how to write a speech choir

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Ten Things You Should Do if You Want to Write Choral Music

Throughout my entire composing duration, I’ve always found my experiences writing for choir to be my most gratifying—and not just from a money-making standpoint. There’s something special about writing for a choir. It’s at once grand and simple, and something about human voices makes both the works themselves and their performances more vulnerable than writing instrumental music. Whenever I need to be reminded how much I love composing, I usually default to writing another choral piece.

On multiple occasions, I’ve been approached by a student or peer asking me how to “go about” writing for choir, either in the context of an instrumentalist who wants to expand their composition portfolio or a vocalist who wants to take a stab at composition. The conversation is usually summed up by saying, “I’ve never done this before, and I’m not sure where to start.” In those conversations, I’ve often defaulted to the following ten pointers that I think even people who are already writing choral pieces should keep in mind for developing their skills. There’s a lot of subpar music for choir out there, and by keeping the following pointers in mind we can avoid being lumped into that category and really make our compositions stand out of the pack!

1. Start “text hunting”

This tip might sound like the biggest no-brainer. To write a choral piece, you typically need to have a text to set. And yet there are many people out there who want to write choral pieces and still haven’t given any regard to this matter.

The type of text you want to set can have a profound impact on how you want to go about starting your new choir piece. Are you setting a poem? Prose? Excerpts from a speech? Something sacred? Something silly? Something avant-garde? I’ve seen choral works setting everything from Shakespearean sonnets to Trump’s Twitter feed, and each requires its own style and nuance to set convincingly.

Before so much as writing a single note, I’d suggest having at least ten texts selected that stand out to you for some reason or other. I keep both a folder in my desk drawer and a Bookmarks tab on Chrome of texts that I want to set when the occasion arises. Right now it’s filled with various feminist poetry that I think could be really cool for writing epic works for women’s choir (an ensemble that often gets shafted in the realm of good literature).

Wondering where to go about finding these texts? Start by visiting poetry websites or checking out an anthology from the library. Just make sure you have the rights to the text you want to set! The last thing you want to happen is being sued by Robert Frost’s estate or whoever owns the NIV translation of the Bible. Public speeches, works that are clearly listed as “public domain,” or anything written before 1923 is a pretty safe bet.

2. Join a choir (if you haven’t already)

If you’ve spent most of your time in the past writing for instruments, you might not realize just how different of a beast writing for voices can be. Ranges are limited, the amount of time spent in any particular range can be finicky, and some intervals are trickier to sing than others. What any other particular voice part is doing can have a huge influence on the feasibility of something as simple as a half-step motion! And the surest way to get a sense for what it’s like to write for voice is—you guessed it!—to use your own on a regular basis.

Now you might be thinking to yourself something along the lines of, “but I can’t sing!” If you’re one of those people, you may want to consider joining a community choir that doesn’t need an audition. Some examples of those would be glee clubs, non-auditioning groups at your university (usually men’s or women’s choruses), your local church choir, most gay men’s choruses, etc. Being part of a non-auditioning group can provide a level of enlightenment all its own, and can also help you become familiar with your own voice enough to know its limitations—which will, in turn, give you some insight on the limitations of other people’s voices as well.

If that still intimidates you, or if you’re concerned you don’t have the time, consider asking your local choir director if it’s possible to sit in and observe some rehearsals. Even if you yourself aren’t singing, you can still learn tons just by watching. Pay attention to where the choir is having its biggest difficulties. Where is the director stopping and fixing mistakes, and what mistakes are being fixed more than others? What sections are tiring out the choir members? When do people need to breathe, and do they get the opportunity to? Finding the answer to all of these questions can really hone your choral composition skills.

3. Start by writing arrangements

If learning how to compose is like learning how to swim, writing a choral piece from scratch with a text that you’ve never seen set can feel a bit like getting thrown into the deep end of a pool while wearing ankle weights: all in all, it’s a surefire way to make life more difficult than it has to be. Luckily, you can start learning how to creatively compose for choir by making new arrangements of existing tunes and melodies, where the heaviest of the composing load has already been done for you.

There are two ways I can think of to go about this, both with their own perks. The first is to look for older, classical melodies (folk tunes, church hymns, drinking songs, etc.) that you might want to arrange. Once you’ve found a tune that you want to set, start thinking of ways you can adapt it for choir that would make it stand out from what’s been done before. What are different ways you can harmonize the melody? How do you want to go about transitioning from one verse to another? Can you add a descant line to it? How are you going to start and end the arrangement? All of these questions, and more, can make the difference between a blasé transcription and the next Erb/Gould Shenandoah .

The second approach is to take up arranging for an a cappella group. For those of you who are (somehow) not aware, a cappella groups take existing pop songs and set them in a way that all of the instrument parts, including percussion, are sung or beatboxed by the group members. Some of the settings are straightforward adaptations (most anything by Straight No Chaser), and others get markedly creative in their interpretation (most anything by Pentatonix). Most universities—and even some high schools—have a cappella groups these days, and they’re usually hungry for new arrangements, so feel free to seek your closest one out!

4. Take a poetry class

If you can’t tell me what “dactylic hexameter” is off the top of your head, there’s still more for you to learn about analyzing text. And if you’re a student who can fit that course in as an elective, making sure you have a good teacher for it, it could very well be the most advantageous course you ever took to hone your choral writing. This, in my humble opinion, should be required of any college student majoring in composition, particularly if they ever want to write for a chorus. It was hands down the most valuable elective I ever took while I was working on my bachelor degree. It’s also one of the easiest tips to overlook because text analysis is often something we take for granted—you don’t notice it unless it’s done badly.

