Choir Fam Podcast

“I remember when I performed at Carnegie Hall for the first time. It was transformative. I remember taking the stage and just being in complete awe. I looked out, and it was just incredible. When I heard the sound, it was even more incredible. I used to say that my favorite part of my job was standing right at the stage door and watching every choir singer come and take the stage for the first time. They would look out and just be in complete awe. Now that I’m production manager, my new favorite part of my job is w...

"Every single workshop I give is all about excellence, singing well, singing properly, and achieving the very best we can achieve. Why do we it? We don't do it because we'll be paid millions and millions of pounds. It's not cash-motivated. We do it because there is a higher purpose, a higher calling that makes us do it. I got offered a graduate scheme at university, so I could have been a corporate sellout. I'd probably arguably work less hours than I do in music, but I didn't do that. I don't have any regrets, because on an evening...

“Burnout is when you reach a point where there is no mystery in the music making anymore and you’re just redoing what you’ve always done. You’re reheating it. Self-exploration should be the goal of every musician. The idea of staying connected to sound through listening and really fantasizing is essential. You have to believe there’s magic in the room, and then magic happens. What a gift it is to share music with other people in that room at that time.”

GRAMMY-nominated conductor James Jordan is recognized and praised throughout the musical world as one of Ameri...

"Singing in a choir, you're trying to about five things at the same time, and sometimes you're not even doing it in the language you have spoken your entire life. Sometimes I had to just start with rhythm on one pitch and then build that step by step by step. In the process, I was always trying to teach voice. If the voice mechanism shuts down, that's where you get into problems and they stop engaging. You have to let people in rehearsals make mistakes, especially early on. It's so important. If you think rhythm, tone, rhythm-tone-text, rhythm-tone-dynamics, rhythm-tone-articulation...

“If you have opportunities to have them take over the work, you can engage them in a way with chaos circles. I love doing chaos circles when they’re teaching themselves the music. Sometimes you see students who are usually very shy really step up to the challenge of becoming leaders, You get to see students in a way that they don’t always present themselves if you can get them moving around and engaging the brain that way.”

Dr. Jenny Bent is Professor of Music and Director of Choral and Vocal Activities at Sonoma State Un...

“Middle school kids really are very concrete learners. Abstract thought isn’t there yet. Give them the ability to see ‘I’m not the only one having problems on page 10. I must be normal because everybody’s having problems on page 10.’ Or, if it is a kid who’s the only one who’s having a problem, let’s figure out what the problem is. Let the kids have some voice in helping problem-solve rehearsal issues. The teacher is the expert, but that doesn’t mean that you know everything. Sometimes a kid knows a lot of stuff, but it is just sounds di...

“Going into high school, I did everything possible to avoid the performing arts. My vice principal called me into the office and said, ‘you can’t have an open period. I’m gonig to put you in choir.’ Within weeks, it became a life-changing experience for me – I discovered a community, a way to express myself. I knew by the end of my junior year in high school that this is what I wanted to do.” - Brandon Elliott

“If you are coming as a conductor to composing, you already have a resource that a lot of composers lack...

“My job is to make people love choral music as much as I do, and that’s a lot. I really love choral music. My job is to say ‘you should care about this.’ You might care about it because it’s ravishingly beautiful or because it has a story to tell you. Even if you’re not a person who relates to choral music, you can relate to stories. We’re going to weave some sort of through-line through this program that tells you something about life that we hope resonates with you whether you’re a musician or not.”

“You’re not going to ask a bunch of choir directors to donate to your organization — you’re going to have to go find other people who probably don’t have the type of experience with choir that choral leaders do. It’s about trying to translate not just your own personal love of choir but the reason that your choir exists, what it does for its community and its participants, the impact that your choir has on various spheres of influences. How do you translate your value to intersect with what they value so that they can look at you and s...

“It's hard to focus on anything educationally if certain basic needs aren't being met, so you're trying to navigate and be proactive as much as possible. I have students who have their own needs and things they're going through that are influencing the classroom. Every year, every group, it's a different dynamic. Every student in this group deserves the opportunity to have a good experience with this. Now, they've got to buy in a little bit. They've got to own their piece of it. You can't do it all for them, but they all deserve the opportunity to succeed in...

