“If you are going to achieve excellence in big things, you develop the habit in little matters.
Excellence is not an exception; it is a prevailing attitude.” ~ Colin Powell
If one traipses through the history of church music, they will find a variety of choral configurations. There have been women’s choirs, boys choirs, clergy choirs, quartet choirs, and mixed (SATB) choirs; the latter two the offspring of the singing schools of the 18th and 19th centuries. In modern church music, choruses that minister in congregational worship are chiefly comprised of two types of choirs: paid or volunteer.
It is my belief that both paid and volunteer singers are compensated, albeit differently. While the paid singer receives financial compensation, the volunteer chorister reaps the reward of fulfillment for the time and energy invested. Both paid and volunteer singers can reap spiritual, emotional, and musical fulfillment from their participation in a church choir, yet the underlying motivation for each may differ.
If a choral conductor is competent and has a high standard in their auditioning process, musical excellence should be expected with a paid choir. The question is whether a church choir made up of volunteers can achieve a high musical standard. The simple answer is an emphatic, Yes! While possible, it must be noted that the musical standard a choir director hopes for cannot surpass their level of proficiency.
In this chapter we will focus on the traits of a quality musical leader of the church choir. As in any organization, the whole cannot surpass the quality of the one leading the enterprise. While there are no short cuts to becoming a proficient church choir director, there is great reward that can result from learning this artistic discipline.
Be a Musician with Talent as a Choral Conductor
Inspiration and perspiration can take a church choir director only so far. At some point (and that point being early on), a church choir director must develop conducting skills. One function of a choir director is teacher. To teach, one must have learned the craft or subject they are teaching.
King David assigned supervisors such as Asaph, Jeduthun, and Heman to lead their respective families in music for the house of the Lord. The bar was set high: “all of them trained and skilled in music for the Lord.” Psalm 33.3 gives this instruction: “Sing to him a new song, play skillfully, and shout for joy” NIV11.
The precedent is clear. Music in the house of the Lord is to be done with skill. Methodology that is needed to accomplish this mandate will be discussed in a later chapter. Here, the focus is on the composition of the choir director.
At a minimum, the church choir director needs to have a strong background in the rudiments of music, which includes reading music. While some church choirs learn entirely by rote, it will be helpful if a director of such a choir has a foundation of music reading skills. Furthermore (and ideally), the director will have an advantage if they have basic piano skills. Such skills will come in handy playing parts (full or sectional rehearsals) or accompanying the choir (if no other capable pianist is available).
Beyond music reading and piano skills, the church choir director should have a basic understanding of vocal pedagogy. Many outstanding choral conductors are not vocalists of distinction; however, they know the vocal instrument and related technique well enough to effectively guide their singers.
A toolbox with competency in music reading, basic piano, and vocal technique is the baseline for a beginning church choir director. Finally, whatever skill level the beginning choir director has, they have the opportunity and responsibility to develop as a musician in each of these areas. Online, as well as in-person, training is available in each discipline, as well as the opportunity to develop in the art of choral conducting. A choir can only go as far musically as their director is equipped to take them. can take them.
Be an Organizer who Establishes and Maintains Effective Systems & Enacts Strategic Planning
(While discussion pertaining to choral administration is later in this work, there is application for organization when it comes to the actual making of music. Thus, the inclusion of this subject in this chapter. Application will be specific to the musical qualification of the church choir director.)
To begin, let’s tackle the right brain-left brain issue head on. According to healthline.com, there is a myth that suggests the left-brain functions by thinking in words, sequencing, linear thinking, mathematics, facts, and logic. Conversely, the right brain is believed to focus on feelings, visualization, imagination, intuition, rhythm, holistic thinking, and the arts. Participants in the arts are often stereotyped as right brainers. This stereotype, of course, would apply to musicians, church or otherwise, including choir directors.
