Reflections after 1 year of directing music
  • Chant_Supremacist
    Posts: 45
    1. When I receive a thank you or other appreciative comment after mass, I make a note of saying I couldn't do anything without my choir and organist. Spreading credit around is normal etiquette of course, but I think this is the first time in my life I've deeply meant it. My people are talented, dedicated, and easy to get along with, and I love working with them. Also, getting these comments is so satisfying and encouraging. I don't know if the people making them even know how much they mean.

    2. Before I was a director it was easy to imagine how I would perfectly select repertoire and establish a choral style and so on. It's only when you're in the role that it dawns on you how many different personalities you have to do something to appease. You have people (be they priest, congregation, or choir member) who love chant and tolerate polyphony, and people who are the opposite. You have a skilled but temperamental organist who is attached to his preferred book of accompaniment. Some pieces you think are excellent just don't click with the choir for one reason or another. You have a weak tenor or alto section and have to factor that into all of your programming. And so on.

    3. Somewhat related to 2, you imagine how you'll polish everyone up, but in reality there's no time to work on technique with people. All time is spent rehearsing repertoire. I have go-ahead from my priest to enroll us in the "Choir Snacks" app, which I hope will be helpful.

    4. I have never taken voice lessons, and learned to sing from square notes. Growing up I learned music on the flute, clarinet and soprano/alto recorder - all treble clef instruments. As a result I have a real weakness in sightsinging from modern notation (because I learned to read modern music as instrument fingerings rather than vocal production) and while I understand the bass clef just fine, I'm still not fluent in it. I have improved this year by absorption and practice, but I have to consciously take it in hand going forward. For the first time in my life I regret not learning the piano when I was young - I think it really puts you in command of theory and practice in a way other instruments don't.

    5. Planning the practices at the busier times of year is a challenging part of the job that I didn't expect. We sang the Octave of the Nativity with next to no practice because I failed to properly plan our limited practice time. Our performance was mediocre. This was probably my biggest fail of the year.

    6. I got fed up with print-outs every practice (that would inevitably get lost) so over the holidays created pressboard repertoire duotangs for every member of the choir containing our entire 2025 repertoire. They are 100 pages long. I'm sure the priest felt utter dismay to watch to me print out 1200 pages of sheet music (lol), though I believe it will save resources in the long run. The choir members are actually kind of excited about them, but time will tell if they are worth the effort.

    7. Nothing else I do in life gives me the satisfaction and growth this does. I'm immensely grateful to Our Lord for the blessing of being able to contribute in this way to my parish.

    Thanks for reading my blog post!
    Thanked by 11Elmar CHGiffen StimsonInRehab LauraKaz DavidOLGC M. Jackson Osborn hilluminar Jeffrey Quick AdteBeateJoseph3 mmeladirectress 32ContraBombarde
  • AdteBeateJoseph3
    Posts: 27
    Great post! I’ve experienced similar things which you describe, mostly the first and last points. The Gospel verse of John “Apart from Me you can do nothing” rings resoundingly true as a musician for Holy Mother Church. Without the support of others you can’t do much; without a prayer/sacramental life you will get burnt out over and over. Without grace, you can’t hope to make any impact whatsoever even it be just one parishioner in the pew or thousands every Sunday. I offer a prayer attributed to Cardinal Newman which has become my favorite prayers to pray: Dear Jesus, help me to spread Your fragrance everywhere I go. Flood my soul with Your spirit and life. Penetrate and possess my whole being so utterly that all my life may only be a radiance of Yours. Shine through me and be so in me that every soul I come in contact with may feel Your presence in my soul. Let them look up and see no longer me but only Jesus! Stay with me and then I shall begin to shine as You shine, so to shine as to be a light to others; the light, O Jesus, will be all from You; none of it will be mine; it will be You shining on others through me. Let me thus praise You in the way You love best, by shining on those around me. Let me preach You without preaching, not by words, but by my example, by the catching force, the sympathetic influence of what I do, the evident fullness of the love my heart bears to You. Amen
    Thanked by 6CHGiffen LauraKaz Chant_Supremacist hilluminar mmeladirectress 32ContraBombarde
  • Jeffrey Quick
    Posts: 2,100
    Yeah, CS, all of that.
    Couple of other observations:
    We like to think we're in control, but we aren't. God is, ultimately, but your singers get a vote. And sometimes you'll have to remind yourself that everybody wants to be the best they can and contribute 100%, because you'll forget that after you have people bailing for out of state baptisms, ferrying their kids, illness, etc. I find that I need a Plan B and Plan C. And it always seems that after we've done something really great, the next week is...humiliating (in the most positive sense). Your job satisfaction will improve if you just let go and let God.

    There's a limit to how much you can fix what other people do. The most effective technique is to fix what YOU do, because people model a lot of what they do on the director. The better you sing and conduct, the better they'll sound.

