NANAKRHYTHMS

RHYTHMIC THERAPY 30-12-2016 *THE HARMATTAN VOICE* The season is here again and the big question is how well are you protecting your voice? The Harmattan season is usually a dry and dusty period associated with low humidity. Obviously, we all see the harshness this weather pose to the hair and the skin; what about our 'internal systems'? Studies have shown that some micro-organisms that cause diseases increase during harmattan period. The season comes with dust that can trigger asthma and bronchitis attacks as well as cause cold, cough, catarrh, and even meningitis - all these will affect the voice. The greatest harm caused to singers during this season is dehydration - loss of liquid in our system.

RHYTHMIC THERAPY 29-12-2016 *THE HARMATTAN PITCH* The Harmattan is a dry and dusty northeasterly trade wind which blows from the Sahara Desert over the West African subcontinent into the Gulf of Guinea between the end of November and the middle of March. It is cold in most places, but can be hot in some places, according to the circumstances. Temperatures can easily be as low as 9 °C (48 °F) all day, but sometimes in the afternoon the temperature can also soar to as high as 30 °C (86 °F), while the relative humidity drops under 10%. For many musicians, an instrument is one of the most important things they own. A musician’s instrument is the vessel that communicates their soul to the world, as well as the tool of their trade.

RHYTHMIC THERAPY 27-12-2016 *WHAT IS A CAROL* A carol doesn't necessarily mean a Christmas song; but when most people use the word carol today, they are referring to a strophic song associated with Christmas. The English Oxford Living Dictionary writes that a carol is a religious folk song or popular hymn. A Christmas Carol, Easter Carol and Advent Carol are all examples of 'carols'.

Were it not for music and the arts, everyday life would be consumed with labor, legal proceedings, payment deadlines, and medical procedures. Music and art represent the highest forms of human expression, and without them, life would be very dull. Music also happens to be one of the greatest tools for social evolution.

STREET RHYTHMS 02-12-2016 *THE ABSENTEES' CLICHÉ* Many performers,  especially choristers, have a believe that there is no need to attend practice if they will not robe, perform, or participate in an activity. In our orthodox churches, some choristers decide not to attend choir practices prior to their communion Sundays; and the excuse is that they will not robe, they will wear another uniform. Some choristers, who may also not be around from a programme decide not to attend practice. Another group of choristers may also not attend practice because they may want to be in their mofti. In all these instances, all these choristers must attend practice. Even if your excuse is genuine, try and make time for practice, especially if nothing is fixed at your practice period or if nothing will counter your practice period. What will happen if you decide to participate in an activity and the song going to be used was learnt during the period you absented yourself? Choir masters shou

STREET RHYTHMS 30-11-2016 *THE ABSENTEEISM* For various reasons, most choristers are not able to attend practices as expected. While others may have good reasons, others don't have any. It is surprising to know that some people actually plan to be absent on specific days and for specific programmes without any good reasons. Some will even have it in mind that 'somebody'  will be available for the programme/activity; while that 'somebody' will also have the same in his/her mind; in the end, the attendance flops. Choristers have a responsibility to always inform their leaders if there is any good reason to be absent; I am sure there are laid down procedures/channels for such. In these days of social media platforms, it will be very good NOT to ask the permission on an open platform, do it privately; your excuse in the open may influence somebody to also be absent for no reason. Choristers should not think that their leaders must always know what is happening to

STREET RHYTHMS 28-11-2016 *THE LATENESS* While some choristers are doing well, others are always guilt of lateness. While the lateness of some choristers many be genuine, others may only give the usual 'GMT' excuse. As musicians, lateness shouldn't be part of our 'elements'. When we intentionally practice lateness to rehearsals, it will be transferred to church services, to external programmes, and to our major programmes. When we are late to somebody's programme, some find it normal but they find it abnormal if somebody attends their programme late. Here are some few reasons you must attend rehearsals and programmes early as a chorister. You must arrive early enough to rest before performing. You must arrive early to participate in some stage works. There will also be a proper sound-checks if your arrive early. If the engineer sets his sound to the tune of 20 choristers who arrived earlier, any additional sound after that may only 'destroy' th