While a biological argument can be made to support this belief, a church choir director should not blame their right brain tendencies on their inability to be organized and embrace structure. A disorganized choir has some, or all, of these symptoms:
starts and ends rehearsals late
makes spur of the moment programming decisions
frustrates staff and choir members alike from a lack of timely planning
doesn’t take the time to do detailed planning for services or concerts
doesn’t give their accompanist enough lead time to prepare for rehearsals
acquires nicknames such as Last-Minute insert director’s Name
can’t find music the church has purchased because their choral library is a mess
(related to the previous trait) sometimes re-purchases music because they can’t find the originals (misfiled or loaned out without adequate records)
disorganized rehearsals and sound checks
disrespected and subsequently merits a tarnished reputation
ultimately will lose their position when they frustrate enough people
There are likely more examples of disorganization that could be added, but you get the point. Suffice it to say that the more active a church choir the more organized their director must be. A choir that sings weekly will need much more organization than a choir which sings occasionally.
Admittedly, organization comes easier for some than others. For the organizationally challenged church choir director, the following is recommended.
First, search out an administratively minded assistant, admin, or key volunteer(s) who can assist in organizational tasks. Lean into their acumen as you learn administrative skills. Don’t give up on the quest to be more organized. With a good deal of effort one can become competent organizer.
Second, learn a few administrative tasks. Start with a calendar and plan your repertoire for a season. For most church choirs there are normally two major seasons: Fall (September - December) and Spring (January - May). In those seasons, two church calendar events occur: Advent-Christmas (fall) and Lent-Easter (spring). I recommend fall planning to begin in June; however, a large Christmas concert production might require planning that begins up to a year in advance. As for the spring season, planning should begin no later than October (this includes planning for Easter).
Organization can be overwhelming, but as a director leans into those who are administratively gifted while learning organizational skills, even the organizationally challenged can find success and ultimately peace (for themselves and others). The good news is that once systems are in place, they often simply need tweaking in the future. Another benefit is that your choir, accompanist, staff, and lead pastor will appreciate your managerial skills. There is no need to have people leave the choir (or you lose your position) because of organizational disfunction. So, stretch that left brain and develop some administrative chops!
Be a Student of the Culture and Context of your Local Church
Unless it is a new church plant, a church will have an established culture and history. A church choir director does well to understand and embrace the artistic culture and history of the church they serve.
Before a thorough examination of the current culture of a church, one would do well to learn of its history. Regarding the history of the choir, a general overview would consist of understanding how they have functioned in terms of musical style, the worship landscape of the church, and concerts. In addition, it may be helpful to know choir favorites from various perspectives. Learning the Top Ten favorites from the choir and lead pastor can provide helpful information for a conductor’s learning curve in their new post. A new director can begin earning trust in their new setting if they program a few of those favorites in their first year with a choir. In doing so, the choir will be comforted to know that their new director appreciates their past and is trying to get on their page before he/she asks the choir to get on their page. The importance of this approach cannot be overstated.
Understanding the recent history (2-3 years) of the choir (not just repertoire) will expose areas that need to be fortified. Such information will be helpful in formulating fresh vision for the choir. Such examination will reveal the current stylistic culture of the choir. Be attentive to stylistic choices the previous director made (Gospel, CCM, current worship songs, sacred classical, hymns, etc.). In addition, it will be helpful to know what percent of each style the choir has sung in the previous year (for example: 50% current worship songs, 30% CCM, and 20% Gospel).
All the above is helpful information for a church choir director to possess. The most essential study, however, is the current musical style of the congregation as set forth by the church’s leadership. Senior leadership may desire that the choir and congregation be perfectly aligned stylistically. Hopefully, a variety in style will be enthusiastically accepted.
Such examination and conversation is recommended prior to the choir director accepting a new post. As will be examined later, the alignment between lead pastor and choir director is imperative. For now, the focus is on the necessity of the director understanding and embracing the cultural/stylistic context of the church while appreciating the choir’s history.
Be a Lifelong Learner of the Art of Conducting
Conducting music is truly an art. A conductor’s journey begins with learning the technical aspects of the craft. Typically, a student begins by enrolling in a foundational course in conducting before advancing to an emphasis in either instrumental or choral. Along the way, a conducting student can learn much as they observe skilled conductors by singing in quality choral programs.