    It's important to establish a culture of literacy. Assume they can and should be reading music fluently. Of course, you aren't going to get it (you won't get it from a lot of "professionals", sad to say), but you can work toward it in little ways. When you correct an error, explain what they did, what they should have done, and how they can avoid doing it. "Whoops, sopranos, you sang a fifth there instead of a fourth. Re-sol. "Here comes the bride", not "twinkle twinkle." Or whatever works for you. If you can't consistently identify their mistake, see the paragraph preceding. Make every piece of new music a reading session: point out danger spots beforehand, but don't spoon-feed them anything, at least at first.

    Corollary: rehearsals are where we make mistakes. So make them big and boldly, because we're here to fix them.
    Thanked by 5hilluminar CHGiffen AdteBeateJoseph3 mmeladirectress 32ContraBombarde
  • Liam
    Posts: 5,126
    Also consider how much of the repertoire arose from singer resources such as:

    1. Singers living in conventual communities under lifelong vows; and
    2. Singers who sang in right or hope/expectation of some benefice or income or the like.

    (This did not guarantee singing quality; it underwrote stability of presence, for good and ill.)

    Whereas today, singer resources are largely voluntary and subject to other obligations that are greater; what is a greater obligation for a music director is not so for the singers under direction.

    A good practical rule of life is to count yourself lucky if you get what you paid for.
    Thanked by 5CHGiffen PaxMelodious AdteBeateJoseph3 mmeladirectress 32ContraBombarde
  • MatthewRoth
    Posts: 2,397
    I would trade a smidge of quality for more stability of presence. I mean, I find it frustrating when we flub the intonation of a Vespers antiphon. But that happens all the time in a monastery. It’s just that when it’s your way of life and you also have more opportunities (ergo, more possibilities for mistakes) it’s just going to happen. I tend to want fewer mistaken notes when I have just one chance to get it right that day, that weeks and indeed for that year.

    Less than three reams of paper per year is nothing. I speak from some experience. I personally am fine with making people fill and empty binders as needed, with the expectation that numbered copies get returned in particular, even things like the Gregorian Mass and Credo (if you really don’t want to use books) so that you don’t make a new copy of Mass XI almost every week for most of June through November. I don’t have a choice with Vespers. We bought the Brevior, can’t get enough good-condition of the right Usualis version(s), and the psalmody is a pain to manage. And then the people need the vernacular. (What I hate is stupid typos that render it unusable the next time. I have to choose to let it go sometimes, because an engraving error doesn’t make a difference but a wrong or missing antiphon, text, etc. does.)

    That said, even though I have introduced the bivirga with an episema on both notes (basically what the Vatican does with Mocquereau’s preferred note form) in the Christmas midnight communion, which is easy to do if I make a copy from my own book, I asked them to order the Ad Communionem book. I’m tired of cheaping out and spending money on paper and toner when 20 copies (enough for the biggest group at this point on Sunday, occasional guests, and new members) is a one time big expense. This is why we stick to the Liber Brevior, even though I totally acknowledge the utility, particularly if you wish to mark up scores even a little to save time speaking in rehearsal, of using a bigger score such as the ICRSP scores. Or making your own in Gregorio.

    We split up Masses when we have too many weeknight Masses to practice in one day. We managed to do three in ninety minutes after Christmas, on the following Monday, but we prefer to do two max. Or two plus an introit and communion or maybe offertory, leaving two or three propers for the next time. We also look up to six weeks in advance and figure out how to get ahead. I discovered last year that if we run out of time and leave a proper unpracticed, it will bite us. Now, Tenebrae is another story. We cannot practice every last detail. But I go over the tones, particularly if we don’t see it at Vespers, if it has unusual endings (shortened endings, virtually all 4E psalms) and we choose the hardest antiphons and bits of responsories. And we do this separately. I’m lucky that I can get guys to stay one night after Stations. I also am firm: two hours, absolute max. (I ask for but don’t always actually need time past the official end if we start late.) So if someone leaves, OK, they have kids and all, or they just won’t be at that Mass, but the core guys at least practice anything in those final minutes.

    Anyway this post and Jeffrey’s response in particular are helpful for me. Thank you.
    Thanked by 4CHGiffen AdteBeateJoseph3 mmeladirectress 32ContraBombarde
  • 32ContraBombarde32ContraBombarde
    Posts: 140
    Great thread! Love this. Really good reflections from all.

    I'll add a few thoughts from my years as both a director and organist:

    1. At Mass: quality over complexity. Better to sing a hymn really well in unison than really poorly in parts. Better to choose the simpler antiphon or chant and learn/sing it well than botch the melismatic version. Better to play a simpler postlude cleanly than totally fumble a Widor movement at full organ that you just weren't ready for. Mistakes are an inescapable reality, and that's okay; it's part of what makes it such a real, human worship of God. But poor quality from consciously choosing music beyond your or your choir's ability is not okay. Of course, I'm not advocating against more complex, melismatic, difficult music if it's within the real ability level. But all things in their place and time. Patience is a virtue as you develop your own skills, and your choir's skills.

    2. Naysayers are never converted to appreciate faithful sacred music by logic, legislation, or argument. Quoting Sacrosanctum Concilium to them is useless. Strategically introducing a congregation to good music sung well, and always interacting with charity, will win more people over than any argumentum. Beauty attracts, and even softens hearts.

