| Acknowledgements |
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PART 1 Leadership, Logistics, and Musical Insights |
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1 | (106) |
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1 Responsibilities and Opportunities |
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3 | (6) |
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3 | (1) |
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4 | (5) |
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2 Recruiting, Auditioning, and Assessing |
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9 | (4) |
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9 | (1) |
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10 | (2) |
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12 | (1) |
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3 Choosing and Learning Repertoire |
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13 | (8) |
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How to Find and Acquire Music |
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13 | (1) |
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Choosing Stylistically Appropriate Music for Your Choir |
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14 | (1) |
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Creating a Successful Concert Program |
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15 | (2) |
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17 | (4) |
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4 Common Conductor Problems and How to Avoid or Fix Them |
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21 | (3) |
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21 | (1) |
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22 | (1) |
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Giving Pitches Incorrectly |
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22 | (1) |
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Teaching Notes Ineffectively |
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22 | (1) |
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23 | (1) |
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Not Having Adequate Piano Skills |
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23 | (1) |
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5 Acquiring a Solid Conducting Technique With No Wasted Motion |
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24 | (6) |
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25 | (4) |
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29 | (1) |
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29 | (1) |
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6 Logistics: Arranging Your Singers and Placing Your Choir |
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30 | (4) |
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30 | (1) |
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31 | (1) |
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31 | (1) |
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32 | (2) |
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34 | (4) |
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34 | (1) |
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34 | (1) |
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Running Rehearsals From the Piano |
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35 | (1) |
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36 | (2) |
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8 Achieving a Better Choral Sound |
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38 | (4) |
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Tone Quality and Dynamics |
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38 | (1) |
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38 | (1) |
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39 | (1) |
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39 | (1) |
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40 | (1) |
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Helping Choirs to Interpret More Fully |
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40 | (2) |
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9 Special Choral Concepts and Techniques |
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42 | (16) |
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42 | (5) |
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47 | (2) |
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49 | (1) |
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49 | (1) |
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Choral Crescendos and Decrescendos |
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49 | (3) |
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Breaking Habits That Minimize Expressivity |
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52 | (1) |
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53 | (5) |
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10 Collaborating With Other Performers |
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58 | (5) |
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58 | (1) |
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Mixing Professional and Amateur Singers |
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59 | (1) |
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59 | (1) |
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60 | (3) |
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11 Collaborating With and Supporting Composers |
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63 | (6) |
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63 | (1) |
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64 | (1) |
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65 | (4) |
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69 | (5) |
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69 | (1) |
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Placing the Choir and Instrumentalists |
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70 | (1) |
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71 | (1) |
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72 | (1) |
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Practical Considerations on the Day of the Concert |
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72 | (2) |
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13 The Concert Experience: Directing and Savoring |
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74 | (5) |
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79 | (5) |
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Working With Tour Companies |
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79 | (1) |
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What to Include in the Itinerary |
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80 | (1) |
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What to Include Regarding Performances |
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81 | (1) |
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Travel Tips for Ideal Rehearsals and Performances |
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81 | (1) |
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81 | (1) |
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82 | (2) |
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84 | (7) |
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Finding a Recording Space |
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84 | (1) |
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85 | (1) |
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86 | (1) |
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86 | (1) |
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87 | (4) |
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16 Breaking Rules: When and Why It Is Acceptable |
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91 | (4) |
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91 | (2) |
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When Not to Follow the Printed Score |
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93 | (2) |
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17 The World of Professional Choristers: An Inside Look at The New York Virtuoso Singers |
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95 | (4) |
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97 | (1) |
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What I Have Learned About Professional Singers |
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97 | (1) |
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What I Have Learned From Professional Singers |
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98 | (1) |
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Further Observations and Thoughts About Professional Singers |
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98 | (1) |
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18 Performing Modern Music |
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99 | (5) |
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Complex Contemporary Choral Music |
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101 | (3) |
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104 | (3) |
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107 | (122) |
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Appendix 1 Interpreting Johann Sebastian Bach's Matthaus-Passion (St. Matthew Passion) (Barenreiter edition) |
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212 | (4) |
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Appendix 2 Interpreting Wolfgang Amadeus Mozart's Requiem |
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216 | (5) |
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Appendix 3 Executing Fermatas in Haydn's Die Schopfung (The Creation) (Oxford University Press edition) |
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221 | (4) |
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Appendix 4 Interpreting Giuseppe Verdi's Messa da Requiem (Edition Peters Nr. 4250 or Dover Publications) |
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225 | (4) |
| Index |
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229 | |