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    Now That You Are Choirmaster
    Now That You Are Choirmaster
    Now That You Are Choirmaster
    Ebook107 pages1 hour

    Now That You Are Choirmaster

    By Soji Ojeniyi

    5/5

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    About this ebook

    From the music that moves the people to the love that binds or tears them apart, Now That You Are Choirmaster shows the issues essential to the vocal group leader and the inside game played by the people to whom he is essential. It covers copyright to songwriting, funding to financial impropriety, part leading to verbal attacks, and fraternal fluxes to funny friendships. Its language is sweet-flowing, and its mood is simple and light.
    LanguageEnglish
    PublisherXlibris UK
    Release dateJun 6, 2014
    ISBN9781499086690
    Now That You Are Choirmaster
    Author

    Soji Ojeniyi

    For two decades, self-trained Soji Ojeniyi has led vocal groups of varying strengths across denominations, schools, and communities. He teaches piano, voice, theory of music, history of music, history of jazz, and musical form in schools and colleges of music. He presents candidates for the graded examinations of the prestigious Associated Board of the Royal Schools of Music, London. He is the author of Man Trust Thy Symphony, Star of Wonder, and All in Africa. His works live on ezinearticles.com include Music the Stimulant, Lad Alone, The Learning School, and Death Dealt Deadly.

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    • 5/5
      One of the best books any Music director especially Nigerian based can read for easy navigation in their journey of ministry and assignment. Read the hard copy, still unable to get the e-book downloaded. Such a good read.

    Book preview

    Now That You Are Choirmaster - Soji Ojeniyi

    Copyright © 2014 by Soji Ojeniyi.

    ISBN:          Softcover          978-1-4990-8668-3

                       eBook               978-1-4990-8669-0

    All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

    Any people depicted in stock imagery provided by Thinkstock are models, and such images are being used for illustrative purposes only.

    Certain stock imagery © Thinkstock.

    Rev. date: 05/30/2014

    To order additional copies of this book, contact:

    Xlibris LLC

    800-056-3182

    www.Xlibrispublishing.co.uk

    Orders@Xlibrispublishing.co.uk

    616836

    Contents

    Intro

    THE CHOIRMASTER

    The Place of Materials

    Materials of the Place

    Professionalism of Measure

    A Measure of Professionalism

    THE CHOIR

    Records

    Performance

    The Naughty-Natured

    THE CHORALE

    Basic Harmony

    Beyond the Chorus

    Bubbles Burst

    THE CODA

    Instructing Instrumentalists

    Managing Ministers

    Succeeding by Succession

    Outro

    Other books by Soji Ojeniyi

    Man Trust Thy Symphony

    All in Africa

    Star of Wonder

    Live articles by Soji Ojeniyi available on ezinearticles.com include

    Music the Stimulant

    Lad Alone

    The Pianist’s Parkinson’s

    Death Dealt Deadly

    Learning School

    Follow the author

    Acknowledgment

    I’ve worked with the strong and the weak. I’ve studied with masters and prodigies. I’ve performed with geniuses and irrationals. I still serve with the insignificant few and the relevant mass. I train the young and the aged. I direct the gifted and the ordinary.

    I gleaned all within these pages from choirs of several denominations, schools, and communities through many years of plain old persistence and down-to-earth diligence. Their names and those of their good people have been altered for privacy reasons.

    Specifically, I must thank my dad for the acoustic guitar he bought me when I was only four, which I never learnt to play, and for the electric organ that got into the house about five years afterwards, with which I later made my first attempt at Handel’s Messiah. Lemi Ghariokwu gave me a toy piano as a prize at a reading competition that was held in our living room when I was only seven. Thank you, for with it, I taught myself tonality. My mum got me started on this reading habit. Thank you, for reading got me thinking I could write something someday. When I scribbled the first few pages of this book, my wife read it and thought it could fly. I thank Dr and Mrs F. F. Abudu for giving me a chance with a school choir that was quite a drill and a thrill. I thank Pastor Gideon Korede, who cared more about appreciating this book’s prospects than understanding all it entails. Thank you for believing in me that much.