In order to convincingly set a text, you need to know how to analyze the text as its own entity. How does the text sound when it’s spoken out loud? What’s its pattern of stressed and unstressed syllables, more commonly known as the text’s rhythm and meter ? The rhythm and meter of a text will have a profound influence on the rhythm and meter of the music, and you don’t want the two to be in conflict!

Does the text have a rhyme scheme, and if so do you want the rhyme scheme to be reflected in the musical phrasing? Is it organized in stanzas, quatrains, couplets, etc., and how will that influence your sense of form? How can you use the melody you write to bring out the important words of the text? All of these are important questions you must consider when marrying your music with the text, and it’s hard to answer those questions if you don’t know how to go about asking them in the first place.

(If you were curious, strict dactylic hexameter is a line of text with eighteen syllables, the first of every three syllables being more stressed than the others. For example: “Union of meter in music and rhythm of prose can be beautiful.” If you chant it as quickly as you can, you’ll notice you’re speaking in 6/8 time. These are the things literature/music geeks like me think about.)

5. Attend and observe a worship service that uses music

This is particularly important if you ever want to write sacred music (not solely Christian, but any faith tradition), and it can also be beneficial for expanding your horizons as a secular composer. The music used in most worship services puts the text at the forefront for somewhat obvious reasons. It might be a sung prayer, a sung line of Scripture, or a chanted litany. Either way, the text is an integral part of the worship, and the music is ideally used to enhance it and then stay out of its way. It’s one of the reasons sacred music remains some of the best literature for choruses, and why even secular choirs tend to keep it in their repertoire.

But lest you think because you’re already a religious person you’re off the hook on this one… you should most certainly attend at least one worship service for a religious sect outside of your practicing faith (I find that to be a good general life rule, really). When I was commissioned for my art song Mourner’s Kaddish, I relied heavily on my experience attending a Shabbat service at synagogue to get a sense of how the text could be set. I am not Jewish—I was raised as a Protestant Christian—and the music for a Shabbat service was a brand-new experience for me. It made me slightly more comfortable with the challenge of setting an important Jewish text in its native Hebrew.

One such service to consider attending, especially if you aren’t a religious person yourself and don’t want to feel intrusive, is a Choral Evensong service at an Anglican or Episcopalian cathedral. The service is usually about an hour long, comprised mostly of music in a wide variety of formats, traditions, and time periods. Participation as a congregation member can be minimal if you so choose so that you feel almost as if you’re attending a particularly sacred “concert” of sorts.

6. Listen to the “greats” and study their scores

I put “greats” in quotes deliberately here, because I am about to mention at least one or two names that I know will have some people up in arms, and might leave off someone’s favorite and have to explain myself otherwise. Nonetheless, there are many composers who have stood the test of time in the choral world over centuries (or are at the very least insanely popular and programmed today) and have written works that are considered staples in the genre. Some of these works are of a grand scale, requiring as many as two hours of spare time to listen to in their entirety. Others of them can be performed with as few as four voices in three minutes. But all of them showcase choral writing at its most accepted and celebrated, and all for different reasons. They can have a very positive influence on your writing style.

For Renaissance writing, start with Palestrina and Gabrielli for their counterpoint and fluid melodic lines. In the Baroque period, Bach is your hands-down go-to, with Handel being a close second. Mozart and Haydn are your standard Classical period references (for pretty much every genre of music as well as choral, it seems). For the Romantic period, Beethoven has his gems, but you would have more emotive material to explore by checking out Mendelssohn and Brahms. The twentieth century gives us Ralph Vaughan Williams, Gustav Holst, John Taverner, Sergei Rachmaninoff, all vastly different and yet easily accessible.  And as for the mainstream contemporary artists being programmed to death today, the list would not be complete without mentioning John Rutter, Arvo Pärt, and Morten Lauridsen.

Oh, and some guy named Eric Whitacre, I hear he’s kind of a big deal.

7. Listen to things no one else has heard of

Of course, you don’t want to be too influenced by the greats. I and a colleague judged a student choral competition recently, and we made it a point to select the winning entry for having its own distinct voice and not sounding too much like another popular artist (three guesses who). We can’t all be Lauridsen or Whitacre, nor should we want to be. They do that job well enough for themselves. We have something all our own to offer to the table, and that can be hard to remember if we’re only listening to the same five or six composers all the time.

To expand your Renaissance horizons, check out some William Byrd, Thomas Tallis, Josquin des Prez, Jean L’Héritier, Jacobus Vaet, Tomas Luis de Victoria, and Thomas Morley. The choral works of Claudio Monteverdi, Henry Purcell, and Giovanni Pergolesi provide a spin on the Baroque period that Bach rarely highlights.  The Classical period can be hard to find new artists from, but you can’t go wrong with William Boyce, Thomas Arne, Thomas Attwood, and Franz Bühler.  The Romantic period has Joseph Barnby, César Franck, and John Bacchus Dykes—names virtually no instrumentalist has encountered before. The twentieth century boasts names like Charles Villiers Stanford, Herbert Howells, Francis Poulenc, Louis Vierne, Krzysztof Penderecki, Alfred Schnittke, and Henryk Górecki.

