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As leaders of ensembles, groups, and organizations, especially in music, we must understand that variety is a key to building effective productions, just as there are varieties of people themselves. Let me give you an example. Regardless of what denomination or church or organization you are part of, you will deal with a large variety of people. Some people have traditional backgrounds, some have contemporary backgrounds; some live in suburban areas, some in urban areas; some come from affluent families, some from middle-class, low income or poor working families. Some have no understanding of reading music. Others know how to read music. Some have good writing skills, and speaking skills, others do not.
So, those who are working in the area of leadership as it pertains to music, whether you’re a choir director, ensemble director, or band director, it is important to understand that the people you work with must be accustomed to variety. They must be exposed to it before they can appreciate it; exposure is the key.
I encourage a variety of musical genres in the music I produce, in my groups and with others. For instance, in gospel music, you can teach contemporary gospel. However, I encourage traditional music as well. I teach hymnals, using hymnbooks. I teach traditional spirituals. I teach Latin and ethno music, African, Afro-Cuban music, African drumming, A Capella music, samba music, music that has a large variety, praise and worship, contemporary praise and worship music, Christian rock.
An Approach to Musical Variety
There is a wide variety of music that can be used in a church, choir setting or band setting. However, again, we must be exposed to different kinds of music to appreciate them. Open your groups to a large variety of styles, and then find what your group sounds best in, and what they enjoy most, what their best interests are. You will also find that as you expose them to a variety of styles, their taste will change. However, you might have a preference for traditional music, or contemporary music, or one style or another. Do not let your interests or your preferences hinder the interests of other members in your ensemble.
Another way to approach variety is through your teaching methods. There are three types of learners: tactile, those who like to work hands on; aural, those who like to hear when they learn, and visual, those who like visual examples.
As we know, there is notation, and the hymnbook is a great way to teach people how to read music. I have heard from many people who struggle with the fact that students do not read music well, or they cannot read music themselves. I encourage you to use the hymnbook as a first example to learn how to read music and use notation.
The second way to teach is by ear. I have met people who only teach by a book, or by notation. This is not the only way, and I encourage against that as a sole source of learning. Teaching by ear can be very effective way to train the ears of your singers, for better understanding.
Lastly, there is hands-on training, or teaching by clapping out rhythms, speaking out rhythms, tapping the feet, using a variety of ways to teach the musical sections. There are many ways to demonstrate rhythm in passages, either by clapping, using objects, hands, hand drums, using the feet, and using gestures to represent the notes and the rhythms of music.
Great information! Thanks!