works as a round in up to as many parts as you like Ive performed it before with
choirs of 18 and every singer starting their own part. If youre doing it as a round make sure the next
part comes in after 1, 1-2-1 to coincide with the fourth beat of the first bar.
You can also mix and match 1, 1-2-1 and 8, 8-7-8.
As well as that you can perform the sequence and miss out numbers replacing them with an action such
as a clap, a click, a foot stamp.
AND for the super brave you can mix any and/or all of these ideas together Good luck!
Slow-mo Happy Birthday this is one of my personal favourites which I very rarely use usually because
it freaks quite a few people out! Everyone knows the tune to Happy Birthday hence why we use this
tune in the exercise and also there is a lovely upwards 7
th
which makes this even more exciting Make
sure everyone starts in the same key (F or G are the best; starting note C or D) and starts at the same
time. The idea is to sing Happy Birthday at an incredibly slow speed, but not at the same speed as
anyone else in the room. You can take breaths as frequently as you like, but you must sing loudly
(without shouting) and with good solid technique, so take a nice long, thoughtful breath. Once youre
finished you may stop singing, but you must take at least about 2 minutes to sing through the song. I
usually make the choir stand in a circle facing outwards so theyre not looking at eachother.
This exercise produces a wonderful sound (especially when working with massive choirs) with lots of
massive jumps about halfway through (hence the upwards 7
th
being exciting). Also each individual
member of the choir is responsible for their own part something that some choir members shy away
from when with a stronger singer.

Other ideas and Warm ups
Breath Control some individuals find sustaining long phrases quite difficult. I quite often use the
Farinelli technique which involves breathing in over a count of 4, sustaining
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the breath for 8, then
breathing out to a sh for 4. You can extend this to 5, 10, 5. Ive gone up to 10, 20, 10 before with some
choirs! Make sure the outward breath is consistent and for all the counts.
A modfied version of the Farinelli technique is breathing in normally, sustaining normally and then
releasing the air as quickly as possible to a Sh. This gets the diaphragm working extra hard. For
example you can breath in for 4 and then breath everything out, over say 2 counts or even 1. Always do
this to a Sh sound.
Teamwork/Leadership when you work as a choir, you work as a team. If you are working across a
large age group you may find that certain members may be intimidated by others. Playing games is
always a helpful icebreaker.
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They dont have to be musical just make sure your choir works together
and feel confident with one another. Also if you have particularly strong individuals who get bored
easily you can always give them solos, or even ask to conduct

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Never hold breath always imagine it sustaining
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I have a separate sheet of fantastic classroom icebreakers just ask.
Obstacles to overcome
Choirs always throw up the same issues, and although different solutions may be needed depending on
age, experience and numbers there is almost always a solution. Remember singing is actually more
about muscle memory rather than intellectualising so dont be put off if it takes months (or even
years!) for certain technical elements to become natural. If you are giving notes always lets the choir
sing through the mistake they made until they get in correct and this will enhance their muscle
memory. Here are some solutions to common problems:
Breathy Singing make sure the voice is placed and focused correctly. Using Nah will really help.
Maybe sing the whole phrase to Nah. Breathy singing occurs more frequently in the head voice and
often might just be down to lack of use, so be patient with singers.
Nasal Singing harder to correct. This is often found in confident singers. Again use placing or
focusing exercises, especially the The exercises above. This exercise can cure a lot of issues...
Quiet Voices the bane of my existence as a vocal coach Make sure posture is good, and the singer is
releasing the jaw adequately. Get them to sing to a yawny Ah. Most of the time it is a confidence
and/or physiological thing unfortunately some people just cant sing loud. If a whole section is singing
quietly I would re-evaluate voice types. As said above a strong singer on each part is sometimes more
important than everyone being distributed perfectly to fit their voice type. If it is an individual singer
find out where their voice resonates best (often I find its the opposite of where they think it is, ie their
head voice is best).
Tuning Issues if someone is sharp they are often nervous, if someone is flat its due to poor technique.
Being flat is much more common. Sometimes a section may be flat because they are following one or
two individuals one person can really pull down the pitch. Make sure that they are using their faces
(smiling keeps the sound bright), but also singing from the diaphragm. It could also be that the singers
(even just one or two in a section) are trying to pull their chest voices too high hence going flat.
Vowels another tricky subject. Everyone must all sing exactly the same vowel, the only real exception
to this rule is when Sopranos have very high notes which are on an ee often I allow them to modify
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the vowel in order to make it easier. Especially when singing pop its easy to get lazy with vowels. It
doesnt matter if its a neutral accent
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or not everyone must do the same and must keep the vowel
relatively bright. Some English vowels are very tricky, for example the word Evil the second vowel is
not an ee vowel, neither it is an or vowel, its something in-between.
Creating a good blend usually blend is not too much of a problem in a section in larger choirs (the
issues there is balancing between the parts). For a smaller choir its normal, especially in the early
stages, for more confident voices to stand out. If all the singers are singing confidently with good