 "I'm fascinated by musicians who don't completely understand their territory; that's when you do your best work." – Brian Eno. A lot of musicians don’t really know their fields of mastery in music; this sometimes make them think they can do everything; it also makes

RHYTHMIC THOUGHTS 24-11-2016 *THINK ANEW* Daniel Barenboim writes: " What the world is saying to us human beings is, 'Don't stick to the old ways, learn to think anew.' And that's what musicians do every day." Contrary to this, not all musicians think anew everyday; but that should be a mark of a good musician. In that when you even perform an old song everyday, there is always something new to it; something that is musical; something that is aesthetically appealing; something that still maintains the purpose or function of the music. People perform pieces the same way everyday in that the congregation or audience knows every corner the song will pass when it is begun. Your choristers may not attend practice because they will not be expecting anything new on a song they are going to revise. Music is dynamic; so must a musician be. Can this be applied to our daily lives? Kingsley J.E.K Acheampong #NANAKRHYTHMS #CITIZENKRHYTHMS 🇬🇭 www.facebook.com/n

RHYTHMIC THOUGHTS 23-11-2016 *LIFE AFTER DEATH* It is said that musicians don't retire, they may rest. Good musicians who produce 'quality' also don't die. Even if they die, their products, works and deeds live forever. As a musician (whether a vocalist, instrumentalist, educationist, etc) understand what you do and make sure you produce the best to stand the test of time. Kingsley J.E.K Acheampong #NANAKRHYTHMS #CITIZENKRHYTHMS🇬🇭 www.facebook.com/nanakrhythmslive www.nanakrhythms.wordpress.com © *NANAKRHYTHMS*

Presu mably, one of the best ways for a vocalist to position him/herself to perform is by standing to sing. Standing to perform 'ignites' energy; there are no doubts our choirs always perform on the stage while standing. Standing is better for singing, it allows you to project more.

A vocal warm-up may be explained as any series of exercises that prepare the voice for singing, acting, reading, and any for any other use. Warming-up plays a most important role for any vocalist and also for any human being interested in keeping his/her voice healthy. You can think of warming up as a magical tuning of your human vocal box.

STREET RHYTHMS 14-11-2016 * THE WEEK-LONG REHEARSALS * Don't be surprised if your lead singer turns 'mumu' before your major performance; and you realize that you are responsible for it. Most choirs have a week-long choir rehearsal prior to a major performance or occasion; this week-long practice is mostly held in the last week to the event or the week in which the event will take place. While some choirs are able to achieve their aim(s), others fail. Some choirs just do a week-long rehearsal because they think that is the time they can really achieve their objectives; some also do it because others have been doing it, without knowing it's implications. However, it will be very good if you accomplish your task before the last week, so that there will be no week-long rehearsal. The last week to the event is usually packed with other preparatory activities,in that, when you include a week-long practice, you may end up paralyzing your choir. Last-minutes choristers

STREET RHYTHMS 11-11-2016 *SINGING 'TOGETHER-APART'* A good choir is a choir that can perform with a quartet ( four people, one for each part) and you will hear it as a choir of thousand voices. A good choir is also a choir that can perform with thousand voices and you will hear it as a choir with only four people. These are just some of the characteristics of a good choir. In our choirs, most choristers sit/stand apart during choir rehearsals and divine services; this style of sitting/standing to sing may not make your choir attain the two qualities above. A chorister attends practice (sometimes late) and sits at the back while there is space on the front line or a line in front. On Sundays, choristers process and sit at wherever they have placed their Bibles and/or bags, even if there is space in front. You must march and arrange yourselves accordingly in the stalls (where choristers sit); you can later pick your Bibles and/or bags. If you realize you are taller than t

STREET RHYTHMS 09-11-2016 *THE 'MOUTH ORGANISTS'* At one occasion, I witnessed a choir master (who was the conductor) giving a song's tune with his mouth, after the organist had introduced the song... This was during a major performance. The introduction was not to undermine colleagues who use their mouths to give song tunes, but those who do it at the wrong time. A lot of us, choristers, also sing along while the organist is introducing a song. This practice isn't good. Imagine being on a stage and doing this; which sound(s) will be heard, the organ or yours (through the microphones). Most at times, the congregation begin to sing when the song is being introduced. As a performer, or a chorister, you don't have to join them. However, when a song is being introduced, it gives you a short time to prepare to sing. If you have the music sheet or a hymn book, you can quickly glance through the song: if you don't really know it; quickly sing through challengin