And contemporary artists? I’ve been on an Ola Gjeilo kick for quite some time, and can’t recommend him enough as a starting point. Aside from that, check out the new rep lists from choral publishers like Alliance Music, Walton Music, and Santa Barbara Music Publishing. That’s always one of the best ways to become well-versed in who’s coming to the fore in the world of choral writing.

8. Talk to vocalists and choir directors and learn from them

If you want to write a piece for violin, usually the first thing you want to do is find a violinist to look through your drafts. If you’re writing a piece for trombone, you want to hunt down a trombonist to learn the ins and outs of the instrument. Likewise, if you’re writing for choir, you should seek out choir directors and vocalists of all voice types to see what they’re most interested in.

Here’s an example: Which voice part usually gets the least interesting parts to sing? If you talk to enough vocalists, you’ll find that the stereotypical answer is the alto. “I’ve gotten very good at singing the same three notes.” That’s partly an occupational hazard of traditional voice leading rules (which we’ll get into here in a second), but it’s also an opportunity to spice up your writing in a way you know the choir will appreciate. I make a conscious effort to give my altos interesting lines to sing, and I’ve been thanked for it every single premiere.

If you want choirs to perform your pieces, then a conversation with choir directors is essential. What kind of pieces are they looking to program next year? What have they really wanted to see but can’t find? How could a piece be tailored to the strengths and weakness of their choir? If you can tailor your work to their expectations, you’ll have instant success.

9. Learn your part-writing rules

Oh, part-writing rules. The bane of every music theory student’s existence. Every time you write parallel fifths, Bach kills a kitten.

No one likes part-writing rules. No student likes following them, and no teacher likes grading students’ half-hearted attempts at following them. But part-writing rules serve a very important purpose: to teach people how to write multiple singable lines at once.

These part-writing rules, be it species counterpoint or four-part voice leading, were modeled on the practices and norms of heavily trained composers. And in the Renaissance, what were these composers typically writing? You guessed it… music for people to sing! When we study part-writing, we are essentially studying the centuries-old art of writing music for voices. It’s why we keep into account things like large leaps, parallel intervals, voice overlap and voice crossing, and so forth. If we don’t know these rules, we often write things that are at best needlessly impractical and at worst flat-out impossible.

It may seem needlessly taxing and boring at first, but I’ve seen students of mine who hear their successful part-writing exercises played on the piano for the first time brighten up and immediately say, “No way! That’s what I wrote?!” It’s as if they can’t believe what they were doing was actually composition. One student reacted by saying, “Wow, that sounds like Bach.” Well, there’s a reason for that… it’s because Bach followed these exact same practices when he was composing his chorales. Half the rules we follow in part-writing came from his example. And being able to write like Bach to the best of any human ability is always a great skill to have.

Besides… think of the kittens.

10. Break your part-writing rules

Would now be a good time to mention that Bach grossly violated every single rule we have ever accredited to his music? If you’re familiar enough with his music, you’ll find part-writing “errors” everywhere you look, starting with voice crossing. The number of times he has his tenors singing higher than his altos makes our no-voice-crossing rules almost laughable.

Part-writing rules are the Pirate’s Code of music theory: they’re more like guidelines anyway. Many teachers I know don’t like referring to them as rules at all, preferring the term “norms.” There’s a reason they’re the norms—because they work. You can’t sound bad when you follow all of these voice leading standards. What you can sound, however, is boring.

I mentioned before that altos usually get the least interesting parts to sing. That’s usually because in your most basic voice leading, the alto line has the least wiggle room and usually moves as little as possible to whichever note best fits the chord—a note that is usually only a few steps away at most. The soprano gets the melody, the bass gets more leaps, the tenor gets that cool harmonization that they can bring out, and the alto… gets what’s left, I guess? At least, that’s what usually happens when you follow part-writing rules to the absolute letter. It can be better to break (or at the very least bend) these rules for the sake of bringing your pieces more interest.

So why learn the rules at all? Again, because the rules work . They may not give the music any magic, but they sure do give it some stability. The trick is, with every rule you break, you need to be aware that you are breaking it and why you are breaking it. In my eight-part writing, you can count on me having some parallel fifths between the two bass parts (look at all those kittens Bach just didn’t kill). It’s because I like that “power chord” sound, and it alludes to some really ancient Medieval organum practices that I thought were on to something. It’s also, sometimes, just the most convenient thing for my basses to do for that given moment, and anything else would distract from that amazing countermelody I just gave the altos.

Did I mention I gave the altos something to do? That probably broke another rule or two somewhere in there.

Nadia Boulanger, who taught many of the twentieth-century instrumental greats such as Aaron Copland and Philip Glass, summed it up best, I think: “To study music we must learn the rules. To create music, we must break them.” Pablo Picasso also had a great take on it: “Learn the rules like a pro, so you can break them like an artist.”

With these ten things in mind, stepping into the word of composing for choir should hopefully feel at least slightly less intimidating. It can be a long process learning how to write good music for choir, and it will involve a lot of exposure to things you haven’t experienced before. But the end result is beyond rewarding, and definitely worth at least a little peek down the very vocal rabbit hole.

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21 Thank You Messages For Church Musicians Including Praise Band or Choir Members

Most church services include music. The musicians usually have spent a long time (sometimes years) practicing to be able to play or sing for you. 

Depending on the arrangements, some of the musicians may be unpaid volunteers.

At the next service, please take a moment to thank them. If you want to stand out, hand them a handwritten thank-you note.  However, most musicians would be thrilled to hear your kind words without a note.