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To modify means basically to change the shape of the vowel into something more open. Ee become Eh for
example. Its much easier to sing like that.
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When singing classical music, and when singing most choral music, including pop, a singer is generally required
to drop all accent. This makes it sound like RP, when in fact its just a neutral accentless voice (subject to debate!).
technique then its usually not a problem and blend is good. Try not to let anyone oversing as
confident, experienced singers often do. This may be a positive thing for initial rehearsal phase, but
make sure everyone catches up in volume. Also it may just be down to how loud someones voice is. If
someone does have a particularly strong voice Id always recommend having a quiet word. Otherwise
good blend is created by musical singing and working as a team. Make sure your choir understand that
blend is important and that everyone has an equal part to play however loud their voice may be.
Confidence another bane of my existence. Ive been lucky so far in my career that a choir hasnt
entirely freaked out on me either in the rehearsal process or the performance stage, although Ive come
close to a failure when a group had to sing in front of their peer group... Make sure the young people
are on your side from the start. Always underestimate their ability to begin with, especially when
building trust and a relationship with the choir. Always be confident yourself and encouraging. And
always make sure they know the material almost too well. Unfortunately this sometimes leads to a
slightly sluggish performance if you wheel out something they know like the back of their hand, but its a
safe option. Once you are confident with a choir, and they are confident with you, then you can be
more adventurous. Icebreakers and games are often a wonderful starting tool again.
But what if it just doesnt work?
All the warm ups above should also help with issues youll face when confronted with a choir. What
happens if the phrase is breathy? Get them to sing the whole phrase to Nah. What if its out of tune?
Do they have good posture? Are they using the wrong part of the voice? Are they not using the
diaphragm get them sing the phrase to Hah or Brrrr. Hopefully I have covered enough above to help
you iron out most problems. The technical side of conducting a choir is about problem solving and after
a while most of the problems are the same. Do not forget to keep things musical though no audience
will care if the technique is 100% but the musicality is lacking.
Remember:
Dynamics (both gradual and sudden) are fantastic especially when dealing with lots of voices.
They also add a lot of contrast to a song.
Perform! Use the face and even, if you dare, actions or choereography.
Vocal Quality whispering, a twangy sound, a slightly more breathy sound. Play with this.
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Tempi dont be afraid to pull things around.
Solos utilise your star performers.
Half choir if you want a particular effect use only half the choir, or two voices together. Mix
and match.
Dont be afraid to change whats on the page add harmony, remove harmony, etc. Unless its
for a competition!
Make it fun. Obvious, clichd, but important. If you love the material, make sure you show you
do to the choir itll encourage them too.

