|
06 Dec 03 - 10:44 AM (#1066686) Subject: Singalong resources From: GUEST,Bob Biderman A committee of our community choir here in Toronto is planning on holding a workshop that would help attendees improve their skills in leading group singing. Any ideas for good resource material? |
|
06 Dec 03 - 06:31 PM (#1066972) Subject: RE: Singalong resources From: Joe Offer I wonder what kind of group singing you're dealing with. If you're singing with accomplished singers, that's one thing. My main concern is singing with people who don't sing very often. I hate to give my standard answer, since it has often caused me to be drawn, quartered, and left hanging in the breeze. I've said it before, and I'll say it again: (if used judiciously) The book has lyrics and chords for 1200 songs - but note that many of the songs are not suited for group singing. For example, people who try to sing James Taylor songs with a group, should suffer a fate worse than death. In many cases, it can be best to avoid songbooks when singing with groups. You're better off with chorus songs and "old standards" that everyone knows. -Joe Offer- |
|
06 Dec 03 - 06:44 PM (#1066984) Subject: RE: Singalong resources From: artbrooks Another source is The Folksingers Wordbook. Just lyrics, no chords, no discography, and limited attributions. It does somethings better than RUS...for example, Christmas carols. |
|
06 Dec 03 - 10:56 PM (#1067062) Subject: RE: Singalong resources From: wysiwyg These are resources for songleaders, but I think the request is for help working on songleading skills. ~S~ |
|
07 Dec 03 - 01:48 AM (#1067093) Subject: RE: Singalong resources From: musicmick Hey guest Bob Biderman, funny you should ask. I have been planning a workshop on just that very topic. Song leading is not rocket science but there are a few things to learn. I'll try to list some hints. (I should tell you that I do song leading for a living. I led the campfire at the Phila. Folk Festival for thirty years. I do dozens schools and summer camps, union ralleys and concerts. These ideas really work) First, you will need a song leader's attitude. This means that you must be willing to forgo applause and limelight and make the crowd the star. Next, avoid "...a song I just wrote.". Keep it simple and familiar. Don't assume that they know the version of the song you do. Teach the words before you start the song and slip in lyric reminders while they're singing. Repitition is a good thing. It lets them know that you really want them to sing. Encourage others to suggest or lead songs BUT!!!, don't let someone slip in a performance. It is your job to keep the sing from becoming a round robin. There will be frustrated performers among the more honest citizens. They will want to do a solo. Don't let it happen. Be willing to be corny. In December, do Christmas songs. Yes, I know they've been done to death but everyone loves to sing them so who are we to question popular taste. Take advantage of known material. People love to sing "This Land is Your Land" and "Sloop John B". Make those songs a part of your arsenal. Be nostalgic. Try old camp songs, high school fight songs and, when all else fails, everybody's favorite, "Somewhere, Over the Rainbow" If you have specific questions, I'll be glad to help. WE need all the real song leaders we can get. Mike Miller |
|
07 Dec 03 - 06:25 AM (#1067145) Subject: RE: Singalong resources From: AllisonA(Animaterra) Mike's got great advice. If it's books you want, a great one with not so many songs but very good "how-to" info is "Sing and Shine On, an innovative guide to Leading Multicultural song" by Nick Page. It's very helpful, even if "multicultural music" isn't your focus. |
|
07 Dec 03 - 12:15 PM (#1067270) Subject: RE: Singalong resources From: GUEST,Bob Biderman Thanks to all who have responded to my query so far. Mike Miller's advice is very helpful, and Animaterra, I will look into Nick Paige's guide. Does Pete Seeger have anything in print about leading songs? Has there been anything in Sing Out over the years? The choir that I referred to is called Common Thread: Community Chorus of Toronto. We took our name from Pat Humphries' terrific song. Common Thread is a non-audition seventy voice choir with a diverse membership, now in its' fifth season. We sing for social justice, community, and the love of making music with others. About half of the songs that we do are in languages other than English. The chorus gives a small number of concerts each year, some of which are in support of a variety of organizations or causes. We rehearse weekly, sometimes more often, and a short amount of time is taken at most of our rehearsals for a singalong session. In addition, we get invitations from the community to lead singalongs at a variety of events. We encourage that type of invitation and CT members who are interested and available attend the events. It is leading the weekly singalongs and singalongs in the community for which we want to improve our skills, and it is for that reason that we are holding a workshop in the new year. Of course, we are always open to good songs that are not on our list, but it is not new songs, or song books (we are very familiar with Rise Up Singing), I am asking about here. Any further suggestions? |
|
07 Dec 03 - 01:50 PM (#1067326) Subject: RE: Singalong resources From: dick greenhaus has anyone considered The Digital Tradition (sigh)? |
|