Also, it’s best to refrain from talking to the pianist, organist, or other musician while they are playing their instrument. While they may make it look easy, it still takes concentration and focus. 

If you need to thank a musician for playing a funeral, please review the example wording in the funeral thank you notes post .

What if you don’t like your church’s current music?

If you have decided not to change churches because of the music, you can still thank the musicians for their service to the church.

Also, remember that the music situation may be temporary. The praise band could have a member switch up the following year, or the not-so-good organist may be replaced with an excellent organist. Or the church might switch to your music preference. 

Church Musician Thank You Examples:

Here are some general thank you messages for singers, the pianist, the organist, or whoever plays an instrument or sings on the praise and worship team. 

#1 Thank you for playing for us each week. I enjoy your music.

#2 Your playing today inspired me to sing today during worship. Thank You.

#3  I appreciate how well you can play [instrument]. Your talent amazes me each week!

#4  I look forward to the hymns every Sunday when you are at the organ. You are a master!

#5 Your voice is lovely. Thank you for blessing us each week.

#6  Thank you for leading us in song each week. (this one sentence is good even if you don’t like the music – the person is still doing their position as expected).

#7 I enjoyed your trumpet solo! Thank you for taking the time to learn it, as I know you are very busy with your day job.

#8  Thank you for playing the piano on Sunday mornings. Your skill is amazing and inspires me to sing. 

#9  Thank you for playing the piano for the kid’s class on Sunday mornings. It helps them learn about praising God through singing. I appreciate your dedication. 

#10  Thank you for serving on the praise and worship team. We appreciate your dedication and willingness to server the Lord through music. 

#11  You’re keyboard skills are incredible! Thank you for volunteering to join the praise band. We enjoy hearing you each Sunday. 

Thank You Message for Choir Members

Occasionally, the church leadership or church members may want to thank those that sing in the choir. 

Each member could be written a short thank you message on a card. Then, a gift card to Starbucks, Panera, or another local restaurant could be included. Depending on the budget, the amount can be small, such as $5 or $10. 

Below are some words of apprecation for choir members. 

#1 Thank you for singing in the choir each week. The choir helps me sing along with the hymns. 

#2  Thank you for being in the church choir! We are glad to have you and appreciate your dedication as a volunteer. 

#3 Thank you for serving in the church choir. You always bring positive energy, and you’re an inspiration to others. 

#4 You are an amazing singer! Thank you for sharing your expertise with the choir. We’ve been able to tackle complex pieces because of your support. 

#5 Thank you for using your talents to bless others and to glorify God. Your gift for singing is remarkable.  You are a blessing to the choir and the church.

Thank You Note to Church Music Director

Here are some messages for the church music director. Their responsibilities can vary depending on the church.

#1 The choir is fantastic! I enjoy the programs you put together each week. The choir is blessed to have you as their director.

#2  The choir’s performance during the [holiday name] service was impressive. Thank you for choosing such a great program! I love how you were able to integrate the organ.

#3  Thank you for being an excellent music director. Your choice of music each Sunday fits the sermon messages perfectly. I appreciate the time and research you put into choosing appropriate hymns. 

#4  Thank you for your dedication to excellent music. You’re a blessing to the church and all that hear the music on Sunday mornings. 

#5  We appreciate your joy of God’s music. Thank you for starting a children’s music ministry alongside your many other music director abilities. Our kids are singing the songs at home now throughout the week. It blesses my heart to hear them sing to the Lord. 

• Pastor Thank You Note examples
• Church Volunteer Appreciation Ideas and Thank You Notes

Author: Heidi Bender

Title: writer, expertise: thank you notes.

Heidi Bender is a writer and author who founded Tons of Thanks. She aims to help people write thank-you notes by providing examples and tips. She is the author of She is the author of A Modern Guide to Writing Thank-You Notes.

Anchoring Script for Cultural Event Function at School or College

Events that relate to a specific culture; and events that are representative of a culture (maybe related to music, art, or other similar things) are known as cultural events. Indeed, every nation and tribes have its language, customs, and culture which represents them and people can recognize them by these aspects. Worldwide people celebrate cultural events annually and they represent their customs and culture to the world and let their new generation remember their culture. Now if you are the host or anchor of the cultural event and you do not have any idea about the theme and the script of the function, you do not need to worry. Here in this article, I will provide the anchoring script for cultural event function from the commencement to the conclusion.

Anchoring Script for Cultural Event Function

There is no doubt that anchoring an event can be intimidating sometimes, especially if it is your first time. However, with the right guide and practice, you can nail it. With that in mind, we have prepared the following anchoring script for cultural event function which you can use as a sample to get an idea. So, read thoroughly the following cultural event theme clue from this article and edit the script that is not relevant to your cultural event theme and organize everything beforehand. Moreover, you can also read ore about How to Arrange and Organize School or College Function . It will give you a good idea to make everything ready before the function.

How to Start a Cultural E vent

Good morning, afternoon/evening everyone! Our distinguished guests, parents, teachers, students, and all specters, how charming is this day! We have gathered here to celebrate our cultural event to let everyone know its beauty.

One more year passed leaving a handful of memories to all of us. As we have assembled here to celebrate the completion of yet another successful year recalling the founders and all the well-wishers of this educational institution and bid farewell to our beloved teachers, let me thank each one of you for being here wholeheartedly and working hard to make this day even more colorful.

Heartly welcome to our (Write name of the institution) family on this beautiful morning to celebrate the cultural day. We have been celebrating this day with enthusiasm and love for our culture since the inception of this institute.