“I was one of those people that had some biases against pop music. Being in show choirs and seeing the ways that the songs were transformed and arranged really opened my eyes to different styles of music and changed my perspective. I no longer view popular music as being all that different from classical music or film scores. There's just something about arranging: taking all these pieces of a song and figuring out how to put them together. It's almost like doing a puzzle. It unlocks some of the same parts of my brain.”

Garrett Breeze is...

“The Spanish language is not treated with the attention and nuance that we often do for many of the languages used for singing auditions. There’s this myth that Americans can't make certain sounds, but in other rehearsals, we work really hard at intense French and German sounds. A lot of composers who aren't familiar with the language set the text in ways that don't make sense and change the meaning. I'd like to keep working at repairing the positionality of Spanish in academic places.”

Dr. Ryan R. Fellman is an American conductor based out of the...

“I ask them to sing with maximum efficiency, accessing their singer’s formant, and from there, we’ll ask for specific sounds. Sometimes conductors get stuck asking them to blend, to listen. When we do that, it’s like giving them an 8-pack of Crayola and asking them to color. Instead, we start the rehearsal with a 64-pack and then throughout the rehearsal we might pick out the light blue #2 to color that section of the music. They’re able to access the full breadth of their vocal powers in the rehearsal.”

Francis Cathlina, D.M.A. (he/h...

"In my third year of teaching, I started to have vocal problems. I was taking voice lessons. I was singing professionally. It was feeling great. Suddenly my voice was gone, and I couldn't get it back. I took a leave of absence to get some speech language therapy. That's why I'm so passionate about using our voices in the choral ensemble in an effective way and having us as conductors find how to use that voice so that they don't need to manipulate things.

Dr. Jennaya Robison is the Artistic Director of the National Lutheran...

“I love the way that contemporary a cappella engages singers who might not necessarily see themselves as ‘choral singers’ to be able to sing together and maybe discover a love of more traditional choral music. For me, it’s all about engaging more singers. Group singing is such a beautiful community, and I’ve seen the ways it can really change lives, create beautiful spaces for self-expression, and do some good for the world in a time where we really need it."

Rob Dietz is a multi award-winning singer and vocal percussionist who has been arranging...

“We were all asking ourselves, ‘what can we do to counter this, what’s happening in the world? How can I help my singers understand and navigate what is happening in our country right now?’ I made this huge shift in my thinking about what choral music should be and why we should be doing it. It's not just ‘what are you singing and is it gorgeous?’ but ‘how are you making a difference? How are you impacting the world?’”

Dr. Joy Hirokawa is the Artistic/Executive Director of the Mosaic Youth Chorus, established in 2023 to provide an oppo...

“My mantra for my teaching is: I want to create good humans while also creating good musicians. I tell every ensemble that on the first day of school. What they care about is 'Does Mr. Brown see me? Does he value me? Does he care for me?' Then they'll start singing. I care more about the human heart than I care about the perfection of the music. Yes, I care about the music, but if my students aren't in the right mental headspace, then the music won't come.”

Jeremy Brown is serving his third year...

“Start with the way that you structure your rehearsal, your classroom, your feedback. In terms of feedback, we talk about not giving people more than three pieces of information to work on. Working memory is affected by ADHD in particular. ‘Here's what you're doing well, here's what you can improve on, here's how you can improve it.’ That structure helps with their ability to anticipate what you're going to say and quickly implement that into their own music making.”

Dr. Peter Haley serves as Director of Choral Activities and Assistant Professor of Music at Ohio Universi...

“We’re often put in positions that make us uncomfortable with the inner struggle of how to keep our job and have our program recognized enough to get support versus how to carry out our true mission with students. If I’m trying to continue to fall in love with the choral art, I think the way to do that is looking for literature that will balance the soul-searching and academic needs of the students and the entertaining needs of the audiences. Looking for literature for all of those reasons often reignites my own curiosity and interest.”

Dr. Kr...