Rediscovering the voice: why this book is an essential companion for every choir singer

In the world of choral singing, where we often find ourselves torn between the rigour of traditional methods and the search for authentic and lively expression, finding guidelines that combine technique and emotion can be challenging. As you may already know, most guides and manuals focus on the technical aspects—posture, breathing, range—but few offer a comprehensive approach that truly helps you free your voice, connect with your experiences, and give meaning to each choral performance.

This is precisely what you will discover in the book «From Chorister to Choir». The book offers an intimate and accessible journey for anyone who wants to develop their vocal skills without getting lost in dry theory. It draws on personal experiences, reflections and discoveries to offer you concrete ways to develop your vocal potential and experience singing with passion.

Understanding your choir voice: an inner instrument

The uniqueness of the choral experience

The word «chorister» often conjures up a familiar image: a row of singers standing in a semicircle, scores in hand, attentive to the choirmaster. Some wear broad smiles, others frown slightly as they follow the score or the conductor. The sound that emanates from this ensemble is often described as magical, intense, transcendent.

However, within this large group, each individual has a very unique experience. If you are reading this, it may be because you recognise yourself in this role: that of someone who is passionate (or intrigued) by choral singing and who wonders how to better control their own voice.

In a choir, you sometimes feel like you're getting lost in the vocal mass: you rely on your section (soprano, alto, tenor or bass), you try to match the others, you wait for the conductor's instructions. But what goes on in the mind (and body) of the chorister themselves? Are you comfortable with your vocal range? Do you sometimes feel stressed about not being good enough? Do you want to improve your technique so you can perform the music better?

The deep motivations of the chorister

There are many deeply personal reasons for becoming a choir singer. For some, it is the desire to share a musical moment with others, to discover new repertoires, to surpass themselves in public. For others, it is a family tradition: everyone in your family sings, so it is only natural that you should join a choir too. And sometimes, it is pure chance: a friend took you along to a rehearsal, and you got hooked.

Whatever the reason, the common denominator remains a passion for singing and an attraction to vocal harmony. In an a cappella choir, you often get goosebumps when a chord is formed with precision, when voices intertwine to form a vibrant soundscape. However, to fully enjoy these moments, you must first be at peace with your own voice: know how it works, what its strengths and limitations are, and how to improve it.

The importance of listening to yourself

Many choristers, especially at the beginning, tend to get lost among the other sections. They think to themselves, «After all, I'm in a section of ten people, my voice won't be noticed,» or «I'll just follow my neighbours, never mind if I don't have perfect technique.».

It is normal, especially at the beginning, to rely a little on others to stay on track, but this should not become a permanent habit that hinders your vocal development. In the long term, this dependence can lead to stagnation or even difficulties (in singing in tune, holding a note, or daring to use nuances).

«From chorister to choir» helps you become more aware of your individual voice, so that you can then adjust it harmoniously within the group. You will see that this is not selfish: on the contrary, a chorister who knows what they are doing vocally and who takes care of their voice makes a more stable, beautiful and reassuring contribution to the group.

The voice as a living instrument: a unique approach

A fundamental difference from other instruments

Unlike a piano or guitar that you can put in the corner of your living room, your vocal instrument is inside you. You cannot take it apart to tune it, nor can you replace it with a better model. But you can train it, shape it and enhance it through good practice.

It is this particularity that fuels many myths about the voice: «You have to be born with it», «It's innate», «My voice is ugly, there's nothing I can do about it». In reality, the voice can be shaped, just as a sculptor shapes a block of marble, with patience and perseverance. The difference between a professional and an amateur often has less to do with talent than with the amount of work invested: a professional singer may practise 6 to 8 hours a day for years, while an amateur practises an average of one to two hours a week. With such a difference, it is logical that the level of mastery and vocal confidence will not be the same.

It is this internal dimension, linked to our respiratory muscles and vocal cords, that makes the voice an evolving instrument, inseparable from our body and our emotions.