Best Commencement or Opening Lines For Speech in English

Prayer for the cultural event.

It is our culture to remember God Almighty before everything we do or start. So, let us begin this function seeking the blessing and presence of God. I would like to invite our school/college choir to lead the prayer and let us all stand for the same.

(After the Prayer)

Thank you dears for creating a heavenly atmosphere here.

How to Call the Principal for Speech

I would like to invite Mr./Mrs………..our principal/headmaster/school leader to officially welcome all the dignitaries and everyone gathered here for the annual day function. Thank You Sir/Madam

Anchoring Script for Welcoming Guests in the Function

How to call for a presidential address.

Moving forward, it is my pleasure to invite Mr./Ms…………….. designated a well-known person who barely needs an introduction. He is a social activist and politician, well-wisher of this school/college. Sir, I would welcome you on the stage to deliver the presidential address.

Thank you Sir/Madam for your kind and precious words.

Best Graduation Speech in English – Commencement Speech

How to inaugurate the cultural event.

For inaugurating the function by lighting up the lamp and addressing the gathering, I would like to invite our chief guest Mr./Ms. ……….. (destination).

First of all, our chief guest Mr./Ms…………. is requested to light the lamp respecting the rich tradition of our country. And with all due respect, I would like to request other dignitaries to join him/her. So, would you all please do the honors.

(After the inaugural speech)

Thank you so much Sir/Madam for your loving words.

Report Presentation

Our school/college has taken a step forward in the bygone academic year. Taking the opportunity today, we would like to look back to the past to assess our entire performance and development so far for a better tomorrow. It is my honor to call upon our respected teacher as well as staff presentative Mr./ Ms….. to present the report of all the plans, results, and achievements of the last year.

Thank you Sir/Madam, the report is now submitted for approval.

How to Honor Retiring Staff Members

Here comes the most awaited moment. After (Write years of service for instance: 30) years of service to this educational institution, our dearest teacher/non-teaching staff Mr./Mrs. ………….. is going to retire from his/her official position. With all the love and respect, let me invite our beloved (Name here) to address the gathering.

Thank you so much Sir/Madam we will miss you.

Now let me invite Mr./Mrs…………… to present our retiring staff, a memento as a token of gratitude, remembering all the service he/she rendered.

I also request dear Mr./Mrs…………… to receive the memento. Thank you both!

How to Felicitate the Gathering

To felicitate the gathering, let me invite our PTA President, the most beloved Mr./Mrs………who is a very familiar face and an active participant in all the activities of this school/college. Thank you for your kind words!

Next, I would like to call upon (Name here) our highly energetic school leader to extend felicitation. Thank you, dear.

Prize Distribution Script

Now, it is time to appreciate the efforts of the students by giving them a prize for all their achievements. To give away the awards I invite Mr./Mrs…(Designation). And congratulations in advance.

(After the Prize Distribution)

Thank you Sir/Madam for giving away the prizes. Once again, I congratulate all the winners. We take pride in you dear. You guys proclaimed the glory of this school/college.

Prize Distribution Script in English

How to deliver the vote of thanks.

To deliver the vote of thanks to all the dignitaries and guests let me invite Mr./Mrs. ……………. (designation). Thank you for your words.

Here comes the end of the formal function. I would like to thank all of you for finding some time to take part in our happiness. After a short break, cultural programs begin, so stay and enjoy and bless our students. Thank You1

Cultural Program Script

Host’s Introduction

Good (morning, afternoon, evening) respected teachers, parents, students and honorable chief guests. Welcome to the cultural function of _____________ (School’s/college’s name) where traditions thrive within the circle of a big family around the globe. I am ________ (your name) today’s host of this beautiful event of showcasing our culture to the world.

Welcoming Guests

Let’s dive into the program by a warm welcome to our honorable chief guests, respected parents, teachers and dear students. Your presence here adds more joy and color to our today’s program. Thank you all for coming!

Confessing Gratitude to the Participants

I would like to appreciate all the students, staff and teachers who have put a lot of effort in preparation of this valuable event. Your innovations and creativities are really appreciable. Your dedication does not go unnoticed.

Introduction of the Event

Today, we all have assembled here to celebrate the rich culture of our community. To introduce our new generation to the music, art, dance, food and traditions of our culture. So, get ready for a thrilling cultural event. From traditional dances to melodious music, skits, and food exhibition everything will be there for everyone to enjoy.

Commencement of the Event

Without any further ado and making you wait any longer, let’s kickstart the most awaited function of the year with your enthusiastic energy, clap and applause. Are you all ready? Let’s dive right into the show.

How to Call the Dance/Tableau Participants

• To fill our minds with love for the nation here comes a dance performance by the students of……………class.
• We all have a special affinity towards our cultural traditions. Our ancestors used different forms of art to tell a story and convey feelings and emotions. Our dear blessed dance (Write their name here) comes with a folk dance to tell us a story through her performance. Let us welcome her with a big round of applause.
• Now, how about a Cinematic dance? With mesmerizing performance, here comes (Name here) and team.
• Let’s put our hands together to invite an inborn dancer, who can create poetry in dance (Name here) onto the stage.
• Ladies and gentlemen get ready to hold your breath, here comes our boy’s team with rhythmic movements.

Thank you guys, indeed, that was an amazing, lovely, and incredible performance.

Best Sentences to Praise Your Students

How to call participants for songs or music program.

