Page 24 - CJJan23

Lifting Up the Littles

complete crouch to the ground and a clap above the head on Part Three:
the cut off. This turned out to be too exaggerated for some Lifting Them Up
of the Bees. Many would use the crouch as an opportunity to All of our singers deserve exciting and meaningful per-
fully sit on the floor, and the clap encouraged some of them formance opportunities. When a prestigious or highly visible
to yell the final consonant. We attempted to fix the issue by opportunity comes up, organizations and school programs
explaining that they should crouch instead of sit, and sing often send their top or oldest group. There is nothing wrong
the consonant instead of yell, but a simple adjustment in the with giving top ensembles wonderful opportunities, but our
movement (to the standing from a slight bend and pulsing youngest and least-experienced singers should also be con-
hands on the beat) proved to be much more effective. sidered. In doing this it is essential to set our young singers
Another way to hone in on effective movement is to involve up for success through appropriate repertoire, effective and
the singers in the process. Young singers naturally move in engaging rehearsal, and high expectations enforced with
ways that make sense to them, but they will need guidance to kindness and encouragement.
refine their ideas into something that will achieve the desired As conductors of our young ones, we have the opportu-
effect for the whole ensemble. Begin by playing or singing a nity to educate not only singers but audiences. When you
large portion of the piece- singers can move either in their think of a typical outstanding choral performance, what
own space or around the whole room. Ask them to match the comes to mind? Polished performances, professional stage
music using their whole body, then only their feet, only their presence, impeccable transitions? While these things have
arms, only their fingers, only their face, etc. Each time you their place, it may be time to redefine success on the stage in
repeat the exercise, prompt students to focus their attention order to be truly representative of the work we do as educa-
on one of the musical concepts you would like to empha- tors, singers, and human beings.
size within a phrase or section (or ask them what they would To do this, you must be brave. You must be proud of your
like to listen for!). When you notice a motion that could help non-conducting, because your singers may not need a beau-
the group, ask the singer to demonstrate and have the whole tiful legato 3/4 pattern; they may need you to do the move-
group give it a try while singing the short phrase. You can ments with them. You must not apologize for the singer who
then follow the same process as above to refine the move- is going to wave to their mom between pieces or literally
ment into something that will help the singers best express sit down in the middle of a song (both of these things hap-
and achieve the musical goal. pened on stage at the National Retreat!). You must embrace
Your singers can be beautifully expressive, and they can mistakes while urging improvement. You must be proud of
also be very silly! Allowing moments of silliness through performing a set of just two or three pieces because they are
movement can help establish a culture of fun, trust, and vali- high quality, challenging, and well done. You must name the
dation. Young students are often told to calm down or focus fact that what the kids are doing is also art. You must spell
(which is sometimes necessary), but providing a space for that out and then you must let your singers show them what
them to be themselves and explore the possibilities of music- you mean.
making can both help them feel affirmed as a goofy young Our singers know when we believe in them and when
person and aid in their focus in the long run. Including move- we are truly proud to show them off to the world. They will
ment in the rehearsal in both structured and less-structured rise to the occasion, they will give you their whole hearts,
ways harnesses our littles’ energy to help them achieve great and they will surprise you in the most meaningful ways. We
things in a positive and naturally motivating way. simply need to give them the space to do it. Your work as
Transferring the wonderful work you do in rehearsal conductors of the littles is so important. You are building the
also becomes easier when you keep movements consistent foundation for their musicality, their openness to new expe-
between practice and performance. Singers will feel more riences, their sense of self-worth and teamwork, and their
comfortable with the familiarity and internalized concepts, idea of what choir can be and who it’s for. You already know
and are more likely to produce the same sounds they worked that they can do amazing things; let’s show the world!
so hard to perfect if the associated movement is kept for the
performance. To see the full movements for “Now We Have Rivers,” visit
http://www.mattcarlson.co/now-we-have-rivers.html#/

ChorTeach Volume 15 • Issue 1 24 Fall 2022