Between the Staves: Choral Questions, Candid Answers, is fresh take on the classic advice column—this time for all things choral music! Modeled after the beloved “Dear Sally” format, this blog will answer your questions about choral music education, performance, and leadership. Whether you’re curious about vocal technique, rehearsal tips, repertoire selection, or the “other” side of our profession (business, fundraising, scheduling, recruiting, communication, audio engineering, etc.!), Between the Staves will have you covered.
This Month’s Question Is:
I’m a current undergraduate music major who was hired this year to direct a local community choir. In my community choir, I have to move much slower than in my college ensembles because the reading and musical literacy just isn’t there. How do I better pace my rehearsals to accommodate more singers? I’ve tried slowing down and playing the line before asking them to sing, modeled it myself, and a few other things. Some of my singers still say they are lost. Is it possible I programmed music that was too difficult for a non-auditioned community choir?
This month’s responses:
Congratulations on your appointment as a community choir director! Community choirs present a unique challenge in that they are often comprised of singers with varying levels of musical ability ranging from a singer’s first experience in choir to a seasoned veteran with an advanced degree in music. Considering this range of ability, it is important for directors to carefully select music that is both challenging and accessible (ChoralEd, Episode 34). Be encouraged! It is common for young directors to overestimate their ensemble’s performance abilities following a collegiate experience. Selecting appropriate repertoire is a skill that takes time to master.
Micah Bland–University of Toledo, member of the ACDA National Education and Communication Standing Committee, and coordinator of this month’s response.
It’s been my experience that in college programs, singers are there to meet the needs of the music, in K-12 and community choir programs, the music is there to meet the needs of the singers, and that is a radical mind-shift in how to approach what we do with them. I have used the school and community choir platforms as basically skill building endeavors. Several different approaches come to mind. The first is to approach this by doing a breakdown of the specific skills that need to be developed in your ensemble (tone? reading skills? pitch definition? articulation? phrasing skills?), and THEN build your concert programming as a backwards design. What literature DEVELOPS these individual skill sets and then program from there. Second, I believe that in these instances, warmups take on a very different and essential function: using that time to develop these skills and then APPLYING them to the literature. Lots of resources are out there for developing skills in warmups. I would access as many as possible to garner ideas (here is one of my presentations on the subject).
Finally, I have offered pre-rehearsal theory lessons for my community choirs. Half hour or so beforehand I basically teach music without the singing. Many members of my community choirs found this helpful, and it actually shifted their thinking and approach in rehearsal. It also put them on the fast track for developing their musicianship. Community choirs can be a joy to work with, but in many ways are polar opposites of the collegiate programs in which we performed. Be as methodical as possible in your approach and have fun with the process!
Rob Westerberg–York High School; Portland Community Chorus, 2004-2019
Directing a community choir is incredibly rewarding, but it’s not without its challenges. After 48 years with our 35-member ensemble, I’ve learned that one of the biggest is meeting singers where they are, especially when it comes to reading music. Like many community choirs, our group includes people who read music fluently and others who’ve learned everything by ear. Ages range from mid-20s to 80s, which means people come with different comfort levels with technology, practice habits, and learning styles. Some are eager to improve their skills, others are just happy to sing. Within that reality, there is an expectation that we all will do our best while striving to be mutually supportive. Learning to read music is one component that facilitates individuals’ ability to learn music faster and to better express the musicality of the songs we are performing. It helps us as individuals and as a choir to be more versatile as musicians. It is about personal as well as organizational growth.
What helps? A mix of tools and a lot of encouragement. Build basic theory and reading exercises into rehearsals and provide online practice tracks with vocal parts isolated. We remind members that they can record rehearsals, and we periodically hold sectional rehearsals.
We choose music that offers something for everyone—some pieces stretch more advanced singers, while others help newer ones build confidence. Occasionally, we hold extra practice sessions or sectional rehearsals. Singers are asked to mark their music with reminders that make learning easier.
Above all, directors must remain patient and positive. Progress looks different for every singer, but when they feel supported, they’re more willing to take risks, keep learning, and find deeper enjoyment in the music. The technical aspects of music are not the end goal; they’re simply the vehicle for sharing joy and meaning with one another. Ultimately, the goal isn’t perfection, but the joy of making music together and sharing it with others.
Clarence Smith–Clarence Smith Community Chorus, 1976-Present
This is a fantastic question—one I revisit often in my own work leading a church choir comprised of volunteers with a wide range of musical experience. I’m always looking for ways to balance musical excellence with accessibility, and to foster an environment where people grow in skill, confidence, and joy. Below are some of the best strategies I’ve found for helping volunteer community choirs learn music more quickly, confidently, and with more satisfaction.
Consider SAB arrangements: They’re easier to learn, maintain strong voice leading, and help choirs make faster progress—especially when working with fewer tenors and basses.
Teach musically, not just technically: It’s easy to default to drilling notes, especially when you’re behind. But singers learn faster when they understand the why behind what they’re singing. Musical context gives memory anchors. Highlight repeated motifs, parallel structures, and dynamic shaping. Teach rhythm by connecting it to text and energy—not just accuracy. Rehearsals move more efficiently when singers engage intellectually and emotionally, not just mechanically.
Equip singers to succeed at home: Share weekly rehearsal notes, listening links, and recordings. Encourage simple ways to engage with the music outside of rehearsal time.
Use custom practice tracks: Provide part-specific audio files for at-home practice. Tools like MuseScore or Sibelius make this easy and accessible for those who don’t read music. Even more simple, you can record their part on the piano with your phone.
Foster joy and purpose: The most successful community choirs I’ve worked with don’t just sing well—they enjoy what they’re doing and understand why it matters. Keep rehearsals lighthearted and encouraging. Celebrate progress. Connect the music to something meaningful—whether it’s a message of hope, a shared tradition, or the act of creating beauty together. Confidence and cohesion flourish in a space where people feel safe, seen, and inspired.
Final Thoughts: Helping a volunteer community choir learn music faster isn’t just about teaching—it’s about empowering. Equip them with clear tools, reinforce healthy technique, and remind them of the joy and purpose behind the music. You’ll find they learn faster, sing better, and come back week after week with enthusiasm.
Dr. Andrew L. Wilson–Director of Music, Cornerstone Church of West Los Angeles, 2021-Present
Additional Resources:
Facer, Charles. “Programming for the Community Choir.” Choral Journal, 40, no. 3 (October 1999) 62–63.
Facer, Charles. “Community Choirs: A Journey to Nowhere.” Choral Journal, 41, no. 3 (October 2000): 59.
Johnson, W.R. “Repertoire Suggestions for Community Choirs.” Choral Journal, 48, no. 9 (March 2008): 59–63.
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No question is too specific or too big-picture–ask away, and let’s all grow and learn together!
Between the Staves is an initiative of the ACDA Education and Collaboration National Standing Committee. For questions, contact John McDonald at .
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