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Chris Munce know the music intimately, so that when the choir comes
Director of Choirs, in the room, we are READY to meet them where they are,
Lee’s Summit High School be flexible, and create based on their needs that day. Good
Founder and Artistic Director of Kantorei KC luck!
Host of the Choralosophy Podcast
https://choralosophy.com/

Demetrius Robinson
My first thought in response to this question, is that pac- Visiting Assistant Professor of Music
ing the rehearsal over the whole span of your time with the Interim Director of Choral Activities
choir is more of an art than a science. Meaning, as you get Louisiana Tech University
to know your group, you are also learning their speed. After drobinso@latech.edu
all, it’s about their speed, not yours. That being said, there
are some tried-and-true boxes you can reach into to keep
things fresh: Preparing music for concerts can be stressful for both
students and teachers. As teachers, we know the potential
1. Vary your teaching methods. Encourage the students our students have, and we want to do our best to push them
to HEAR the music in different ways with varied stand- to the next level. However, our students may not under-
ing positions, articulations like staccato, tempo variations, stand the importance of the process (teaching/learning) it
neutral syllables etc. How many ways can we sing this and takes to present the concert (product).
what can we discover from each? First, we much teach students the importance of own-
ing the process. Yes, learning notes and rhythms, dynamics,
2. Part checks. One of our challenges in school choir is and phrasing are not always fun, but they’re part of the
individual accountability for academic progress. About process. Only when students have gone through the val-
two weeks before each concert, we hold graded checks, ley will they appreciate the mountain. Invite students into
two on a part. those valley experiences. Let them see and hear through
your eyes and ears.
3. Use technology. Record! Video, audio, and spectro- Here are a few suggestions:
graph recording. Let the kids hear and see themselves.
They can even see their own overtones using Voce Vista. 1. Record students in real time.
(For more, visit https://choralosophy.com/voce-vista/)
2. Evaluate (collectively) in real time.
4. Encourage creativity. Allow your students to express
their creativity by adding their own musical ideas or po- 3. Take a “brief ” pause from the music (sometimes ev-
etic interpretations. This can help them to feel more in- eryone is simply exhausted). Use this time to reflect. This
vested in the music and motivate them to practice more. could also be an opportunity to build community within
the ensemble. Hosting in-school retreats or community
5. Perform before the performance. Find ways for them days where you reground yourself with your purpose could
to have an audience BEFORE the concert. Even if it’s be a start. Don’t worry about losing time from rehearsing.
just another teacher down the hall or an alumnus who If students are bored and are not giving 100%, then you’re
comes to visit. losing. View the reflection as a “halftime talk” to re-position
the ensemble to win.
Remember, keeping your students engaged and motivated
requires creativity and flexibility. One of our biggest pitfalls 4. Return to the music with a renewed sense of purpose
can be making lesson plans that are too rigid. Sometimes, and understanding of the process.
our job is best done by being the first one in the room to

ChorTeach Volume 15 • Issue 3 5 Spring 2023