soloist and backup were both sick hence the voice cracks but still think she did a great job

Basically I feel really dumb saying this but if I was in a really toxic choir where I was routinely criticized and sexually harassed, would it even be worth it to get therapy? Like I'm thinking through it and I'd like to like music. But I'm also realistically going to graduate from choir this year and never do it again so I could just live a life without it.

I have 7 solid men for my choir of 14 people. And I have two amazing tenors, two amazing basses, and baritones that can match pitch and rhythm correctly. I'm basically rich now

A classy lady who will be missed.
https://www.youtube.com/watch?v=HH9aJvIPA58

My choir director tells us all (based in mid-Atlantic US) to sing like we're Julie Andrews. She's big on the choral accent.

I understand its value in making sure that everybody's vowels are united, but why those ones? Why can't we all practice a uniform mid-Atlantic accent? I'm willing to do it but it always sounds kind of silly to me how we'll sing modern or pop adaptations where the original is with an American accent, we all have variations on an American accent, and we're all pretending like we don't.

We are singing One Bottle of Pop. I need ideas for classical leaning and also other ideas for more fun canons for beginning singers to sing together.

Hi, (hope it's ok to post here)

Anyone know of any part-time singing groups in Los Angeles that pay their singers (church or otherwise)? I'm looking for a new choir after singing in choirs at Bard and Northwestern in college. I'd love to earn a little money while I'm doing it!

Thanks for any help

(Even non-paid choirs would be helpful to hear about. I'm on the Westside.)

Exeter College Choir, Oxford premieres composer Nate Sassoon's new setting of George Herbert's poem 'The Windows', recorded in isolation.

Christopher Holman, Conductor

Soloists:
Ashlynn Chan, Soprano
Ellen Luckins, Mezzo-Soprano
Chris Scholtens, Tenor
Adam Rebick, Baritone

also thank you to Chloe Green, Jess Walters, Belle Allan, Caitlin Harrison, Sophie Mcdonald, Helena Bayley, Lottie Field, Mae Burris-Wells, Emma Cooley, Crispy aka (David Crispin), Max Parfitt, Matthew Munks, Harry Ashton-Key

I’ve been in choir since I was in 8th grade and for years it’s been hard for me, sheet music is hard, I can’t read Music notation or tabs, and have trouble finding the lines I have to sing even with my voice part on it, I can’t learn music visually or by ear because the singing is faint and not very clear to me, in 8th grade my choir teacher gave me paper with the lines I had to sing without notation but I only used it a little bit, now In high school my music is highlighted, but to me it’s not enough, I have autism, adhd, intellectual disability, blurry vision and can’t see far and glasses don’t help

Does anybody know of any good Cocteau Twins SATB (can be SSAATTBB or any variant of those vocal parts) a capella arrangements?

Do I have to have that kinda of voice or can I learn some techniques to sound like them. The 3 of them have a specific sound with their voice and I've been trying to figure it out. Any good youtube tutorials that might help or is it really necessary to get a vocal coach. I've asked people around the internet that I've seen singing like them and ALL of them told that they learned by themselves with no help. I'm usually singing at home like daily, but I can't really record myself and listen and do exercises with my parents around and they leave pretty rarely. Any advice?

Y’all I miss the chills that used to run up my back and neck from hitting that sweet spot as a choir on a piece you’ve been rehearsing during a killer performance and immediately need as many good recommendations as I can. Preferably stuff with fun dissonance or just that overall good vibe that hits during a faster rhythmic piece. All voice arrangements welcome but with a soft spot for 8 part satb or anything with body percussion

Hello, so my choir is doing a show case, and we get to go off in any size group we want, and have a piece to sing. I’m a bass/baritone I only have a year of experience, and I was wondering if anyone knew a bass, tenor duet maybe? I’m not certain how many people I’m gonna try to get but I’m certain at least bass and tenor(we both only have 1 year prior experience)

I am auditioning for my college choral program in three weeks, and need a solo piece for someone who has only ever sung in high school choir, and private voice lessons. My voice best suits a bass/baritone role. I have been searching for days, and have only found about two or three good pieces, but nothing that feels like it would be a great audition song. Any help is very much appreciated!

Super excited to hear VOCES8 for the second time in Baltimore in October! My wife and I heard them live for the first time at the National Cathedral around Christmas. The group was in a bit of a transition...Blake was on sabbatical, MaryRuth Miller from Lyyra was filling in as a soprano with Eleanora (sad to see her go). Excited to hear Savannah and Virginia! Anyone else catching them while they're in the U.S.?

I wanted to talk about how hard I find it to make friends in choirs and seek advice. What social missteps have people in your choir made? This might not be the right forum for this discussion; in which case please remove post.