13
This hasnt been covered in a lot of detail, but trust your ear and always insure good technique first.
More Tips for a Choral Conductor
Never be afraid of demonstrating, even if your voice isnt perfect. If you want them to perform
it differently to how you demonstrated then explain how as clearly as you can.
Never be embarrassed by what you are doing
If you dont know an exercise or song well enough do not blag unless you know you can get
away with it. Its easier to blag a song than an exercise, but if you know any material back to
front you will be a better conductor for it and, more importantly, your choir will learn more
quickly and to a higher standard.
Conducting doesnt have to be precise hand waiving, especially when working with choirs and
even more so when working in an educational environment. Use whatever gesture will help the
choir most and dont be afraid of putting your body into it if the style calls for it. Use clicks for a
cappella repertoire for example.
Eye contact is an important tool for many of different reasons if you dont know why itll
become apparent when you use it. If you find eye contact difficult, by all means dont use it all
the time, but try to look above everyones head whilst conducting not at the music or the
floor Always get someone else to play the piano when possible (and practise with them
beforehand!)
Lordswood Resources
14

I generally did two songs a half term with the choir, the choir was made up of a lot younger individuals
prior to Christmas 2010. In 2011 it was made up of slightly older, more musically experienced girls who
generally stayed throughout the four half terms.
My main focus was a selection of pop music and pop harmonies. I generally used my own arrangements
some of which I worked on by ear, some of which I arranged prior to the sessions. My approach was
very fluid and Id be quick to change things and encourage the girls to make changes too. We did a
mixture of working by ear and sight-singing, doing less by ear towards the end of the year.
What If? - Kate Winslet
This piece was used to develop weight and tone in the chest voice and introduce the girls to simple
homophonic harmony in 2 and 3 parts. It allowed those who were more confident show off some
higher notes which we later developed after the key change at the end into a call and response pattern.
This piece also allowed us to have lots of solos.
I developed this arrangement by ear from the score after familiarising myself with the piece. The
attached PDF file shows how I worked with the chorus and pre-chorus (where most of the harmony
was).
Only the Good Die Young from the musical We Will Rock You
Another example similar to above, this was good for 2/3 part harmony, for solos and also improvising
for more confident singers.
I adapted the harmony from the original harmonies in the score.
Seasons of Love from the musical Rent
A musical theatre classic! I used an SATB version and adapted some of the harmonies moving some up
the octave. A lot more of this material sat in the head voice for all 3 parts and jumped between
registers frequently. Also a very different quality of singing is needed throughout with more careful
attention to dynamics. In addition harmonies are more complicated as theyre not always normal
maj/min triads.
Lady Gaga Medley adapted from Sam Tsui
I created several versions of this medley. Initially we started with the SSA version, but later we adapted
to SA (just two parts) again later making some more modifications. Harmonies here are generally quite
regular, but sometimes there are more complicated chords. Other challenges were that both parts were
generally equal in performance with different parts taking the melody lines. This arrangement often

14
If you require any of these scores in full just email me: michaelbetteridge@hotmail.com. Some of the choral
arrangements can be purchased very cheaply offline and other scores are easily available from local libraries,
online and good music shops.
focussed on counter melodies and jumping around both in terms of melody and material so the
performers, especially if working by ear, had to be extremely focused. This arrangement mainly used
the chest voice and we worked on delivering the piece with a very broad, loud and rich sound. Also due
to the more polyphonic/call and response nature of the music both parts had to balance the other in
volume and quality. No hiding in this arrangement!
Rhythm of Life from the musical Sweet Charity
A standard of the girls choir repertoire. This piece really helped us focus on dynamics,
communication/performance and, very importantly, diction. Also balancing voices where different parts
have the melody.
We Are Going adapted from Art Garfunkels Woyaya
An a cappella arrangement by vocal animateur Sharon Durant. Focussed on tuning and general a
cappella singing skills as well as focusing on tone, blend and vocal quality.
Boom Boom adapted by Sharon Durant
Another a cappella arrangement, this time longer and with a more complicated structure. We worked
on the same ideas as above with We Are Going but this time insured we developed a funkier sound by
pulling the chest voice up as far as we could. I also encouraged solos and got individuals to lead the
group.
Love Medley arranged by Michael Betteridge
A mash-up
15
of Adeles Someone like You, Maroon 5s She Will be Loved and Will Youngs An All
Time Love. This arrangement brought together a lot of the skills we had developed above including
maj/min triadic singing, thinking about using the voice in different registers, working on tone quality and
tuning, using lots of different dynamics. Also this piece really helped with diction, clear communication
and rhythmic precision.
Eight Days a Week The Beatles
Our first four-part arrangement. A quick, upbeat number which needed a very light tone and
impeccable tuning to insure that we kept in tune and kept the melody interesting. There was a lot of
chromatic harmony due to the D/Db idea caused by the II#-IV chord sequence. Also featured very tricky,
quick rhythmic patterns as a special effect! All parts developed their range further in this piece. We
tried this a cappella a handful of times too.
For Good from the musical Wicked
This piece was good for developing crunchy and complicated harmony as well as singing complicated
and unusual lines in unison. Lots of potential for solos.