• Music heals, music entertains, and music takes us to heaven our nightingale (Name here) is on the stage with a beautiful melodious song.
• Dear guys, put your hands together to welcome our school choir for a splendid and entertaining musical treat. Hope you guys enjoy!
• I would like to call upon our best singers (name here) and (name here) to sing a super hit duet song of the year. Get ready to dance!
• To show our deep devotion and attachment to our homeland, here comes a group of singers with a patriotic song. Enjoy!
• Folk songs are always an inevitable part of life (Name of your tribe) with a chain of famous folk songs in front of you our folk song team (as a tribute to…….)

Anchoring Script For a Talent Show at School

Calling the drama/skit participants.

To make us laugh, to make us think, our sisters are all set with the skit here comes our smarties. Let us enjoy the skit and bless our kids. Thank you, guys.

How to Conclude The Event

Our cultural feast has come to an end now. I thank you all on behalf of this institution for spending your valuable time here to encourage young minds. Let us all stand for the National Anthem.

Wish you all the best!

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What is Choral Reading / Choral Speaking?

Like Readers Theater, “Choral Reading” involves students as they read-aloud and orally interpret, but does not require them to memorize their reading parts.

Unlike Readers Theater “Choral Speaking” requires a group of students to orally interpret and recite from memory.

In my grandmother’s day, “Choral Speaking” was all the rage! When I was a little girl, I remember attending many wonderful Choral Speaking concerts at grandma’s K-12 one-room schoolhouse in Ohio. I also remember that when grandmother died, our family received many many cards and letters from past students, now grown up, who remembered her as THE BEST TEACHER THEY EVER HAD!

What happened to Choral Speaking? For years it seemed to have disappeared from our elementary schools. Choral Speaking gave way to more “modern” activities: creative drama, play building, cooperative grouping, video watching. But a recent search on the internet found a number of hits for the term: choral speaking. The idea seems to be gaining popularity again, especially at speech contests and festivals.

The scripts or speaking pieces on this web site belong to YOU. Please change them in any way to suit your individual needs. Words and phrases may need fine-tuning to accommodate a particular reading level. Assignment of printed speaking or reading sections/lines may not be right for your group or situation. Please feel free to invent, create, edit, imagine, omit, add, and change. The purpose of this collection is to make materials available to teachers who want to motivate ORAL READING and CHORAL READING/SPEAKING.

Sincerely, Lois Walker - Scripts for Schools Founder

Click Here for a Teacher’s Guide: Choral Speaking in the Elementary Classroom.

TEACHING READING?

Can “Choral Reading” be used as a teaching tool to model fluency and expression?

Yes! Students read the script text chorally. With teacher joining in, children are provided a model for fluency and expression. This approach works best with stories told in rhyme, plays with predictable text, text with repetitive refrains, and text without too much solo dialog text.

Click Here for Article: The Importance of Using Multiple Methods of Reading Instruction

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What Are The Elements Of A Speech Choir? (Answer)

Here is the answer to the question “what are the elements of a speech choir”.

ELEMENTS OF A SPEECH CHOIR – In this topic, we will now learn and discuss about the different elements of a speech choir.

A speech choir is a type of choir that is similar to the traditional choir but only without the music and especially, without singing. The people involved in a speech choir do spoken-word- pieces.

There are two types of speech choir: the conventional or traditional speech choir and the theatrical or dynamic speech choir.

Here are the following elements:

• Like choir, these are the participants who will perform the piece. They can be 12 or more and are divided based on their natural or speaking voices.
• A writing compostion that the members are going to perform. They are usually poems or poetic passages like from the Greek or Shakespearean plays. These are broken into parts by the conductor.
• In simple terms, dance or planned movement. It may not be vital to speech choir. However, it adds emphasis, flair, or dramatic effect to the performance.
• What members will wear. It could be simple or it could be in line with the theme of the piece.
• The ability to mix light, medium, and dark voices well, as well as the capacity to communicate reactions to thoughts or emotions through voice
• The ability to add or subtract how many members that should speak in a certain part to increase or diminish the intensity of the piece.
• The highness or the lowness of the voice
• The capacity to control volume, force, or loudness in order to enhance or reduce emphasis.
• The rate of speed or the ability to balance the rhythm of a piece.
• The capacity to organize the position of the choir on stage for performance effect.

READ ALSO: Musicology – Why Is This Branch Of Study Important?(Answers)

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• About the NEL Curriculum

Objectives of using Speech Choir

The speech choir experience – 1. getting teachers ready.

The Speech Choir Experience – 2. Familiarising children with the text

The Speech Choir Experience – 3. Choreographing the performance

The Speech Choir Experience – 4. The performance

The Speech Choir Experience

• An opportunity for children to:
• gain confidence in speaking and communicating as a group before an audience 
• work cooperatively with one another towards a common goal 
• A new strategy which teachers can use to enhance children’s learning 

Top 5 tips for composing for choirs

November 30, 2018 | By Rachel Shapey

• Advice for Teachers
• Advice for Students

Guest Blog with David Barton

This month, David Barton shares his top tips on how to write for choir.  David is a composer, arranger and private piano, flute and singing teacher based in Lichfield.  He has composed a number of choral and instrumental works and was shortlisted for the Inspiration Award in the prestigious 2018 Music Teacher Awards for Excellence.

1. People are not organs – they need to breathe!

The criticism often levelled at the English composer, Herbert Howells, is that he wrote for voices in the same way he wrote for the organ. I think that’s a bit harsh, but it’s a valid point. When you’re writing for choirs, think about the breathing. Will all the parts breathe together? Will the text make sense with the physical demands of singers needing to breathe?

