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where “in tune” should reside. Often, I get to say: Reset the tempo to 30 (but keep the 120 in your head)
“I’m sorry, you are singing in tune. I’m asking you and practice hitting beat #1.
to sing a little flat!” We all get a giggle. Not everyone This part of your professional preparation could be
can do it, but there’s usually a volunteer from the directly passed along to your singers. Have fun adapting
ensemble who can. and demonstrating it in your choir rehearsal. Again, it
is best to do this as early in the year as possible. Subdivi-
3) Sing a little sharp. It is harder than they imagine. sion is the best way to keep the ensemble together and
Again, the singers default to being in tune. On bal- is particularly helpful for slower tempi. Note that when
ance, this is exactly where you want them, but it practicing time, we should avoid “click fatigue,” as it
helps to combine being spot on with humor. will drive you and your singers nuts. Incremental prac-
tice of exactly what is needed will foster awareness. If it
Using a Regular or Smart Metronome becomes annoying or goes too long, change the focus.
Using a metronome, ask the choir to subdivide the Your score study can reveal particular points in a piece
beats (vary 4/4, 2/4, 6/8, etc.) One of the advantages where this exercise can be useful.
of using a smartphone metronome is the visual com-
ponent, as no audible clicks can deepen each singer’s Count-Singing
perception of solid time vs. rushing or dragging. Then Robert Shaw used and advocated for a method called
combine this with the “doing things wrong” strategy Count-singing that is worth examining. He explained it
from above. as follows to the audience at a conducting seminar in
Cleveland, Ohio, in November 1958:
1) With the metronome, have the choir demonstrate
keeping steady time. Remember, conductor sets Count-singing is a procedure that teaches
time; choir keeps time. Let them do it on their own! pitches and rhythms simultaneously and trains
the singers to share a common pulse. The
2) Ask them to drag a little behind and still stay coor- premise is that all beats and subdivisions are
dinated. chanted on proper pitches, changing pitches

3) Ask them to rush a little.

4) Ask: “What do you notice?” (You might be surprised
by the responses.)

Again, this may be harder than they might think Master of Music
and good for a giggle while achieving the skill. These in Choral Conducting
exercises take patience, but what is the alternative? Al-
lowing even a few singers to rush or drag can lead to • Extensive Podium Time William Culverhouse,
Director of Choral Activities
catastrophic results.
• Internationally known faculty

Subdividing Rhythm • Competitive Assistantships
As a conductor, have you trained yourself to accu-
rately set and keep time at a variety of tempos (60, 72, Application Deadline:
84, 92, 100, 108, 116, 120 bpm, etc.?) How did you do February 1, 2025
that? Very likely, by mastering subdivision and practic-
ing how tempos are related. For example, set a tempo wculverh@binghamton.edu
of 120. Get in your groove and subdivide if necessary.

CHORAL JOURNAL November/December 2024 Volume 65 Number 4 63