in general?
TS: Under the heading of “what they didn’t tell you in college”: no one really described to me that being an opera singer is way more suited to an introvert than an extrovert given the amount of time devoted to score study, memori- zation, etc. Even when performing, I was in costume and not able to be myself. I had grabbed the brass ring of opera performance and was miserable.
I returned home and learned there was a chorus in Dallas looking for a choir director. I auditioned and got the job with Te Turtle Creek Chorale where I remained for 20 years.
Lunch Room Buzz
WV: Speaking of the Te Turtle Creek Chorale, you built the membership to over 200. What recruitment techniques did you use and what was your vision and philosophy for the ensemble?
TS: In my current chorus, we have 300 singers (the cap number for the group) and I want my singers to be “all in”. In the public school setting, I recommend the recruitment philosophy I call “lunch room buzz” which basically means you need to find a way to end every rehearsal on a high note (their favorite song, something humorous, etc.) and they will later go skipping into lunch where their friends will say “I want some of that!” Also, we need to create a rehearsal where the conductor has a plan and we move through that plan with purpose.
WV: Te San Francisco Gay Men’s chorus is renowned for spirited “choralography” as well as precise vocal perfor- mances. How do you devote attention to movement without sacrificing vocal technique and pedagogical integrity?
TS: Most organizations looking to add in choreography will do so maybe 3 weeks before the show - waiting for the chorus to know the music perfectly before adding it. In- stead, our group learns their movements kinesthetically as they learn the piece, to the point where they can hardly sing those notes and words without doing the movement.
WV: I’ve read that you color and highlight scores to ensure accuracy and also that you prefer a vocal group perform from memory. What are your reasons for those beliefs and how do you feel about conductors who choose to conduct from memory?
TS: If your choir is going to use music for performance and has marked in every breath, accent, nuance, etc., I call that “choral karaoke”. Tey’re staring at their book, singing it the
same way each time. To quote Tis Is Your Brain on Music by Daniel Levitin, ”People are only moved by music when they are surprised by it”. When the group is memorized, you can surprise your audience and even surprise your sing- ers.
As for conducting from music, I like to look up and have found that color coding helps me to anticipate what’s com- ing. Currently, I conduct from my iPad and I love it!
WV: What songs would be found on your “dream program” program/last program?
TS: Back when I stepped down from Te Turtle Creek Cho- rale, I had a concert called “A Fond Farewell”. On it, I had 4 pieces commissioned by good friends with the theme of saying farewell. Speaking more generally, as I’ve said in my books, songs I program must have TLC - Tears, Laughs and Chill Bumps. In the end, I’m a text guy. I want to bathe in the meaning of music in my life. I’ve come through the fire in so many ways because of music.
One piece I’m excited to perform on this upcoming tour is a brand new setting of “Give me your tired, your poor...” mashed up with “God Help Te Outcasts” from Te Hunch- back of Notre Dame. Te result is just breathtaking and captures the overall idea of yearning to be free.
Techniques and Exercises
WV: Your books are so fantastic for addressing issues we hear everyday in the chorus rehearsal. I was wondering if I could mention choral issue topics and you could explain how you would address them.
TS: Sure! WV: What would you do to address thin vowels?
TS: Tere are 3 basic exercises that I do with All-State or Area All-State choirs to let them get to know me, which also address vowels.
1. Messa di Voce - I count the numbers for a frame of reference dynamically (1=pianissimo to 8=fortissimo). We start with a beautiful, relaxed pianissimo [a]. You will notice, most likely, that the crescendo is fairly smooth, providing a nice, even slide to the dynam- ic pyramid. On the decrescendo, however, you will notice stair steps of dynamics, rather than a smooth slide down the other side of the pyramid. Tat is static adjustment of the vocal folds. In addition to the unevenness of the decrescendo, the singers’ automatic response to the decrescendo is to close the throat as
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