NANAKRHYTHMS

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