STREET RHYTHMS 07-11-2016 *THE COMMUNION-HYMN SINGING* In our churches, communion is administered at a specific section of the liturgy; some even do it on specific days. While we observe this sacrament, songs (mostly hymns) are sung to accompany it. The communion hymns are sung congregationally, led by the choir. However, most of the congregation don't actually sing, they either follow the choir (by reading the lyrics), or meditate while they wait for their turn to go for the communion. It is very important to note that in addition to the significance of the performance and ministration of communion hymns, the period creates an avenue for choirs to perform the hymns with variations; wrongly sung hymns can be learnt and sung correctly too. New hymns can even be introduced to the congregation during this section; as well as new hymn tunes. Surprisingly, most choristers don't help to utilize some of these opportunities; even if the leader or conductor has knowledge of them.

STREET RHYTHMS 04-11-2016 *THE SHOWMANSHIP* In a choir, all stakeholders - that is: choristers (the chorus), soloists, accompanists (instrumentalists) and the conductor - must have the same goal during performances. There should not be any individualism. Many people perform in a choir as if they are performing alone. They do certain things, voluntarily or involuntarily, to steal the attention of the whole performance to themselves. Some 'stronger' choristers always want to sing loud to be heard. Others also want to correct you during the performance, for everyone to see it. Some soloists perform with pride. Some of them end up overemphasizing. Some instrumentalists want to be seen. They play a lot of things that turn to be noise. Some also increase their volumes overshadowing the choir's production. Some conductors also perform with pride. They always want to be in front even if they can't do it well. They lack the ability to consult for the best. Others also de

STREET RHYTHMS 20-10-2016 *THE PHYSICAL EXPRESSION* Apart from the _language expression_ we attach to our performances, our physical expression of the pieces we perform counts a lot. It is possible that your physical expression of a piece can aid somebody who doesn't know the piece or who doesn't understand the language to get an idea/gist of what you are conveying/communicating. While some people do well to physically express pieces they perform, others overemphasize their gestures; while the gestures of others are contrary to what they are performing, others remain rigid throughout the performance. You can't perform the hymn _'how sweet the name of Jesus sounds'_ with a 'thick or a heavy' facial expression throughout; neither can you perform Handel's _'The Trumpet shall sound'_ with a 'soft and smiling' face. When people always say 'smile while you sing', that is not the case for every piece. What you must do is to physi

STREET RHYTHMS 31-10-2016 *THE CHOREOGRAPHY* In Africa, when we talk about music, we are talking about drumming, singing, and dancing. It is very pathetic to see choristers refusing to dance when they are singing 'danceable songs'; they expect their audience to dance, while they aren't... When it happens like this, then there is an expression problem. At least, the  'pendulum dance' - the left & right movement - with expression could do. Today, apart from the pendulum dance, there has been the introduction of choreographed movements during choral performances. However, some choirs over do it during performances and as a result, it is either their choristers loose focus; loose energy to sing or the audience only concentrate on those dances - and be expecting the next movement. It is good to note that the choirs that are able to blend singing with choreographed dances on stage do it with discipline. They dedicate time to learn them and know which movement

STREET RHYTHMS 29-10-2016 *THE CHOICE OF COSTUME* One afternoon, while I surfed the Internet, I came across a popular Ghanaian ensemble performing classical pieces in _Fugu_. On another platform, that same ensemble was performing Ghanaian pieces in Suit. Many a times, we consider our costume for our performances; but most of us don't consider the relationship of the costume to the performance...  You will need to consider that. Do you perform with the theme 'Portraying African Heritage' and you sew an Indian-Styled-Costume with African prints? Or you perform in an African ensemble with a long-sleeved-shirt on trousers? In Ghana, most choirs perform in African prints; but never choose a style : - because that is the latest in town; or probably, choir 'A' used it recently. - or because the dressmaker says so; remember that whenever you pick a shirt at the boutique, the sales personnel will always tell you "it is nice on you", just for you to buy it.

