Q&A for How to Direct a Choir

You should always start a choir rehearsal with some warm ups. This not only prepares the choir to sing, but it also forces them to listen to each other. Running some scales and arpeggios, for example, is a good way to do this. If there is a chord or part of the harmony that they really aren't getting, I find that the best way to teach it is to isolate it. Focus on just that chord. Have each part sing their note (bass, then tenor, then alto, then soprano). Then build it up (have the bass hold their note, introduce the tenor, then alto, then soprano). Choir directors have a tough time when it comes to this as, depending on one's situation, well-trained singers aren't always available.

It's usually a good idea to start with some physical warm ups like stretches (to engage the choir). Then go for some breathing exercises (breathe in for 4, out for 8 / 12 / 16). Then I'd normally do some vocal exercises like arpeggios moving upwards or downwards chromatically. After that it can be quite good, if you have time, to run through something the choir has already learned. You can also find a lot of good PDF documents with additional choir warm ups aimed at amateur choirs with a quick Google search!

They can, but it definitely should be avoided if possible. The choir director should be aware of all sections of the choir when conducting. This is quite tricky to do while singing, especially if you are singing something contrapuntal. In this situation I think the best course of action would be to assess whether you think you require a director or extra chorus member more. Depending on your choir and the pieces you are singing, you may not need a choral director.

A light sound is usually created by getting all of the choir members to sing quietly but at an audible level.

You could snap along to the beat, or clap or tap something. When you direct, your hand creates that little pattern depending on the time signature, so just make a dramatic movement with your hand when you hit a beat.

Balancing vocal forces is tricky at any level, but managing this large a group actually simplifies the situation, in that you'll have a much broader cross-section of available voices (large ones and small ones) that can be balanced out within each part. Generally, your groups should be more or less equal in size, though some favoring should be given to the lower voices. Sopranos and tenors are traditionally singing in ranges that acoustically favor their notes more than do altos and basses, so beefing up those sections is frequently more advantageous.