Young conductors must first learn to use their right hand to become fluent in beat patterns and active gestures (legato, staccato, tenuto, syncopation). Once these elements are learned, the beginning conductor will study key left-hand gestures, such as cueing, cutoffs, crescendos, decrescendos, and fermatas (using both hands). Much practice is required before graduating to the often daunting first experience of standing in front of a choir. Over time, a conductor will gradually move from fear to confidence. The key is preparation, simply putting in the practice.
Coursework in the discipline of conducting is only the beginning if a musician desires to truly master the art of conducting. Graduate studies in conducting are certainly an option, but there are other avenues to explore that can be as beneficial. For example, private study with an experienced conductor can be a wonderful way to develop score study and conducting skills. Such study can consist of either ongoing lessons or short-term intensives. One-on-one study is an ideal way to facilitate growth as a conductor.
Music institutions will occasionally offer concentrated study opportunities with acclaimed conductors. For example, Westminster Choir College has, at times, offered short-term summer symposiums in conducting. One symposium featured a day with conductors such as Weston Noble, Gregg Smith, and Alice Parker. Experiences like this can be very inspiring and a turning point in one’s conducting career.
In addition, videos of great conductors preparing a choir for a concert are available on YouTube free of charge. For example, the estimable Robert Shaw has several instructional videos available on that platform. These are beneficial, if only for observing Shaw’s methodology in warming up his choir and his use of count-singing. Marvelous!
There are also memberships to fine choral organizations, such as the American Choral Directors Association, Choral America, Choristers Guild, and the National Collegiate Choral Organization, that can increase a conductor’s awareness of current topics, trends, techniques, and issues. In addition, participating in these organizations can grow your group of colleagues and introduce you to new repertoire via conferences, workshops, and journals.
Finally, a choral conductor can grow by listening to great choral recordings and by attending concerts by superb choirs. A church choir director, in my opinion, should not limit their listening and observation of choirs to strictly church choirs. To reach one’s full potential, a conductor does well to learn from the masters. Attending concerts of symphony choruses, collegiate, and community choirs, will inspire and instruct as well. And with streaming services, one can listen to recordings of choirs from around the world. For example, I have discovered wonderful choral arrangements for Christmas by listening to great choirs such as The Cambridge Singers, the King’s College Choir, and the Westminster College Choir.
Just as a great choir is a listening choir, so a great choral conductor must develop keen listening skills. (This is why a choir director should not sing when conducting their choir.) Conducting is a multifaceted artistic endeavor that requires an unending pursuit to learn. Unfortunately, too many church choir directors settle for less than their potential would suggest. If a church choir director is serious about being the best conductor possible, they will commit to a lifelong pursuit of mastering the craft of choral conducting.
Be a Chaser of Great Choral Music
One of the best ways to inspire and grow a church choir is to give them a steady diet of great music to sing. The word chaser is purposefully used in the above heading instead of a less dramatic word, like collector. A conductor worth their salt will go to great lengths to find a gem for their choir to sing. They will chase after the next arrangement that will move singer and audience alike. It’s a great pursuit - truly a chase.
There are various ways to find great choral music for a church choir. Choral clubs from church music publishers are available resources for new music. Full disclosure: one must wade through a volume of literature to find one, maybe two, golden nuggets. Many publishers have online reading sessions that can be experienced in the convenience of one’s home or office.
Another resource is one that was touched on in the previous section, and that is listening to other choirs. If you hear a song from a choir that has a relationship with a publisher, it is easy to track down the printed arrangement. If, however, a selection from a choir isn’t published, you can reach out to the director of the choir and inquire as to whether they have the arrangement available for purchase.
In today’s music world, vocal/choral music is often purchased online with a cost per copy printed. The benefits of purchasing music online are two-fold: immediate download and print capability and saving on shipping costs.
For the more eclectic choir, there are beautiful arrangements that have stood the test of time and can still inspire choirs and congregations today. One must perhaps broaden their networking and listening habits to search out classic choral compositions. Christian college choirs can be a great resource. These choirs usually have a wealth of classic octavos, chorales, oratorios, requiems, cantatas, and gospel/contemporary collections in their library. Listen to their recordings, attend their concerts, and build a collegial relationship with their conductor.