15
An mixture of two or more songs popularised by the recent TV series Glee.
Further Reading/Watching/Listening
There are a lot of resources out there on singing some good, some bad, some atrocious! Also a lot of it
is highly detailed and not helpful for more general queries. Here are a few interesting resources.
Gillyanne Kayes Singing and the Actor
This book has been the basis for a lot of my work with all singers. Although quite detailed it is
very informative and speaks to you easy, accessible language.
Pamela S. Phillips - Singing for Dummies
Very basic, but a great overview in general. Be aware it is referring to adult voices and also
trying to cover a lot of bases in one small book!
Sing Up - http://www.singup.org/
Generally more suitable for Primary school kids there is a lot on this site that can influence your
choir leading.
You Tube
Sometimes youtube can be extremely helpful just to delve into every so often. Of course with
all these internet based things you cant be entirely sure what youre being told is correct and
proper technique, so try things out yourself, but Ive been surprised at the depth and accuracy
of the knowledge. Also have a listen to other choirs singing similar music how and why do
they sound different to your choir?
Why not join a choir yourself?
I found I learnt most of my craft from other practitioners. And the best way of learning is by
doing... Even if the leader is not inspirational or of a high standard you can still pick up skills
which you can transfer to your own practise. Even if its what you SHOULDNT do...
1
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14
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22
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cool what's the name oI this club? I don't rem em - ber - but it's al right, - al right! - I want your love and I
26
cool what's the name oI this club? I don't rem em - ber - but it's al right, - al right! - I want your love and I
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30
want your re venge youand me could write a bad ro mance, I want your love and your
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lov er's - re venge you and me could write a bad ro mance, Woah,
34
lov er's - re venge you and me could write a bad ro mance, Woah,
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39
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44
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dance, da da - da - doom, Just dance, gon na - be o kay, - da, da, da, da,
49
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53
dance, dance, dance, dance, Just
dance,
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want love, or dya want Iame,are you in the game? game?
Ah! Ah!
56
Do ing - the love game,
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59
Let's playalove game,playalove game,do youwant love,ordya want Iame,are youin the game?
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62
love game, I wan na - hold'em like they do in Tex as - plays. Fold'em let 'em hit me raise it
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74
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86
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5
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some times - you don't Iind the right lines'cause you're trying too hard,too hard,to hear them. But you
9
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13
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Eight days a week is not e nough - to showI care. Ooh, I need your love, babe,
37
Doo, doo, doo, doo, doo, doo,
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guess you knowit's true. Hope you need my
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Hold me, love me, hold me, love me,
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Eight days a week,
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S.
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A.
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59
al ways - on my mind. One thing I can say boy,
S.
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A.
1&2
Hold me, love me, Hold me,
63
Love you all the time.
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A.
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love me, Ain't got no thing - but love, babe,
Eight days a week,
68
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Eight days a week, Eight days a week, Eight days a week!
73
Eight days a week,
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