I'm a fan of supplying my choir singers with visual information when possible. This can come in a number of forms - sol fa hand signs, clear conducting gesture, visual reminders of singing techniques, modelling good alignment, sheet music, even just the lyrics written on a whiteboard... When I'm at a choir rehearsal I like when the director gives me a visual component to help me learn and sing the music. Another benefit from the point of view of the director is that you have to answer fewer questions - because the visual info answers it for you. If a singer does ask a question, you can often a ..read more

I’m very interested in how to create positive choir rehearsal experiences for singers. One of the best things I’ve done recently is join another choir as a singer. Being immersed in the singer’s experience has led to a number of “aha” moments. “I like it when we do THIS in rehearsal.” “I don’t like it when we do THAT in rehearsal.” “I wish we did a bit more of X.” “I was really surprised when we did Y.” It got me thinking – perhaps there are some general principles we as conductors/directors/choir leaders can use when structuring our rehearsals to maximize the enjoyment and satisfaction of our ..read more

A great sea ballad/sea shanty with a rolling 9/8 rhythm. This song was introduced to me by Ewan Lawrie from the Canberra Shanty Club. The version he sent me is the one by The Longest Johns. This song is often sung at the Canberra Shanty Club to close out the night. I did an arrangement for Strange Weather Choir (based on the Longest Johns version), and taught it at a workshop at Smith's Alternative in Canberra. Video here. Harmonically, it's very simple: just primary chords the whole way. Satisfying to sing and sway from side to side (drunkenly?). The choruses are all solid homophonic harmonie ..read more

Repetition in your choir rehearsal is good - here’s why. The singers get another chance to get used to the conducting gesture - and the conductor gets a chance to improve the conducting gesture Singers get a chance to fix their own mistakes - often one more run is enough! The conductor gets to listen another time, and to learn what the recurring issues are Lay down another myelin sheath in the brain - the singers get to consolidate what they just learned During the repetition the conductor gets more time to frame the next instruction/think of what to say Singers get to sing more ..read more

A rehearsal technique that has popped up at several conducting workshops is the no-talking rehearsal. The idea is to minimize the amount of talking that the conductor does and communicate non-verbally as much as possible. Here's a fantastic example in a Harmony University video featuring Don Campbell. I've watched this video at least a dozen times. It's kind of amazing how he can drive the rehearsal through conducting gesture alone. Occasionally I try to emulate this rehearsal technique, although I tend to use more singing demonstrations. When I employ this technique, this is what I observe ..read more

I LOVE this song. Another banger by Alex Lahey - an artist we’ve covered a number of times at Mixtape Chorus. The song is high octane, high energy, full of positivity. A great driving tune. The song is featured in the soundtrack of the film The Mitchells VS The Machines - a charming family/roadtrip/robot apocalypse movie. In Verse 4 the altos sing alone, and I love the effect: it's bare, honest, vulnerable. "Feeling what's in front of me, I've got double vision. Take a deep breath, make a decision." In the finale, we overlay the chorus melody over the pre-chorus melody. This happens in the or ..read more

A great indie-pop bop from 2001. This one was on my Mixtape Chorus to-do list since I started back in 2018. (I have a Spotify playlist called "Mixtape Someday Songs" that will eventually all get arranged) No one can resist the catchy 'hip hip' vocal hook. I really enjoy playing synth drums for this one (and blistering synth guitar solo). The arrangement is pretty simple all round. In the chorus, the Sops and the Boms (baritone part) sing the melody an octave apart, and the altos sing a harmony in the middle (like the filling in a sandwich). The bridge has some chunky 3-part homophonic chords ..read more

I've loved this song for a very long time. It was one of the first songs I remember having a strong emotional effect on me when I was a child - particularly the lines: "And when our ship pulled in to Circular Quay And I looked at the place where me legs used to be I thanked Christ there was nobody waiting for me To grieve and to mourn, and to pity" It is a powerful anti-war song. Although not, as Eric Bogle insisted, anti-soldier. The lyrics tell the sad tale of a young man to is drafted into the army, fights at Suvla Bay, gets his legs blown off, and then returns home and reflects on the foll ..read more

One of the best uses of the vi chord in any song I've heard. The verse goes I, IV, I, IV (setting up the expectation) then goes I, vi and the lyrics take on an extra level of sentimentality/sweetness: "I woke up and you were in the kitchen/Talking with my mum, and she was bitchin'/You couldn't care less but you sat there unblinkin'/Those orange curtains sure bring out the blush in your cheeks." A sweet song all round - kind of a pub rocker, but also sentimental and full of gratitude. Has swung quavers - not especially common in modern indie-pop or pub rock songs. I’m coming to appreciate the ..read more