Finally, I encourage a church choir director to try their hand at arranging music for their choir. If they have piano skills and a good ear for vocal harmonization, it is likely they can produce an arrangement for their singers. The director of my college concert choir, Dr. Calvin Johansson did not consider himself a choral arranger, but he produced one of our favorite arrangements to sing. Dr. J, as we called him, arranged an a cappella version of the song “Jesus How Lovely.” His harmonizations, when sculpted by his interpretive conducting, made for a stunningly beautiful experience in worship. When I dusted off the same arrangement for my college choir decades later, it became one of their favorites. All because one choir director followed their inspiration by sitting down at the piano and writing out some four-part harmonies.
There are great advantages when a church choir director arranges for their choir. First, they know the strengths of each section and the balance of voicing. Second, they know the style and spirit of their choir and congregation. When they hear a song and think, “Our church would love this song,” they can get right to it and not wait for a publisher (which can take months if it is published at all). There is nothing quite like a choir director conducting their arrangement sung by their choir.
Choir directors do well to have a high standard for the music they choose for their choir. Select only great music: music that is creative, doctrinally sound, interesting, intelligently arranged, beautiful, powerful, transcendent, attainable, and memorable. Your choir and congregation will thank you!
In Summary
Every church choir director must start somewhere. While some begin learning the craft of choral conducting in college, many learn on the fly after their pastor asks if they would step in and lead the choir for a bit. That “bit” often becomes years for many lay church choir directors. Those who step up to serve in a time of need and continue to do so are worthy of honor.
Truth be told, just like a music degree does not make a great musician, neither does the study of conducting make a quality conductor. What does constitute a great musician is somewhat of a mathematical equation. First, there is an aptitudinal qualification that stems from a person’s God-given talent. Second, this talent must be developed through study and experience. As has been explained, there are various paths one can take to become a skilled church choir director. Though multiple paths exist, the constant requisite is a student’s devotion to mastering the craft. Third is the intangible of being able to transmit the spirit of song into the hearts of the singers. I believe this is the it factor that includes many nuances for the conductor.
Various paths have produced tremendously effective church choir directors. College trained choir directors have an advantage of getting their primary toolbox in a compacted few years of training, while others add one tool at a time in an elongated process. For the reader who desires to reach their full potential in conducting, commit afresh to being a skilled musical leader of your church choir, regardless of what journey has brought you to this point.
Points of Reflection
Which of the three necessary qualities (music reading, piano skills, and vocal technique) do you consider your strength? Which do you consider your weakest? What could you do to strengthen this skill to make you a more competent choir director?
Are you an effective planner (rehearsal plans, worship services, seasonal repertoire, annual events)? Think how you could become a more efficient planner. Is there someone in your circle that could assist you in this quest?
Do you know the musical history of your choir? Could you integrate a few favorites they’ve sung into future seasons?
Does the repertoire you select fit the current culture and ministry style of your church? Is the style of music your choir sings compatible with the ethnic demographic of your congregation? Do you think the choir’s ministry connects with guests attending your church’s worship services who reside in the church’s neighborhood and city?
When was the last time you focused on your personal growth as a choir director? What could you do that would be easily accessible and spark development in this regard? Could you make a three-to-five-year plan, adding a unique developmental activity annually to facilitate growth in various areas of musical leadership?
How could you stretch yourself and your choir in terms of adding repertoire? Do you listen to other choirs to find great songs? Are you committed to finding the best music for your choir? In other words, how hungry are you to find hidden gems for your choir to sing?
Do you feel intimidated because you do not have a music degree? You shouldn’t. You are a gift to your choir and church. Keep growing as a musician and choral conductor. You are there for a reason, and as you grow musically, your choir will grow exponentially.
If you have a music degree, are you a lifelong learner as a conductor? Everyone can reach a place of stagnancy. If you aren’t growing musically, it is likely your choir isn’t either. Inspired leaders produce inspired followers. Shake things up and begin a fresh season of personal growth. You know what to do, so go and do it!
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