An overview of vocal anatomy

Without getting into an overly detailed anatomy lesson, it is useful to know the main elements that come into play when singing:

1. The diaphragm This dome-shaped muscle, located beneath the lungs, is essential for breathing. When it contracts, it descends, allowing air to enter the lungs. When singing, we often try to promote abdominal (or costal-diaphragmatic) breathing, in which the diaphragm plays a major role.
2. The vocal cords Two thin membranes located in the larynx. They vibrate as exhaled air passes through, generating sound.
3. Resonance cavities This includes the mouth, pharynx, nasal cavities and skull. It is their shape (and the position of the tongue, soft palate, etc.) that colours and amplifies the sound produced by the vocal cords.
4. The jaw, tongue, lips The organs of articulation, which influence pronunciation and clarity of singing.

When you sing in a choir, all these elements work together, without you always being aware of it. Becoming aware of each one individually will help you gain mastery: the more you know what is happening in your body, the more you will know how to adjust your voice to match that of others.

The fascinating phenomenon of resonances

One distinctive feature of the voice is that it resonates within you. When you sing, you often feel vibrations in your chest, head and sinuses. These vibrations (sometimes called internal resonances) contribute to the sensation of singing. They are partly responsible for the impression that «my voice doesn't sound the same when I record it as when I hear it from within.» This is because the recording does not include your internal resonances.

For a chorister, these resonances can be both a guide and a trap. A guide, because you can learn to recognise when you are in a comfortable position (for example, you feel a pleasant vibration in your forehead). A trap, because sometimes what you hear from the inside does not exactly correspond to the outside reality. This is where careful listening (to yourself and others) comes in.

A brief personal assessment: understanding your voice to develop it more effectively

The importance of self-assessment

Before diving into technical exercises (breathing, posture, diction, etc.), it is useful to take stock of your current situation. Just as an athlete assesses their strengths (speed, endurance) and areas for improvement (flexibility, coordination), it is valuable to assess your voice. This will allow you to better target your efforts and avoid wasting time on aspects you already master or, conversely, neglecting a weak point.

This assessment is not intended to highlight your shortcomings, but rather to establish a starting point from which to better track your progress. Think of it like a thermometer that measures temperature: it does not judge, it informs. The same applies here.

The big questions to ask yourself

What is my approximate vocal range?

• Do I know whether I am more of an alto, mezzo or soprano (for a female voice), or more of a tenor/baritone/bass (for a male voice)?
• Do I feel comfortable singing high notes or low notes?

How accurate am I?

• Do I often feel like I'm singing off-key or out of sync with others?
• Can I easily reproduce an interval or a simple melody?

Am I comfortable with breathing?

• Do I feel like I'm running out of breath when reading long sentences?
• Do I have tension in my throat or shoulders?

How would you describe my articulation?

• Are the lyrics clear when I sing?
• Do I tend to mumble my words, or overemphasise them?

What is my relationship with interpreting?

• Am I rather shy and reserved? Or, on the contrary, am I so carried away by expression that I sometimes forget the technique?
• Do I want to convey emotion when I sing?

What about my relationship with the other choir members?

• Am I holding back, relying on others? Or do I sometimes feel like suggesting something, daring to go it alone?
• Am I nervous about being interviewed individually?

This questioning does not require a perfect answer. The idea is to familiarise yourself with the landscape of your voice. You can even write down your impressions in a small notebook to see how they evolve over the course of rehearsals or after a few weeks of work. Consider them as points of attention to identify your vocal strengths and weaknesses, without locking yourself into a definitive judgement.

A practical mini-test to do at home

Equipment: a keyboard (piano, synthesiser or smartphone app) or any other source of notes (a website, for example).

Objective: roughly assess your comfort zones and any potential tensions.

1. Warm up quickly: start by humming, do a few vocal glissandos from low to high notes, and drink a glass of water. Always start by warming up the low notes before moving on to the high notes.
2. Choose a middle note: for example, a C4 for female voices, an E3 for male voices, adjusting as needed. Sing it on a sustained «ma», 3 seconds, 4 or 5 times in a row, observing:
   • Do I feel comfortable?
   • Do I feel like I'm pushing? Blocking?
3. Go down the scale: half a tone or a tone lower, then another... Stop when you feel that you are straining or that the sound is becoming too breathy. Note the note you reached.
4. Now move up above the starting note: a semitone or a tone at each step, until you reach your limit or feel blocked. Write down the note.

This will give you a range of your relative vocal comfort range. Do not worry if your range seems limited: with practice, it will gradually expand. Furthermore, to sing in a choir, you do not need to cover a very wide vocal range; often, a few comfortable notes in a section are enough.