We don’t normally mark breaths in choral music, but it’s definitely worth doing so if you want singers to breathe in a particular place, and it’s somewhere which might not be immediately obvious to them.

2. Think horizontally, as well as vertically.

When we’re composing, we get a bit bound up in chords and harmony, but when you’re writing for choirs, although we hear the sound as a whole, each singer will sing (and learn) their part independently as a line of its own. I always try and make my individual lines just as singable as the line of the voice part which has the main tune. Altos don’t want to suffer another part which is only written on two notes. Play or sing each part independently. Singers will be grateful for having a memorable line to learn and sing.

Watch this video of the alto part from Eric Whitacre’s The Seal Lullaby :

As alto parts go, it’s pretty interesting (and they even get the tune!)

Now listen to it in the context of the whole piece.  It is the interweaving of the horizontal lines which creates the vertical harmony.

3. Choirs don’t have to sing words

When we’re writing choral music, I think it’s automatic to think of singing text, but remember, voices can be wordless. Sometimes, it can be effective for one part to sing the tune whilst the others hum, or ‘ah’, or ‘oo’. There are some pieces which have no words at all: Delius’ Two Songs to be Sung on the Water  is a good example.  Other composers have also engaged singers in speaking, making percussion sounds, and even whispering. Have a listen to Ernest Toch’s Geographical Fugue :

4. Offer flexibility in voicing

Choirs are all different. Where previously, most choirs were SATB as standard, this isn’t always the case. More music is being composed for SAB choirs (which reflect the shortage of tenors). My setting of Christina Rosetti’s poem Remember  is scored for SAB and piano.  Think about the flexibility you could offer choirs; for example, rather than writing something for SA voices, write it for 2-part voices (which means it could be equally suitable for TB, ST, AB, SS, AA voices etc.   Two -part festival by Tim Knight is such a piece, offering 2-part flexibility.

5. Get involved with a choir

The best way to learn to write choral music is to sing in a choir. Once you start singing choral music on a regular basis, you will appreciate all too well some of the challenges composers (and singers) face. You could also compose initially for a choir with whom you are involved. It’s a great way to try out your ideas to see if they work in practice.

You can find out more about David Barton at his website .

If you’re interested in listening to more of his compositions, why not subscribe to David’s Youtube channel here.

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How to Write Choir Music

Whether you’re an experienced composer or just getting started, our guide to writing choir music will help you transform your ideas into beautiful notes.

Choirs are great, aren’t they? Just a bunch of voices weaving together a tapestry of sound.  Don’t let the overwhelming choir sound intimidate you–they’re pretty easy to write. Shortly, you’ll learn about everything you need to know. We cover where to begin writing a choir song, how to consider your vocal ranges, and even how to pair lyrics with choir music.  

Understanding the basics of music and vocal ranges.

When creating choral music, it helps to understand the basics of music theory, such as chords , chord progressions, and major and minor scales. There are many resources. You can educate yourself online, get a teacher, or use tools like the Simply Piano app to get you up to speed.

Furthermore, knowledge about your singers’ vocal ranges empowers you to write parts that suit their voices. Here’s a summary of the voices in a traditional choir:

• Bass –E2 – E5
• Tenor –C3 – C5
• Soprano –C4 – C6
• Alto- -F3 – F5

The differences between orchestras and choirs.

It’s helpful to have experience writing for orchestras or bands, but choir music is a whole other thing. You can’t simply think of the voices as more instruments in the orchestra. They have specific needs you have to cater to in your music scores. 

To help you understand, analyze existing choir music. Play it, sing it and compare it to other types of sheet music.

Deciding on the accompanying instruments.

Before you start writing, decide which instruments must accompany the voices. Are you writing for a school choir where a teacher plays along on a piano or an ensemble that performs with a full orchestra? You can also write for an a cappella choir, where you only have to write for the voices. 

Picking the number of voices for the song.

Personal preferences and the type of choir you write determine how many voices to include. The average SATB choir has the four in the list above, but there are also the following options:

• All men choirs only have bass and tenor voices.
• Female-only choirs contain altos and sopranos.

Picking the voices is part of your preparation because it affects your song’s pitch range.

Writing lyrics.

Do you have a famous poem you want to put to music? Or perhaps it’s a completely original work with words flowing from your pen. 

Know what lyrics you want to write music for, so the words and the melodies suit each other and convey the same message. 

Struggling to write an entire song’s words? Then simply settle with a single verse or the chorus, as long as you can pinpoint the song’s heart.

Note: Sometimes, you may start with the melody and then write words for it. This is up to personal preference, or you may want to turn a funky riff on the piano into a full-blown choir song. However, ensure that your lyrics and melodies suit each other in the end.

Creating the melody.

Now it’s time for the notes!

You can write choir music using any instrument you’re comfortable with, whether it’s playing the piano or strumming the guitar. Go at it bit by bit, instead of feeling overwhelmed with penning down the entire song in one go. 

Do you have a catchy tune for the chorus, or does the verse you wrote inspire certain notes?

One of the voices will sing your melody, so write within the specific vocal range. 

Respecting voice ranges.

While you write, respect vocal ranges because it helps the choir sing comfortably and deliver the notes with more power. You can move outside a range at times, but overdoing it–especially by adding too many high notes–strains their voices. They won’t enjoy singing your choir music as much, which affects the quality of the performance.