07 Dec 03 - 03:06 PM (#1067362) Subject: RE: Singalong resources From: wysiwyg Dick, he says ... it is not new songs, or song books I am asking about here. I songlead every week in church. Most of what I present is not familiar to our people, but the formulas of the tunes are certainly simple. Not praise music-- oldtime gospel, revival hymns, bluegrass gospel, spirituals-- all forms of gospel, including black and blues. What I find matters most is my own willingness to transmit the song--my attitude that I will certainly not do it perfectly or at a performance standard, but enough to get the tune across. I don't teach anything of the new songs at all, in any way. I just direct their attention to their songsheet, strum out a rhythmic intro on my autoharp, and go for it. By the time the first verse and chorus are done, they are singing right along. I don't want them to act like a choir, rehearsed. I want them to act like they are singing along in the privacy of their car, at the top of their lungs, having a great time. They see that the song does not scare me, so it does not scare them. Believe me-- this has worked with every group I've led, whether it be in church at our informal Saturday night service, or at the old folks homes, or with kids. The only time I teach any of it is if I am doing a spiritual for which they have no songsheet-- impromptu paperless songleading where the call/response pattern showes the people their part. I will decribe the pattern briefly to let them know what to listen for, then launch in. I point to me on my part for the first few verses, and point out with open arms & raised hands when it's their part, till they seem to have it. (I can tell they have it when I start to hear them join in on my part too, adding harmonies or exclamations, or if a few start clapping, or if I see them starting to sway.) Just between you and me, I don't think the description really helps them-- but they are Episcopalians and they sometimes think they need a little structure to start from. Doing mostly the tunes people recognize makes sense for your situation, but what I have learned from NOT doing what people already know is, it's not me-- it's the song. I think the biggest challenge you will have, using as songleaders people who work hard at being technically good singers, is that they must loosen up, be quite unprofessional, and think of themselves as entertainers rather than performers when they put on the songleaders' hat. They have to sing informally enough that people will not be shy about singing along with them. I used to sing in various levels of community choirs and I have a nice, clear, high soprano. It's no use to me as a songleader though. For that I find that I use more of a musical-comedy-stage voice. Frankly, it is very hard on my voice to sing in that range and with that kind of expression, staying in the middle-lower end of my range below the head-voice breakpoint. But the people don't sing in my range, and I have to be able to belt out the tune well enough for them to hear me above themselves and each other, unless it is a tune they know better than I do. So in terms of technique, I would go to your mezzos and tenors and let the ones who can really belt out a solid line of melody take this project on, one at a time as they demonstrate they can get past the learned choral technique and have a good time as individuals, and then group them into 3-4-somes. They can practice (audition) on the rest of your choir! :~) In fact if I could practice on our usual Sunday 10 AM choir, I think I could get them to relax and have a WHOLE lot more fun! Thanks for the idea! Keep us posted. We need to know! ~Susan |
|
07 Dec 03 - 10:03 PM (#1067591) Subject: RE: Singalong resources From: musicmick Susan knows what works for her and she uses a technique that is effective for a group that is used to singing and to learning new songs. I envy her situation. In my experience, the songleading method is determined by the sophistication of the participants. Here, in Philadelphia, our members have been subjected to years of audience training in lieu of participation. They are allowed to join in occasional choruses and, armed with the "Rise Up Singing" bible, they get to sing "official" versions of "official" songs. (Bitter? Mois?) Just this afternoon, I got a phone call from the PFS, asking me to fill in, at a workshop, for a NYC performer who was snowed in. I found a house full of people who had expected an afternoon of medieval chants (I'm not making this up) and, by using the methods I described to Mr Biberman, I led a sing that ran over three hours non stop with everyone present joining in. It was really easy because singing is fun and, once people get into it, they love it. I might add that the folks, this afternoon, were not used to singing out loud in front of others. Susan and I have been promising one another that we will sing together some day. I look forward to that. She is what the folk community is all about. Mike Miller |
|
08 Dec 03 - 10:42 AM (#1067790) Subject: RE: Singalong resources From: wysiwyg [shudder] I SO agree-- people are trained to watch and listen, in most perfomance situations. They tell me that once upon a time, our community here was a place where people made everything themselves, including music. Now, even the pumpkin pie filling is canned. So, Mike, now that this group had had that experience, IF you were to work with them again, what would happen-- would they still need the same approach or did they get to a place where they could just let go and have a good time? Hey, get snowed in up here. I'm not what the folk community is all about, by a long shot, but we can have fun anyhow! ~S~ |
|
08 Dec 03 - 10:51 AM (#1067797) Subject: RE: Singalong resources From: GUEST,MMario Don't assume that they know the version of the song you do VERY important - carol singing this weekend we had a request for "Away in a Manger" - six of us - and we had not done or discussed this particular carol together yet this season - wonder of wonders we ALL chose to sing the same version!!!! |
|
08 Dec 03 - 05:46 PM (#1068028) Subject: RE: Singalong resources From: musicmick Shalom Susan, I imagine that if these same folks were to assemble anew, we could save some time by repeating the same songs. BTW they did "let go and have a good time.". They were able to do just that because we sang songs they knew and only occasionally introduced a song they didn't. It is for the new material that my suggestions are most important. I make it easier than easy to learn a song. I sing their part and then we sing it together and then we sing it again. While we are singing, I call words, just as a little reminder. I promise that everyone gets it and sounds good doing it. I stand near the less experienced singers to give them encouragement and a strong voice to follow. When we do any blending or harmony, I let them know how lovely it sounds to me. I share their joy and, what's more, I really mean it. Mike |