Note: This test is far from being a professional diagnosis, but it will give you a rough idea. If you find that singing causes you pain or real discomfort, it may be wise to consult a singing teacher or phoniatrist.

Simple exercises to explore your voice

Start with basic exercises

Before diving into breathing (chapter 2 of the book) and more advanced vocal technique (chapters 3, 4 and beyond), here are a few exploratory exercises. Think of them as an appetiser: they will awaken your awareness of the sensations in your vocal apparatus, without requiring a high level of technical mastery. The idea is to have fun and develop your internal listening skills.

Humming and its variations

Humming simply involves singing with your lips closed, allowing the sound to resonate in your mouth and/or nasal cavities.

Basic humming

• Choose a comfortable note, neither too low nor too high.
• Breathe in calmly, then let out a ‘mmm’ sound, keeping your lips relaxed.
• Focus on the vibration: do you feel anything in your nose, lips, chest?
• Can you feel the vibrations? Now try moving this vibrating area.

Humming glissando

• Start with a middle note and slide down to a lower note, then up to a higher note, like a siren.
• Try to maintain a steady airflow. Listen for when the sound breaks or becomes less stable.

Humming with gradual opening

• Start with a well-placed «mmmm», then after two seconds, open your mouth slightly and transition to a «ma» (or «mo»), while maintaining the continuity of the sound.
• This exercise is very useful for feeling the change in resonance between closed lips and an open mouth.

Tip: Never force the volume. Start at a medium or low level; the aim is to detect sensations, not to blast out decibels.

Playful sirens or glissandos

The siren is an exercise often used to warm up the voice in a playful way:

1. Imagine the sound of a police car or an alarm siren: rising in a glissando, falling, rising again...
2. Think about relaxation: keep your jaw relaxed and avoid any tension in your throat. Your jaw should be able to move freely.
3. Vary the vowels: Try «woo-woo», «nay-nay», «meow-meow» (keeping it light).

This type of glissando allows your vocal cords to move smoothly from one register to another. It is also a good exercise for discovering your vocal range: you can feel where it sticks and where it flows naturally. In a choir, you probably won't be singing at full volume (unless the conductor suggests it as a warm-up), but at home, it's a way to familiarise yourself with the flexibility of your voice.

Playing with the consonants m, n, ng

Nasal consonants (m, n, ng) are useful for feeling vibrations in the nose and face area.

The m

• Try prolonging an «mmmm» as if you were tasting something delicious.
• Vary the pitch (low/high) and see where you feel the most resonance.

The n

• Make an «nnn» sound with your tongue against your upper teeth.
• Once again, explore different pitches, perceive the resonance point (further than the m).

The ng

• Pronounce «ng» by keeping your tongue at the back of your palate, with your mouth almost closed.
• Vary the height. This can create a sensation of vibration at the back of the nose and in the head.

Tip: Some choristers use these nasal sounds to feel the location of the resonances before tackling a passage in choral singing. This is useful for achieving accuracy, especially in the a cappella repertoire, where harmonic precision is crucial.

Pretending to chew«

A small exercise sometimes recommended to unblock the jaw and tongue:

1. Pretend to chew gum while singing a continuous sound (e.g., a soft «ahh»).
2. Vary the width of the jaw opening as if you were chewing more or less intensely.
3. Observe the sensations in your throat: do you feel relaxation or tension? The idea is to gradually achieve a feeling of suppleness.

It's a fun exercise to release the tension that sometimes causes us to clench our jaws when we sing, especially if we're a little nervous.

It is important to practise these exercises regularly., Even if it's only five minutes every other day, it's still better than nothing. The ideal approach is a gradual routine: the more regularly you practise, the more noticeable your progress will be. For example, with 20 minutes of exercises five days a week, the improvement will be much faster and more noticeable, both in terms of vocal flexibility and the ease with which you sing with confidence and control.

Even if you take singing lessons, this does not prevent you – and should not prevent you – from practising between sessions. On the contrary, regular practice between lessons allows you to better assimilate the concepts covered, reinforce your sensations and progress more effectively. Personal practice is a major asset in helping you progress more quickly and with greater confidence in your voice.