    3. The organ is always too loud... for someone. Take that literally, and metaphorically. Don't knee-jerk react to every little bit of criticism or feedback. Maybe Sally just needs to turn down her hearing aid. Maybe old curmudgeonly Scrooge just doesn't like sacred music that doesn't sound like Eagle's Wings. Be introspective and hear feedback, listen with charity, but don't let one or two squeaky wheels convince you that what you're doing is bad/wrong/etc.

    4. In liturgy, things can change on the fly. Try to become okay and at ease with that, even though you should work diligently with all parties to achieve consistency and avoid surprises. Don't lose your peace when things don't go your way. Always be ready to extend the prelude. Don't sweat it if Father forgets something (well, as long as it's not something integral to validity of the Mass). No sopranos showed up? No sweat. Have some other rep ready, whether it's a quick change of the hymn, dropping a motet, or having the other voices sing in unison instead of parts. Cipher on the 16' bombarde after the opening hymn? Shut off the blower, troubleshoot if needed. It's really okay. Remember what you're there for: the glory of God and the edification of the Faithful. As long as you achieve those ends, you're fine. At my nuptial Mass, I had reason to believe at the 11th hour that my organist wasn't going to show up (he did in the end). But guess what? We still would have been married before God and witnesses, and we still would have had beautiful vocal music. Relax. Do it for God, and let go of your own need for full control. Fiat!

    5. Don't let the perfect be the enemy of the good. Strive for and expect excellence, but remember Jeffrey Quick's observations above. Generally speaking, people don't join your choir or take an organist position because they want to be bad at it! People learn differently, they have different backgrounds, they have different levels of responsibility outside of their commitment to the choir. Don't tolerate chronic absenteeism or insubordination, and try to charitably redirect those with insufficient sense of pitch. But otherwise, be patient. Coach your team through the wins and the losses. With that said, it is also beneficial to be very clear in your expectations (of attendance, and behavior at Mass, for example). People can't live up to your expectations if you don't communicate them. And again, in all things, charity.

    6. We're so unbelievably blessed to do the work we do. Deo gratias.


    Might add some more stream of consciousness later. Keep it coming, friends!
    Thanked by 3CHGiffen AdteBeateJoseph3 mmeladirectress
  • francis
    Posts: 10,871
    Less than three reams of paper per year is nothing. I speak from some experience. I personally am fine with making people fill and empty binders as needed, with the expectation that numbered copies get returned in particular, even things like the Gregorian Mass and Credo (if you really don’t want to use books) so that you don’t make a new copy of Mass XI almost every week for most of June through November. I don’t have a choice with Vespers. We bought the Brevior, can’t get enough good-condition of the right Usualis version(s), and the psalmody is a pain to manage. And then the people need the vernacular. (What I hate is stupid typos that render it unusable the next time. I have to choose to let it go sometimes, because an engraving error doesn’t make a difference but a wrong or missing antiphon, text, etc. does.)

    It’s a small point, but it still needs to be made…

    God made the trees so you can print the music! Trees are a renewable temporary, resource. The music you sing could have eternal consequences on a single soul. Print, baby, print! God will give you more trees if you need them.
    Thanked by 2CHGiffen mmeladirectress
  • Jeffrey Quick
    Posts: 2,100
    quality over complexity

    Yes. But.
    There's a certain sweet spot of a challenge that can be met. You don't ever want to program something that will crash and burn. That's dispiriting. But you also don't want to sing Rossini Propers because somebody might flub a note in a gradual. That's dispiriting too. Program to the top of your group's capability (but not beyond) and they will find a way to hit that top.
    Thanked by 3OMagnumMysterium CHGiffen 32ContraBombarde
  • MatthewRoth
    Posts: 2,397
    God made the trees so you can print the music! Trees are a renewable temporary, resource. The music you sing could have eternal consequences on a single soul. Print, baby, print!


    It’s just a lot of work. And I misplaced stuff that I copied in advance. OK, it happens but still.

    But you also don't want to sing Rossini Propers because somebody might flub a note in a gradual. That's dispiriting too.


    One volunteer moved the schola from one full Mass a month and the rest a mix of Rossini (gradual and alleluia) and full propers to full except for the longest tracts. I moved them to at least some full verses, and we do the tract of the I Sunday of Lent. It is the most anxious and peaceful I feel in a single period of the entire year, even more so than on Good Friday.

    Don't tolerate chronic absenteeism or insubordination, and try to charitably redirect those with insufficient sense of pitch. But otherwise, be patient. Coach your team through the wins and the losses.


    Also… yes. I have a lot of jokers and sometimes people with good intentions but talking out of turn is still disruptive.
    Thanked by 132ContraBombarde
  • 32ContraBombarde32ContraBombarde
    Posts: 140
    Yes. But.
    There's a certain sweet spot of a challenge that can be met. You don't ever want to program something that will crash and burn. That's dispiriting. But you also don't want to sing Rossini Propers because somebody might flub a note in a gradual. That's dispiriting too. Program to the top of your group's capability (but not beyond) and they will find a way to hit that top.


    100% agreed, Jeffrey. Amusingly I had started to write something similar (those less eloquent) in that paragraph but concluded I’d already been verbose enough ;-)
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