arrange • compose • conduct
Posts specifically about choral music
Trust is only valuable when it’s in action. Theoretical trust – what does that even mean? One of my favorite ways of practicing trust in action is with a subito fortissimo. Because the truth is that if you don’t trust the choir around you, you are going to sing mezzo […]
How does an audience’s knowledge of the piece you’ll be performing change your interpretation? If I’m conducting a new work, or a piece that I’m fairly certain most audience members are unfamiliar with, I’ll prepare it differently than if I’m preparing the US National Anthem or a Beatles song. (And […]
I’ve been enjoying digging into my all-time favorite TV show, The Muppet Show, since it was recently made available on Disney Plus. One of my favorite parts of the show is this: Everyone sings. Every cast member sings; they aren’t all singers. But they all sing – in harmony, in […]
I spent the last fifteen minutes of rehearsal reading three children’s books to my students. We preceded it with a conversation about what it takes to deliver a potent performance to an audience. With a solid year since most of them gave a performance, it’s important to at least talk […]
Besides “Who is it for?”, one of the most important questions to ask with any new creative endeavor is, “How could I fail?” If your new creative endeavor has no possible way of failing, then it isn’t very creative. On the other hand, if the stakes are so high that […]
“Who is it for?” is one of my top animating questions for any artistic project. The more specific you can be about who the art is for, the more decisive you can be in crafting the art. Who, then, is my new Patreon experiment for? It’s for people who want […]
Why did I choose to experiment with the Patreon direct-patronage model? First, I think the model is really good. Working for a patron when patronage was prevalent in the Baroque and Classical eras correlates with some really remarkable music being written. Moving away from the single commission model can light […]
I’ve been creating music as a career for a long time – my first paid commission came about 20 years ago, and my work is now fairly evenly divided between teaching/conducting and writing for choral ensembles. While virtually all of my work over the last 10+ years has been on […]
When we teach dynamics, students learn that forte means loud. In Italian, forte more precisely means strong. But I think even that doesn’t do enough. Dynamics are relative – a forte passage in a vocal jazz piece might feel very different from a forte passage in a Gospel piece, for […]
I tend to be less particular about texts than some composers. I know many composers who don’t involve the commissioning ensembles at all in selecting the text, or who retain final veto, or who control the text decision in some other ways. I personally think of myself as a hired […]