STREET RHYTHMS 26-10-2016 *THE STAGE MANAGEMENT* Many of us (performers) don't manage our stages well. We are given a stage to use, whether big or small, and we find ourselves crumpled at one corner of the stage. As a conductor, it is your duty to manage your stage: be sure everybody is at a comfortable place before you begin. You don't just arrange your choristers but you should do that with a 'craft' in mind. You also see choristers hiding behind their colleagues, spoiling the craft that has been made. Some short choristers are also seen hiding at the back. The stage is for only those who are ready and confident; if you aren't ready, don't perform. Even if you have to walk or match onto the stage, you should know how to arrive on the stage nicely, as well as exiting the stage. Don't walk in and out, as a dismissed assembly. Most at times, you see soloists performing behind the conductor; organists also play showing their backs to the conductor. Wh

STREET RHYTHMS 24-10-2016 *THE EAR PLUS THE EYE* Music is the art whose medium of communication is sound; and so, we use to listen, understand, and appreciate/criticise the sound that is produced. Today, performers have gone an extra mile to include elements that need the sight to appreciate it as well during their performances; this means that the audience is made to follow the music that is being performed with his/her ears and eyes. Some of these elements meant for the sight are the stage craft, costume, gestures/or actions, choreography, etc. However, some performers don't pay much attention to some of these elements. They perform with a 'minus' stage craft as well as stage manners; costume is of no/lesser concern; they don't even care about the uniformity of their dances/movements; not to even think of the expressions. While some choir masters/directors and choristers are doing their best, others have just decided not to improve; even when they are prompt

STREET RHYTHMS 21-10-2016 *THE OFFSIDE SONGS* Every song you choose for an occasion must be in line with the occasion or the theme for that purpose. Most choirmasters/church leaders/preachers choose liturgical hymns because probably they it's common to the congregation. The most annoying part is that the preacher chooses hymns all because they are his/her favorite hymns. All though the hymn  'Jesus keep me near the cross' is a Christian song, you can't use it for a service with the theme 'God be praised', it is offside. Liturgical songs reinstate the theme for the service and so if church members miss/forget the word, the songs can put them back on track. Most choir masters hear songs being performed by other choirs and they quickly teach their choirs to perform them. You should be mindful the song relates to the theme for the day. From your procession to recession, you must make sure all hymns are in line with the theme. It is also important that prais

STREET RHYTHMS 14-10-2016 *THE TRUNCATED HYMNS* Hymns carry messages to us; and sometimes, you can't get the complete message unless you sing all stanzas of the hymn. Taking out some of the stanzas may break the flow or  chain of the information. During our liturgical services, most a times, you hear our liturgists or MC taking some of the hymn stanzas out of the liturgical hymns. Most of them do it for fun. "... We shall sing the first and last stanzas... " (most of them sound like this). A few may decide to read some stanzas though,  but must you just read the stanza while it can be sung? Sometimes, the time used to read the stanza is equivalent to the time that could be used to sing it. *_Liturgical hymns are the hymns in the liturgy, for church services_* It may not be bad to truncate the hymn, probably due to time constraints. But when you truncate the hymn right from the opening hymn to the closing hymn, then there is a problem. Most people don't actu

STREET RHYTHMS 18-10-2016 *THAT VOICE* That voice which sings through the microphone while the choir is leading a congregational hymn. Either the voice of the liturgist or the MC or the Osofo. That voice mostly sings off pitch. It drags the song; and sometimes counter the flow of the music. It also distorts the vocal production. We can politely inform that voice not to sing through the microphone during congregational singing, which is being led by the choir. That voice that also holds the microphone and sings alone through it when the choir is singing (a chorus) alone; The choir master's voice; the past leader's voice; etc. Although this voice does not necessarily sing off pitch, but it may drag the song; it may also control the flow of the music and also distort the vocal output/production. We can position the microphone to pick the whole choir's voice or majority of the voices we need. Kingsley J.E.K Acheampong #NANAKRHYTHMS www.facebook.com/nanakrhythmslive

