13.3 The chamber choir and the jazz choir  (Page 2/2)

Although a swing, jazz, or "pop" choir can be a very popular ensemble, this author encourages directors to develop this ensemble to perform other music as well so a variety of repertoire is available to the singers and an audience. Audiences are extremely receptive to a variety of programming, and are impressed with the versatility of the ensemble as well as the educational philosophy of the choral department.

There is always difficulty in choosing popular music arrangements. Sometimes the piece doesn't lend itself well at all to an arrangement for mixed voices. And, sometimes by the time the piece is published in an arrangement, the piece's popularity has declined. When a director purchases the music and takes the rehearsal time to prepare it for performance both the director and the ensemble are committed to performing it even when the piece is no longer "on the charts." Often a piece may have a listener's aura even when it has been replaced by the next hit; people remember how they felt when the piece was "on top" and it gives them a good feeling to hear it again.

Concert dress

The concert dress of this ensemble can be appropriate to the fashions of the year and to the school or community. Some groups tie their attire in with the traditions of the school, for example, the Vikings, the Indians, the Irish, etc. When this seems undesirable, a concert dress that relates to the particular area of the state or country is often worthwhile. When either is not wanted, a costume can be designed that is specific only to the group. Students can be quite imaginative in the designing of their costumes and, with a little guidance, often create outstanding ones.

Naming the group

The name of the group can also be suggested by the students. Again, it can be an outgrowth of the school traditions, reflect the area, or be entirely original with the group. In a community setting the apparel might reflect the traditions of the community. When a group of this type is formed, it is best to invite the members to participate in the selection of apparel, names, and later in decisions that affect the group, such as trips, number of performances per semester, etc. All musical matters, of course, are clearly the responsibility of only one person, the director. In other areas singers, including student singers can be found to resourceful, imaginative, levelheaded. One must guide the younger singers allowing them to err inconspicuously, and encourage them as they recover from any mistakes.

If a group is quite active, officers can be helpful, not only from the student's standpoint of developing leadership capabilities, but from the director's standpoint as well, relieving him of some management problems. In an adult environment it can relieve the conductor from tedious logistical details. However, for every group that is successful with officers, there is another that is equally as successful, and happy, without. Let such things happen as natural succession of events. They will be more meaningful and more successful.

Student exploitation

A word of caution must be made regarding the number and type of performances that an ensemble of this nature should give. Students may learn as much about music and the stimulation of performance from fifteen performances as they can from forty-five performances. Adult ensembles can be schedule too often as well and will result in the loss of members from the group. Some maximum performance level should be determined and be placed on the number of performances the group will present in one year; and, in the school situation the number of times the students will be released from school for performances; the number of weekend performances; and the number of out-of-town trips. When an invitation to perform occurs that is in excess of the established performing guidelines, the school administration and students should be consulted before any decision is made. It is best to set the guidelines early and allow only true exceptions to extend the number of performances.

In a school situation students can be exploited for the benefit of the school's public image or to increase the popularity or the reputation of the conductor. Trips that will not contribute to the students' musical and educational growth should not be taken. If the group is successful, there will undoubtedly be performance opportunities that are beyond the usual performance goals of the ensemble. Each opportunity must be weighed carefully to determine if it really is an opportunity, and for whom the opportunity really exists, the director or the students. or even the person arranging the performance.