Page 65 - CJMay25

Developing Black-Belt Choral Musicians: Transferable Lessons and Methods from Brazilian Jiu-Jitsu

other known techniques in a live “roll” (sparring ses- not happen overnight.
sion), making synaptic connections, and chaining larg- Macro advancements do not occur without the
er contextual movements with the “move of the day.” necessary daily, persistent, disciplined micro advance-
ments. Therefore, be certain to allot a few minutes of
• Repeat: Each technique is usually taught throughout time in every rehearsal for sight-reading, music liter-
the week at each training session. Purposeful repetition acy, and pedagogy. It only takes the short, focused ef-
is imperative. The curriculum is cyclical, returning to fort in each rehearsal to yield grand results in the long
key foundational concepts throughout the year and term. Additionally, encourage musicians to embrace
connecting to new concepts. short-term discomfort in digestible bits toward security
and ease in performance. No growth occurs without
In the choral rehearsal room, this method is trans- challenge and adversity. If progress stagnates, return
ferable by giving instruction and reading an initial pass to a previous stage of the music-learning hierarchy
as a group. Then, singers work independently or in and ratchet back up. Repetitive daily actions ratcheted
small groups by section. The director keeps a watchful means freedom to enjoy performances without stress.
eye and walks around to see how they are doing, trou- Singers have prepared with intention repetitively so
bleshooting with them and making small adjustments. that the performance is just a display of their small, but
After a few minutes, singers reorient to the podium as meaningful, progress.
they rehearse as a full ensemble again. Directors can
provide feedback and allow opportunity to apply the
techniques in a larger context by reconnecting the con- Cross-Training and Seminars
cepts to the repertoire. This allows ensemble musicians In BJJ, each person has a uniquely different training
to connect the theoretical to the practical and apply style and a different “game” that they are developing.
it in rehearsal with stream of consciousness within a Dropping in at different academies intentionally at the
larger section or the whole piece. Returning to the in- local level or while traveling allows the BJJ player to
dependent/small group drilling portion may be neces- absorb a different methodology or teaching style, and
sary. Concepts can be repeated in new ways each day the opportunity to meld it with their own style. Even
but with mindful return to the passage or piece of mu- if there is only a single take-away, it is valuable to the
sic. journey, as it provides context and another tool for the
“bag of tricks.” Directors should actively seek opportu-
nities to drop into other rehearsal rooms to source new
Ratcheting teachers, veteran teachers, large ensembles, small en-
Whether in BJJ, fitness, a novel reading challenge, sembles, and groups with completely different cultures.
developing a savings account, or in the music rehearsal Exposing the entire ensemble to another ensemble’s
room, the ratchet principle applies. As Rener Gracie rehearsal lends additional perspective. Learning con-
and Paul Volponi say, “Small, persistent advancements cepts from other musical or performance areas (band,
will add up to significant gains over time.” BJJ can be orchestra, music theater, dance, etc.) will equip the en-
3
very dynamic and fast moving. However, it is also said semble with new and innovative techniques for imme-
that BJJ is an art of inches. This applies to the tech- diate implementation. Likewise, seminars from experts
niques themselves—by advancing superior positioning brought in to lead instruction are valuable. Exposing
little bits at a time to place oneself in an advantageous singer-musicians to alternative methods of instruction-
scenario to pursue submission from the opponent. It al delivery at all levels of preparation can often shorten
also is relevant to the advancement in rank, which is the learning curve.
discussed in a later section of this article. High-level
musicianship, building large programs with multiple
ensembles, or achieving superior ratings at festival does

CHORAL JOURNAL May 2025 Volume 65 Number 8 63