STREET RHYTHMS 14-10-2016 *THE COMBO VOLUME* Some of our accompanists (pianists & organists) open the volume of their combo so loud that we don't hear what is being sung. Sometimes, even at choir practice, the volume is the same; and choristers may be afraid to complain not complain at all. Loud noise (from music or other sources such as machinery or jet engines) can cause both temporary and permanent hearing loss. Apart from its health implications, the loud sound of the combo will compete with the volume of your singers; you may not hear them sing, even if they are singing correctly. Most organist play loud because they say they can't hear what they play. The best way to use combo is to position in such a way that you, the organist, will have a direct feedback; by this, you can hear the particular volume you need well. Don't just position it directly on the choristers.  The speakers on the keyboard, sometimes serve as monitors, to give us a feedback on what w

STREET RHYTHMS 13-10-2016 *OVERLOOKING THE INTERPRETATION* Most performers in Ghana either overlook the interpreter or the interpretation of what they perform. Choristers, most at times, have all their eyes on the 'screen', hymnal, or a 'passer-by'; they even follow the audience during congregational singing : they don't watch conductors and they miss the conductors gestures and interpretations. Some organists also don't watch their conductors. Even if they watch, they also try to do their own thing contrary to that of the conductor. Probably because some may think they know more than the conductor. Most conductors also know little but they will want to control every piece. By doing this, they end up not interpreting the piece very well; sometimes, not even as it is known to be performed. Let's all broaden our knowledge on these things. Kingsley J.E.K Acheampong #NANAKRHYTHMS www.facebook.com/nanakrhythmslive www.nanakrhythms.blogspot.com

STREET RHYTHMS 10-10-2016 *THE UNISON SIGNAL* Most a times, when choirs are performing a hymn, we usually get a signal from the organist to sing in unison. This is done by sounding a 'particular' pitch (tone) after an interlude or a prelude has been played by the organist. In music history, some orchestra and choir conductors were organists; and so they played the organ and conducted at the same. These virtuosos sometimes gave clues with the sound they made from the organ, as well as gestures. Today, almost every choir has a conductor and an organist; and so where there is a conductor in action, all clues are given by the conductor; organists aren't supposed to give a 'sing-in-unison' signal/clue with the organ sound, unless otherwise prompted by the conductor - in action. NB: Not just every stanza can be sung in unison (especially the first and last stanzas). In some cases, the stanza that needs the 'unison power' is in the middle of the hymn; in oth

STREET RHYTHMS 07-10-2016 *KALYPPO* In the streets of Ghana today, politicians are talking about *kalyppo*. *Kalyppo* a brand name of a fruit juice that contains no preservatives. It is pasteurized and packed in aseptic, disposable/environment friendly packing, under strict controlled conditions as certified by HACCP. This ensures that *Kalyppo* juices reach you in near natural condition. HACCP stands for Hazard Analysis and Critical Control Points; and it is a systematic preventive approach to food safety from biological, chemical, and physical hazards in production processes that can cause the finished product to be unsafe, and designs measurements to reduce these risks to a safe level. As music lovers, it may interest us to know that  *Kalyppo* and the other fruit juices contain vitamins and other nutrients that are good for our vocal health. However, a lot of these fruit juices are chemicalized and turn to make the juices irritants. They irritate our throats whenever we drin

STREET RHYTHMS 05-10-2016 *SINGING THE LAST STANZA* Most at times when we are singing the last stanzas of our hymns, we happen to completely reduce the tempo (speed) very early in the middle of the song. This, sometimes, makes us drag songs much longer than expected. If it is during a congregational singing, then the possibility of the congregation helping to drag the song is high; but this shouldn't be much a problem because the choir must lead. We can reduce the speed at either the last line or last phrase - it shouldn't be too long to drag the song. However, in this instance, it is better to _ritard_ the song (decrease the speed gradually) than completely moving slow ( _adagio_). This applies to most anthems as well. Kingsley J.E.K Acheampong #NANAKRHYTHMS www.facebook.com/nanakrhythmslive www.nanakrhythms.blogspot.com

STREET RHYTHMS 03-10-2016 *LEADERS DOING THE DON'TS* Most of our leaders in our choirs are not able to correct us when we go against the norms of our choirs. This is because they themselves are doing them; knowing that they aren't right. Because they can't correct themselves, they correct us too. Common among the areas where most choral leaders are at fault and can not correct their members are costume, performance manners, discipline, morality , etc. A leader is somebody whom people follow; and so as leaders let's do our best to always be on the right path so that we can correct our members, when they go off the path. Kingsley J.E.K Acheampong #NANAKRHYTHMS www.facebook.com/nanakrhythmslive www.nanakrhythms.blogspot.com