    Now, I’m mighty grateful to all choirmasters who ever inspired me to greater heights without knowing they did: I thank my first role model, Wale the angel, who gave me my first chance at leading a choir; Dr Fagbemi, who gave me the first leadership opportunity at a non-denominational choir; Pius Hunyibo (of blessed memory), who only smiled the first time a priest invited me to his choir; David Adepoju, who made mass choir rehearsals seem so easy; and also everyone who tosses me a group of sweet-sounding voices or tone-deaf wannabes from time to time, even when I’m scared to death.

    My heart won’t stop beating the rhythm of gratitude to everyone at Author Solutions’ Xlibris imprint who toiled to see this edition roll out of press, especially Chris Ablan, who laughed a little too much when he read the manuscript, and Ely Rivera, my senior publishing consultant, who has a unique understanding of authors with a one-pound drive and a one-dollar drag. Very many thanks to Randy Smith, Kay Benevades, Mary Lopez and Carla Cobar, who have all now become my friends.

    Although inaccurate recounts and factual errors are mine alone, whether I have been lucky or rewarded with such rare experience as I seek to share, or whether I haven’t, I’m indeed grateful to you all.

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    May 2014

    28250.png

    Intro

    If you have not worked effectively with a choir of one hundred voices, have not been equally effective with a choir of ten in a leadership position for not less than ten years, you need to read this book.

    If you inherited a choir that is not quite in shape, whose music has no form, where rules are non-existent, and choristers are tone-deaf, please hurry and turn the pages.

    I have been privileged to sing in, play in, and direct the worst, best, smallest, and largest of choirs with almost no tools at all to work with. I have seen the resistance of the naughty-natured and enjoyed the cooperation of the willing and obedient. I have seen choirs transformed in days with a total musical turnaround. In all these years, I have learnt fast and kept records.

    I perused my notes and pored through reports generated from all my choir trainings nationally, honoured to turn the scorecards to you in singing words now that you are choirmaster.

    THE CHOIRMASTER

    27099.png

    The Place of Materials

    27943.png

    There’s nothing worse in the experience of a choirmaster than having nothing to work on at the moment. If you ask around, you’ll hear things from the ones who’ll be sincere enough to tell you. Ask me what I did. I scheduled a prayer session out of passion, that’s what! And that’s terrible. When you have to convert your choir into a prayer squad, you have a crisis on your hands. Or you’ll soon have one.

    Get a picture of those who come to choir practice these days. They’re not the overly pious. They constitute the excited ones, generally speaking. So don’t you fool yourself into believing they’ll enjoy the praying like you do. It bores them crazy. They don’t want to pray. They came to sing, and sing you’ll have to make them do.

    What other thing do choirmasters do when they run dry? They write their own song and introduce it the same day. There you go. So many things wouldn’t have been taken care of in this short time. The song would be too simple, too short. The harmony too weak, too cumbersome. The progression too absurd or absent. Now just imagine how he’d look, appearing before a forty-voice choir in this situation. If they belong to the city where I live, two-thirds of them won’t attend the next choir practice. No one wants to sing an undone work, no matter the intention of the composer. Do all you want in your secret place and appear more than ready. That’s when you’re in good shape to lead. Knit the song together. Prune off the rough edges. Get the music flowing. Pull in the musicians ahead. Then work with your vocalists. Get to your choir with a done deal. They’ll respond in tandem. Otherwise, you’ve got a raw show.

    Anyway, let’s discuss the things that help keep your choir’s mill grinding through the year: materials. With materials, you have something on the music stand every week. They furnish you with the elements of preparation. So a wise choirmaster gets music literatures, music audios, and music videos. And to these he adds ample sheet music—from baroque oratorios to contemporary gospel scores. It’s not the other way round (sheet music, then literatures and the rest). No! Literatures first; the others follow.

    The literatures do two things: First, they inspire you; then, they round you up, broadening your scope of appreciation. By way of illustration, if you read the history of G. F. Handel before you begin work on the Messiah, at least two things happen to you instantly. First, you learn to make an

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