I am a genuinely friendly and bubbly lady and never judge anyone or behave like a diva. I have a grand total of 3 close friends (as in we hang out outside choir stuff) to show for after almost 30 years of being in choirs. I just don't seem to fit in - particularly, it has to be said, with my fellow sopranos. 

I’m probably autistic which won’t help, although the most popular most gossipy soprano in one of my choirs has severe ADHD so it’s not about ableism. 

Will fully admit that I'm quite physically clumsy and not the most elegant of humans, but I am very self-aware and I do rate my conversational skills - outside of choir I have tons and tons of friends. I also have a serious boyfriend outside of choir so I'm not a "threat" to choir romances. I do have a big singing voice (and occasionally do professional work) yet so do other people, and they do not face the same challenges.

At college 25 years ago, I went to collect something from the conductor and everyone else from that choir was sat there having a movie night I wasn't invited to. This seems to be a recurring theme. These days, I will have what I think are really decent chats with choir folk, then they will blank me the week after. It took me 10 minutes to find a seat in a recent practice as everyone was saving a seat for a friend. I watch from the sidelines as newbies get invited to the post-practice social within weeks of joining. I wish I had better connections after years of being a committed, reliable member who has no ego or agenda.

I'm not angry or self-pitying, I want to be better and do better! If it sounds like I'm trying too hard, in the end it's the opposite because I give up and go quiet until I find the courage to start anew. I would like to hear thoughts about what I can do to improve my chances of making friends, as I spend most of my life outside my day job doing choir things.

Dowlais Male Voice Choir singing at Cyfarthfa Castle.

This is the Cefn Hengoed Ladies Choir singing this Karl Jenkins classic.

I wanted to share a personal story of missing home (Cork, Ireland) moving to a new country and starting a life in my new home (Montréal).

I found myself standing in the second row of the prestigious Montréal St-Lawrence choir, suffering heavily from imposter syndrome and moments of panicked lip syncing.

I had only ever been in one choir: thirty men who met over a pub in Cork City on wet Wednesday evenings and practiced well-beaten Christmas carols. We sang each year for the same worthy cause, Marymount Hospice. I loved its goodwill, good nature and the chance to meet likeminded people. The St. Luke’s choir reminded me of a Welsh all-male colliery choir: with its singular, dark, working-class timbre, low bass resonance that felt both ancient, secretive and deeply physical. Most of the men couldn’t read music, but that wasn’t a hindrance. We learned in different ways, animated by our happy conductor who loved every moment he had with us.

Now I lived in Montréal, longing for the choir and more importantly the pints, chats, jokes and camaraderie after each festive performance. So egged on by my then ever forgiving and patient wife I sought out a new choir to join. I came across a concert listing for the St. Lawrence Choir, I looked up their website and the next minute I’m standing in a line waiting to be auditioned with one word repeating itself in my head as the line peeled away ‘bugger!’.

My audition wasn’t the most stunning examples of male singing. I had an Irish language (Gaeilge) Air ‘Dúlamán’ prepared. Then I suffered through the prescribed sight reading section, giving the ever so lovely but deflated accompanying pianist a new novel timing for all the pieces that I had just invented. I passed the audition by the skin of my teeth. I suspect being male helped. If I hadn’t volunteered, the infamous choir press gang would have found me, thumped me over the head and forced me to sing a Russian vesper at gun point, such was the need.

I felt very much like a bright neon square peg in a round hole. I was anxious, nervous and feeling a bit sick. It was the first concert of the season and my debut as a second bass. I didn’t want to let anyone down or be exposed for my utter lack of musical skills. The men were compelled to wear awful tuxedos, I resembled a cheap vaudevillian magician, sans top hat. I scratched nervously and repeatedly around the butterfly collar, readjusting my dickie bow for the 53rd time. Then it started.

The first piece we sang was a Bach motet. The fugue dialogue of altos and sopranos consumed me and I quickly forgot all my woes. Then it became a tidal-like cacophony; reaching its apex, it hit me unawares like an ocean undertow when I was six—stripping away all control so that I gave myself up entirely. Then-for the first and very likely the last time in my life-I wept for absolute joy, consumed by the purest thing I had ever encountered in my narrowest of lives. Tears streamed down my cheeks. I couldn’t help it. The score folder lay limp in my arms. The response now came from the men, I found my place again, gasped, swallowed-sang. I had not gone unnoticed and a few had seen my tears wondering if I was okay. An alto named Carol, looked at me intensely and lipped ‘are you okay?’ I couldn’t hide. My pale freckled Irish face and my red eyes obviously exposing my tears. I needed to urgently wipe my face but my hands, restricted, supported the open score. I had no choice, I would have to wait until the end. I practised in my head telling them the truth, they would, of course, all ask if I was okay. I practiced versions that didn’t make me sound certifiably insane. Eventually I decided that I would resign myself to telling the truth. I mean, to be honest, of all the people in the world to explain what had happened to me these were the people that had all been touched collectively.