At this point, silence came upon the members. (I recommend this approach if talking within the ranks is a problem!) I told them that there needs to be two other things that they must do when they reach for that next breath.

ISM

There are three things that a singer should do when running out of air before the next passage. I call it the “ISM” approach. Those three things are:

• Inhale (an obvious and vital first step)
• Smile
• Move

Let’s look at all three elements.

Inhale

First, let me be perfectly clear on one point: I am talking about planned breath spots throughout your music, not catch breaths to extend a phrase. At these planned breath spots, the first thing that the singer has to do is get a full tank of air. While this is not a discussion on how to inhale properly, just remember to use an open throat and your diaphragm to fill up for that next phrase.

Smile

I use the phrase “smile through the breath,” meaning that each time a singer inhales, a smile should cross their face. Even in a tender ballad or sad passage, a warm smile can keep the tone bright. This takes a lot of practice and repetition. Remember, each time you inhale, you must smile.

Move

Finally, move your feet. This is also called a reset. This final step is the reason that this approach applies to planned breath spots in the music. You might not want movement occurring during a catch breath on a long phrase, for example. This movement adds a visual element and increased energy to the next phrase. Some guys get lock knees or cement feet. By inviting them to move each time there is a planned breath can get them into the feeling of the song.

So try it and let me and the blog readers know how it works for you. You might be surprised how a simple little “ISM” can make a whole lot of difference.

Huh? I couldn’t believe my ears. So I perked up and listened more intently.

He explained that during rehearsals, it is the job of the director and music team to teach the members each song, such as the dynamics, interpretive plan, and mood. It is in the learning stage that the singers must depend on the director.

However, as we approach performance time – and here’s the part that hit me right between the eyes – the job of a music director is to get out of the way and let the singers sing.

Wow! Could that be why I sensed that the guys are not singing with confidence? I’m good at the teaching part, but haven’t been so good at the letting go part. So I took his advice back to my chorus, and decided to make a change.

I am my own road block

Some members of my chorus had confided in me that they were not confident in the songs in last year’s show. My first reaction was to somehow blame them. After all, I was confident. I was prepared. It must be their fault. I couldn’t have been more wrong.

Once I explained that I was going to gradually step back as the learning phase moved into the performance phase, the guys began to realize that it was up to them to carry the song. There were some nerves and uncertainty, sure. But after a while, they knew that I meant it. I could hear them slowly take command of each song. I could hear them start to rely on each other more. In short, they started to “own” the songs. Is this what confidence sounds like?

Wean Thee of Me

It makes sense. The more that I empower the members to take control of the music, the more each song becomes theirs. After all, the director makes no sound! In rehearsal, I am the director. On stage, I am the facilitator – helping to start and stop the sound, and to assist in the interpretive plan of the music. The rest is all theirs.

Thank you, Dr. Drummond, for waking me up. What I learned is this: When singers take hold of a song and I get out of the way, beautiful things happen. My chorus is proof, and I couldn’t be more proud.

We all seem to want a better sounding singing voice, section, and chorus. All of our chapter educators – directors, assistant directors, sound specialists, and choreographers – can impart all of their training and knowledge to you, the listener. But all of that knowledge falls silent unless you, the listener, put it into practice.

Think back to the last time you sang. Did you do anything differently from what you have been doing before? Were you conscious of trying something differently? Be honest now. You probably are like the rest of us who must answer “No” to that question.

A realization

So here’s the deal. Your quartet, your section, your chorus will not get any better unless you make a conscious decision that you want to improve. Then you must make a conscious effort to do the things that will make you better. (Did I emphasize the important word enough?)

It really all comes down to you, after all. You must do something differently when you sing. You must be the one who tries supporting your tone with proper breathing techniques. You must be the one who stands tall with an open chest. You must be the one who consciously tries to change what you have been doing on an unconscious level up until now.

If each “you” in your chapter makes this effort, then the improved results that you want to hear will happen. You and you alone hold the power.