Performing

Saturday saw choral directors from around the UK brave the winds the floods of the previous few days to come to Birmingham for the second iteration of my Conduct with Charisma workshop. As I remarked after the last one, this kind of event brings with it that wonderful ensemble quality that you learn things together that you wouldn't learn exploring the subject by yourself. Filtering the material through the different perspectives, backgrounds and assumptions that the different participants bring with them gives everyone a rounder and more nuanced understanding than would otherwise be available. The social dimension of learning is about what you can learn as well as how

The weekend took me over to Minden in Germany, to work with a capella ensemble Oriana in advance of their Advent concert on December 2nd. They are preparing a selection of repertoire that is strongly themed in terms of text, but very varied in style and origin - from Renaissance counterpoint to spirituals.

Consequently, one of the primary areas we worked on was mood-set. The group had previously identified the starts of pieces as an area that would benefit attention - like many ensembles they had found that it sometimes took them a bar or two to really get into the flow of a piece. And a programme that propels you into a new musical and emotional world every few minutes is going to make particular demands on this dimension of your performance.

I had a trip down to Kent on Saturday to do an afternoon’s workshop with Diversity Choir on the theme of ‘Expressive Performance and the Musical Imagination’ as part of their annual retreat. We built the workshop around the music they are preparing for their concert next month, on the principle that, since the goal was to explore methods to enhance the communicative impact of the choir’s performances, the most direct way to do this was to develop them in the context of music they will performing in the near future.

We approached the workshop through the ideas of the Manager and the Communicator. These are always useful concepts, but you notice it particularly when you are working with music that is only partway through the rehearsal process. You need the Manager on duty a good deal of the time for this stage of learning, but it is also the right moment to give an explicit role to the Communicator, so that the performers’ mental map of the song has meaning, imagination and imagery built in to it, rather than just layered on top of a technical learning process.

The Yerkes-Dodson curveA recurrent theme in my posts on singing and adrenaline over the past year has been the Yerkes-Dodson curve, which shows us how the varying levels of engagement of the sympathetic nervous system affect our performance. The problems people report with things such as shortness of breath or a dry mouth or getting the shakes come not from the existence of adrenaline in the system, but simply from an excess. Some adrenaline is necessary if we are to do anything well, so the trick then becomes to manage our preparation so that the extra burst we get at the start of a performance lifts us into the sweet zone rather than tipping us over beyond it.

Part of this preparation happens immediately before the performance, and relates to how we may warm up differently for a performance compared to a regular rehearsal in order to manage this.

My second coaching visit to the Bristol area came on Saturday, when I spent the day with Fascinating Rhythm, based just north of the city. In my last visit, we had been exploring David Wright’s arrangement of ‘South Rampart Street Parade’; this was on the agenda again, as was Rob Campbell’s arrangement of ‘Once Upon a Time’.

Our first major theme for the day was integration, in both musical and performative senses.

Do you ever have one of those penny-drop moments when you suddenly realise that something you have learned recently might actually explain something else that you know from experience to be true but had never previously really understood?

I had one of these recently about the way that it takes performing a piece to cement it. It is a robust generalisation based in observed experience that however much you might practise a piece of music, it is the act of performance that moves it up to the next level. I have tended to think of the cycle of rehearsal and performance in terms of the metaphor of tempering steel: repeated heating and quenching is what makes it strong.

Wednesday night took up to Preston to spend an evening working with the Red Rosettes. In many ways it felt like a classic evening's coaching for me in its focus on exploring the musical material of the song and arrangement as a route to understand its emotional and narrative shape.

We started off by playing with different styles of rhythmic characterisation (discovering a preference in this instance for sling swing and stretch swing), and as so often happens, as soon as the rhythmic feel came into focus, all sorts of other performance details became both more interesting and better executed throughout the chorus. Clarity in musical shape produced better technical control and a more distinctive performance persona.

The F-formationAs I mentioned a few months ago, my recent adventures in stand-up comedy have been giving me all kinds of new insights into the performance-audience dynamic. Some of the experiences are no doubt peculiar (in both senses) to the genre, but at the same time they shed light onto things I had previously half-analysed but not fully understood.

Heckling is pretty firmly in the category of ‘peculiar to stand-up’. Indeed, if you are short of things to entertain you on a long train journey, I can recommend speculating about what form a heckle might take at a recital of Mozart piano sonatas. (That thought lasted me halfway from Durham to Darlington.)

But sitting towards the back of a crowded room at the comedy night at my local pub, I learned all kinds of things about audience-performer relationships from a rather drunk person who was determined to join in.