Essentials in
Direct and Teach

In the 19^th century a Frenchman, François Delsarte, first articulated the principles of body language (or “laws of expression”), and they remain extremely important today for anyone directing a barbershop chorus. In essence, all parts of the body serve as “indicators” to the men on the risers, and a director’s body should be consistent with what he is trying to achieve musically.

For example, how many times have we seen and heard a director insist that a chorus sing “smoothly,” only to then direct the same passage in a quick, jerky, up and down fashion? Under such circumstances it is almost impossible for even the most conscientious of singers to sing smoothly. While the chorus is asked for smoothness, the visual “reinforcement” is just the opposite.

Incorporating better body language may not work with your chorus the first few times, particularly if the men have not seen the methods before, are unclear as to their meaning, or are simply inattentive. However, a director need not say with his mouth what he can also “say” with his body…so trust the men on the risers to listen to your body language!

The Conducting Cube

From a physical standpoint, the strongest external area of the body is directly in front of the torso—from the abdomen to the shoulders. If you were to pick up a gallon can of paint and put it in the palm of one hand, the easiest area in which to hold it would be in front of and close to your abdomen. If you extended your hand forward (away from your body) or out to either side, you know that your arm muscles would soon begin to tire.

Because we know these effects from our own experience, we also automatically form mental impressions of strength and weakness in others by observing the position of their hands and arms. When directing, hands which stay in the area of the “conducting cube”—the area close to the body in front of the torso (between the abdomen and shoulders)—convey strength and control. Hands which move away from this area (including out in front of the body) begin to convey a sense of weakness.

It logically follows that conducting motions outside of this cube should be limited. A director may well go outside this area if it has a particular meaning or reason. But a director should at all times be aware of the conducting cube and realize it is the center of his strength.

The single biggest difficulty for directors in barbershopping is the urge to over direct, resulting in large hand and arm movements far outside the cube. This habit stems from many sources: the need for large motions to be seen while men are looking at their music, unawareness of how effective smaller motions can be, and general chorus inattentiveness, leading the director to use bigger motions out of frustration. While a chorus may not always be accustomed to small, controlled moves, they quickly can be if the director uses them consistently.

Some bad habits directors fall into:

• Directors directing above their head or in front of their face much of the time. While the hand technique itself may be excellent, even greater control can be obtained if the hands are simply brought down into the chest area.

• Directors directing with high arms and hands. This can cause tension in the singers’ throats and adversely affect breath management. The men see a physical manifestation of weakness and stress, and are affected by it.

• It is never necessary to have the hands up in front of the face, though they may naturally rise to that level from time to time.

• The location of the hands within the cube has significance. Having the hands in an area related to the mood and essence of the song will thus enhance the desired tone.

Specific Parts of the Body

General conducting techniques will be addressed under Use of the Hands below, but there are several specific “parts” of the body that deserve special mention:

Fingers

The thumb indicates vitality and is the most important of the fingers. Keep it “out” while directing, as if grabbing someone’s hand, i.e., either next to the index finger or slightly apart. If the thumb is pointed inward toward or under the palm, it indicates weakness. The other four fingers should be kept comfortably close together to give a solid look.

Wrists

Delsarte referred to the wrists as the “thermometers of the vital force,” and it is extremely important to have and maintain strong wrists at all times. Weak or floppy wrists create a flaccid and weak sound, obscure the beat, and visually distract the singers.

Elbows

The elbows are the “thermometers of the will.” As they approach the body they suggest humility; outward moves express pride, arrogance, and assertion of the will. While the elbows can be used to reinforce the desired expression, generally they should be kept relatively close to the torso; floppy elbows betray the hands in reference to the beat.

Shoulders

The shoulders are the “thermometers of passion” and show how strong emotions are felt. The chest should be in a proud position. Because the chorus will tend to mirror the director’s posture, standing this way will work to enhance the tone of the chorus.

Legs and Stance

The joints of the leg show strength, but unnecessary changes in stance will weaken the sound. Movement can be indicative of uncertainty, so a director should set himself and generally stay put (unless, of course, chorus choreography requires otherwise).

Face

It is said that the face is capable of over 20,000 degrees of expression. In directing, it is far and away the most important part of the body. Keep eye contact with the chorus at all times. Practice in front of a mirror to see how you look with different facial expressions and vowel shapes. Occasional vowel shapes can be demonstrated by the director, but over-demonstrating can invite tension and “chewing” of the words by the men. In any event, the director should not sing along with the chorus as it severely impedes the ability to critically hear the ensemble.

Use of the Hands

• During a song the palms normally should be kept facing downward (but not uncomfortably flat and parallel to the floor). However, for variety and effect the palms can also face more upward, such as during sustained notes and endings.

• The pitch must constantly be supported, and this is done by having the hands move—even if very slightly. As music is ongoing, it is the act of movement that supports the pitch.

• “Pulling” the hands laterally (instead of vertically), and with the palms facing either downward or toward the center of the cube, is acceptable for variety in directing technique.

• If a director beats out each and every word, choppy singing is guaranteed.

• Strive to direct only the truly necessary and important points in a song—those things that require attention—and “get out of the way” of the music!

• The use of two hands for directing is certainly acceptable, but be very careful not to let the left hand disagree with what the right hand is doing (assuming that the right is the primary hand).

• The hands need not be mirror images of each other, but they should be complimentary (e.g., the right hand for beat and the left hand for support or volume).

Specific Situations

Cut-offs

There are three components to a cut-off:

• Support - by means of the normal slow, upward hand motion

• Preparation - by a quickening movement of the hand, showing a difference

• Cut-off – one option is to do a little “e” shaped motion with the hand, whose tail is finished with an upward lift.

Dynamics

• Dynamics are indicated primarily through the amount of space between the hands, though the entire body should also react appropriately. When the hands move farther apart or closer together, the chorus should change volume accordingly.

• To soften, come into the body and make the gesture smaller.

• To increase volume, make the gesture larger.

• With loud, sustained notes, particularly in swipes, start the movement and then return to the center of the torso. This reinvigorates the support and gives much more strength.

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Essentials inDirect and Teach

Body language and chorus directing

“BODY LANGUAGE” AS APPLIED TO CHORUS DIRECTING

By Bill Roth (Revised April/2008)

Everything a Director Does Affects the Chorus