Creating harmonies.

Next, use the other voices to create harmonies with the main melody line. This is where your knowledge of chord progressions comes in handy. 

Don’t make the other parts too simple. Choir members appreciate an interesting piece, enjoy it more and as a result, sound better when performing. 

Once again, it’s up to personal preference whether you want to write an entire song’s melody and then do the other voices or build the song one verse and chorus at a time. Find a process that feels comfortable to you.

Combining lyrics and melodies.

You have to put together your lyrics and melodies. Knowing how the song goes could help you finish the song’s words. Perhaps your melody shows you that you only need two catchy sentences for the chorus or repetition of a simple phrase as a bridge. This step does require some skill though.

Understanding note positioning

It’s essential to correctly line up words and notes, so you show singers how you expect them to sing each syllable. For example:

• Choir members sing the vowel sounds on the note or beat.
• Your music score must allow enough time to properly pronounce all consonant sounds.
• Unlike consonants such as ‘t’ and ‘d’ you can lengthen certain consonant sounds, such as M, N, F, V, S, and Sh. 
• A chorus views a rest as an indication to release the note. 

Minding the breath

One of the major differences between writing music for orchestras and choirs. For instruments like pianos and violins, musicians can go on playing whatever notes you want of them next, without taking a break during the performance. 

A choir member needs enough air to produce the sounds, so your choral music must provide moments for them to breathe. Then, they’re able to take on the next part. Be creative and kind by planning their breaths and releases when you write. 

Tip: If singers must sustain certain notes for an extended period, they can stagger their breathing. 

Hinting at notes to come

For choir members to sing each note on pitch, they may need help from you.

Before a song’s performance, some choirs use tuning forks to find the right starting note. But, throughout the piece, there are other notes to pitch correctly. 

Of course, the accompanying instrument plays the relevant notes of your melody. But, if you know a certain note is difficult to hit or transition to, find a way to help the choir. 

For example, include it somewhere in the score just before the main voice needs to sing it. Their trained ears can pick it out from the musical score and help them sing on pitch. 

Stressing syllables with intention

The syllables you stress the most are powerful in helping you convey your message. Don’t simply assign random notes in the melody to any word or syllable. Move syllables around and make melody changes if necessary, so singers pronounce words correctly while highlighting a certain part of the song’s meaning.

Combine all these techniques, and you’ll have a song that sounds great and is enjoyable to sing.

To make life easier, join a choir if you’ve never been part of one. Understanding the perspective of the choir members goes a long way in helping new writers create stunning choir music. 

A good choir song fits the demographic of the choir. For example, they must understand and enjoy what they’re singing about. Especially for less experienced singers, the song shouldn’t have too many verses to memorize. 

If you can implement discipline and active listening when you’re part of a choir, you’ll be a valuable asset. You must also be willing to focus, work with the team, and have confidence in your skill. 

Traditional choirs have four voice types, namely sopranos, altos, tenors, and bass. A male-only choir may just have baritones, tenors, and bass, while an all-female choir will often only have sopranos and altos. 

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welcome speech for choir concert

Looking for welcome speech for choir concert?

Below is a sample speech to help you prepare and get ready for the upcoming concert in the church

We have prepared for you a welcome speech that you can download immediately and use during the occasion. You only need to pay $9.75 access fee and you will have different speeches with good themes for occasions in your church.

Our site offer example speech to help church members and others to save time.

We want to thank you for visiting our page for a sample speech, we welcome you and hope the speech will inspire you to come up with one that can serve the occasion.

We understand that your congregation might be different but there are parameters that cross each other

That is what we insist to give here so that you can get a sense of what is expected when it comes to welcome speech for choir concert,

We trust the Holy Spirit will guide and help you to give the best speech ever given in such an occasion.

Here is the welcome speech for choir concert sample

Ladies and gentlemen, I greet you in the name of our Lord Jesus

Let me take this opportunity to thank our God for the chance we have today to congregate here as we share the love of God through music,

This is a very important activity in our church calendar when we meet and praise God through songs, let me welcome each and everyone of you who is joining us to feel that the presence of the Lord is with us today,

Many choirs are present with us and many instrumentals that have a great role to make it the day a success,

Mine is just to welcome you and make you feel at Jesus feet, the rest shall follow as the Holy Spirit shall guide.

The Lord says in the book of Psalms 149 and verse that  Let them praise his name with dancing and make music to him with timbrel and harp.

We have gathered today here for the wonderful concert so that we can praise the Lord and give Him glory.

As we make melodies in our hearts.

We feel privileged for the wonderful opportunity we have been given by our Lord who is in heaven today and as we sing to Him, we know that the holy Angels are present and will be ministering to us as we sing,Hebrews 1:14, Are they not all ministering spirits, sent forth to minister for them who shall be heirs of salvation?

Thank you for coming and God bless you

We hope the speech above has helped you.

We keep shall keep on praying for you,so that God can help you to meet the need of all that are going to listen to you during the occasion.

We also know that, time is a precious commodity and no one will afford to waste it, we therefore are giving an helping hand if you are interested in having a modifiable speech or one that is customized.

We would love to hear from you so that we can assist.

You can provide the details and what you want to be included in the speech,so that we can write it for you, it takes the shorted time depending on when you want it.

May God help you as you make the decision and want to pray success for the day, may the Holy spirit guide and show you what is needed to be done.

Have a great day with much blessings from the Lord.

We also have other related materials for the church that can help you as you prepare for the occasion in the church.

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