STREET RHYTHMS 01-10-2016 *THE 'MOVEMENTS' IN PERFORMANCES* There are some "little foxes" that interfere our performances. While some create noise, others create distraction (draws the attention of many, from the main performance). Some of these foxes are : 1. Walking into/ out of the stalls while the choir is singing. If there is the need to walk out, please let the performance end. When you are standing outside and you hear the choir singing, wait till the end before you walk in. 2. After your procession, wait till the introit or opening hymn is sung before you look for your bag/bible or you rearrange yourselves. 3. Ensure that ushers don't share letters, envelopes, or anything to choristers when the choir is singing. 4. Don't be late at concerts; and don't walk to the stage while the choir is performing. 5. Don't create scenes on the stage when correcting a colleague. NB: performance is not only done during big concerts. Anytime you are

STREET RHYTHMS 29-09-2016 *SINGING FROM THE PROGRAMME 'SHEET' -  A REALITY* Within the week, I was at a special service in one of the churches in Tema. The rendition of the closing hymn brought 'confusion', as to who was singing the right thing: # The liturgist, who sacrificed his copy of the outline, was moderating the service, reading from his handwritten original copy. # The pastor, who was the liturgist and who also gave out the hymns for the service, sung from his hymn book. # The person who printed the programme outline, printed 3 stanzas out of the 5-stanza-hymn, with slight difference in the text. He numbered them stanza 1, 2, & 3. # The liturgists insisted all stanzas of the hymn be sung. # In the middle of singing the first stanza, the projector-screen went blank, until the fourth stanza. # Some of the choristers were singing from the programme outline while others were singing from the hymn book. # Most of the congregation were singing from the

STREET RHYTHMS 23-09-2016 *SINGING FROM THE PROGRAMME 'SHEET'* At most occasions - such as weddings, funerals, anniversary celebrations, inauguration services, dedication services, etc - the congregation is given a printed programme outline, in the form of a leaflet or booklet. Most often, these outlines include the hymns for the occasion and choristers sing from them as well; sometimes, from procession to recession. While some choristers sing from the outline, others also sing from their hymn books, projector screens and from their tablets and phones. Yes, choristers need copies of the programme outline to follow, but it is more appropriate for choristers to sing from their hymn books than the programme outline, the screens and the other electronic gadgets. In situations where you don't know how to sing a hymn, you quickly go through it while the organ introduces the song; especially, when your hymn book contains the tunes as well. Kingsley J.E.K Acheampong #NANAK

STREET RHYTHMS 21-09-2016 *'HYMNS AND THEIR MEANINGS'* Many churches, choirs, & media houses organize the above programme; but most of them are not able to achieve the primary aim. They mostly focus on: - who wrote the hymn. - the location of the composer. - what influence the composer. - where it was first sung. Etc, etc. Organizers of such programmes should do their best and also include following: - the meaning of the hymns. - the message the hymns are conveying. - the lessons in the hymns. - the power of the hymns. - occasions or situations where the hymns can be useful. If organizers aren't able to achieve the primary aim of these programmes, they end up organizing either *_HYMNS & THEIR ORIGINS OR A NIGHT OF FAVORITE HYMNS_*. Kingsley J.E.K Acheampong #NANAKRHYTHMS www.facebook.com/nanakrhythmslive www.nanakrhythms.blogspot.com

STREET RHYTHMS 17-09-2016 *THE CANTOR:* A cantor is a person who sings solo verses or passages to which the choir or congregation responds. That is the name of the person who we mostly call the 'lead vocalist' ; the one who does the _'ngyegyeho'_ (when the choir is singing danceables). Most of our male choristers try to perform this role; almost everyone may want to do it; and as a result, they stop singing their vocal part - the result may be a 'noise within the music'. The  _ngyegyeho_ must be done by one person, who have knowledge of the songs and has a little technical know-how to coordinate all the songs. If you have more than one person doing the  _ngyengyeho_, the music will sound like adding plenty salt to your favorite food. Kingsley J.E.K Acheampong #NANAKRHYTHMS www.nanakrhythms.blogspot.com www.facebook.com/ nanakrhythmslive

STREET RHYTHMS 14-09-2016 *IN THE 'MARCHING - LINE' :* Whenever we are in the 'marching-line' (during procession and recession), choristers must note that we are performing and so related performance manners apply. 1. We move uniformly. If you can't correct your steps when you are moving differently from your colleagues, work on it or don't join the line. 2. Don't drag your feet, you will make noise. 3. Be in a comfortable and a prescribed foot wear. 4. You don't exchange pleasantries, especially with your hands. If you always respond to pleasantries, you will always receive them. This isn't a good practice. 5. Avoid talking in the line. 6. You don't hold your hymn book with one hand and put the other at your back. 7. You don't use an 'electronic hymn book' (phones and tablets) while the choir is using a 'paper hymn book'. 8. Don't march and sing/read from the projector while the song is in the hymn book. 9. D

The desire for music is so strong in humans that even Saudi Arabia’s national anthem is played using musical instruments, despite the warnings of one or two hadtiths. Some Muslims believe that Music is prohibited and sinful in Islam; this belief is held by some non - Muslims, as well.

RYTHMES RÉPUBLIQUE 01-07-2016 "Musical innovation is full of danger to the State, for when modes of music change, the fundamental laws of the State always change with them." - Plato, The Republic

RHYTHMIC THOUGHTS 20-06-2016 According to http://m.myjoyonline.com/marticles/entertainment/flavour-and-i-are-no-longer-together--beauty-queen,  Former Nigerian beauty queen, Anna Ebiere Banner has revealed she is no longer in a relationship with her baby’s father, Flavour N’abania (The Adha-Adha-singer) ... 

I praise you, great and famous man. I praise you, the wise and brave and strong. I praise you, who graced your generation. I praise you, who helped the right and fought the wrong. I praise you, who made our folk a nation. I praise you, the great of heart and mind.

STREET RHYTHMS 18-06-2016 I believe all 'Robing-Choristers' have a responsibility to attend practice regularly and robe regularly.

RHYTHMIC THERAPY 18-06-2016 THE EFFECTIVE CHOIR DIRECTOR: Build a professional, collegial and spiritual climate. Open rehearsals with a prayer so that your choir can inspire others' faith through their service.

RHYTHMIC THERAPY 16-06-2016 THE EFFECTIVE CHOIR DIRECTOR: Use large, distinct arm movements that everyone in the choir can see. Ensure that you can make eye contact with every singer.

TO ALL PATRONS OF NANAKRHYTHMS Good day, I wish to apologize for my delay in responding to all your questions that surrounded the 'debate' on AKYEA (a highlife arrangement I did with CORE elements of Sam Asare-Bediako's MEYI MAKYEA & SANKU DWOM).

STREET RHYTHMS 12-06-2016 It is unethical to robe or wear any uniform with wrist bands and necklaces, unless they are prescribed units of your costume/uniform.

RHYTHMIC THOUGHTS 03-06-2016 If you think you will drink alcohol and forget all your problems,

STREET RHYTHMS 11-06-2016 It is never wrong for choristers to reach the rehearsal/practice grounds before the rehearsal/practice begins.

RHYTHMIC THERAPY 09-06-2016 THE EFFECTIVE CHOIR DIRECTOR: Strive for a varied music selection to keep your rehearsals and performances fresh and challenging.

RHYTHMIC THOUGHTS 08-06-2016 ➡All musicians start out with ideals but hanging on to them in the face of media scrutiny takes real integrity.⬅

RHYTHMIC THERAPY 07-06-2016 THE EFFECTIVE CHOIR DIRECTOR: Improve your skills - and those of your singers - by emphasizing fundamental music theory.

RHYTHMIC THERAPY 06-06-2016 THE EFFECTIVE CHOIR DIRECTOR Choral directors, also known as Choir or Music directors, often manage various aspects of the vocal, and

RHYTHMIC THOUGHTS 01-06-2016 "It's not an accident that musicians become musicians and engineers become engineers: it's what they're born to do 'or what they plan to do' .

STREET RHYTHMS 30-05-2016 That moment when everybody knows you are a music (or choir/choral) guru; and you visit their church or choir or programme; and they give you scripts to sight-sing an unknown extended piece/anthem (to you) with