A holistic and human approach

What sets «From Chorister to Choir» apart is above all its holistic approach. It is not simply a matter of learning isolated techniques, but of understanding that the voice is a reflection of your being, your emotions and your experiences. My goal was to create a tool that is not just a simple rulebook, but a true companion on your journey. The book guides you step by step to explore your voice, question your feelings and, above all, rediscover the joy of singing.

It offers a subtle balance between accessible technical exercises and reflections on the psychological and emotional dimensions of singing. You will find tips for:

• Understanding and experimenting with your vocal instrument By identifying your strengths and limitations, you learn to better exploit your potential. The book details exercises that will help you explore the resonances of your voice in depth and feel where you can free yourself.
• Breaking free from the shackles of formalism By inviting you to dare to improvise and free yourself from certain constraints, this book encourages you to experience singing as a lively, collective experience. You will discover how to transform your doubts and hesitations into an expressive force capable of touching your listeners.
• Creating authentic harmony in a choir : Group singing is not simply the superimposition of several voices. It is an alchemy between the uniqueness of each individual and the power to blend into a harmonious whole. You will learn how to develop keen and active listening skills to better synchronise with your singing partners.

Keys to rediscovering pleasure

The pleasure of singing is often undermined by overly academic and rigid approaches. In my book, I emphasise the importance of rediscovering this essential pleasure, which, once overcome, paves the way for true vocal expression. You will discover how, by letting go of the fear of making mistakes and daring to let yourself go, you can not only improve your performance in a choir, but above all, experience each rehearsal as an emotional adventure.

Some concrete examples discussed in the book include:

• Improvisation exercises Forget about sheet music for a moment. The book offers interactive workshops designed to unleash your creativity, help you live in the moment and build collective confidence. You will learn, for example, how to work in a group to improvise variations on a single theme, leaving room for personal interpretation and the magic of the unexpected.
• Techniques for managing stage fright Stage fright is a common challenge for singers. Through breathing and visualisation techniques, you will discover effective methods for managing stress and refocusing. Rather than fighting stage fright, this book shows you how to use it to your advantage to enhance your performance.
• The importance of listening One of the book's key lessons focuses on active listening. By understanding how each voice can enrich the collective, you will learn to adapt better and contribute to a harmony where every note counts. Detailed listening techniques will help you identify subtleties and adjust your interpretation to create a coherent and vibrant whole.

Towards a fulfilling and authentic choral practice

I firmly believe that collective singing should not be confined to rigid traditions, but should evolve to adapt to the expectations and aspirations of each individual. That is why «From Chorister to Choir» also addresses recent developments in conservatories and teaching approaches in the field of singing. My book offers a critical look at:

• The contrast between traditional schools and the free approach While some institutions favour a scholarly and sometimes elitist approach, I believe that there is room for freedom, where singing is experienced before simply being performed. This view, informed by my personal experiences, invites us to rethink teaching so that it becomes more accessible, more human and, above all, more focused on enjoyment.
• The need to modernise rehearsal spaces : Rethink conventional spaces whose austerity stifles creativity. My book advocates for alternative, inspiring environments where groups can reinvent themselves and rediscover the magic of improvisation. These spaces, whether they are refurbished rehearsal rooms or unexpected locations, become catalysts for new and dynamic expression.
• The intelligent integration of technology Rather than viewing technology as a threat to the authenticity of live performance, it can be integrated to strengthen group cohesion. Digital tools, used judiciously, provide instant feedback on collective harmony, allowing for real-time adjustments without altering the spontaneous essence of a live performance.

If this insight into rediscovering pleasure, liberating voices and the evolution of collective singing inspires you, I invite you to explore «From Chorister to Choir» in depth. This book is intended to be a companion that offers not only techniques and exercises, but above all a renewed and human vision of singing. It will guide you through a journey where each lesson, each anecdote, each exercise will allow you to better understand your voice, to liberate it and to sublimate it in all its uniqueness.

Discover for yourself how to transform your practice, rediscover the joy of live performance and create a collective harmony that goes far beyond mere technique. Discover «From chorister to choir» to fully experience the magic of collective singing.

From chorister to choir: a vocal journey

By Corentin Richard

You sing... but sometimes you doubt yourself.
You enjoy it... but you're not always sure if you're doing it «properly».
Or perhaps you've already been told to sing louder, more accurately, more... something.

I wrote this book for you. Not to persuade.
Just to accompany. To put into words what we feel when we sing, when we don't dare, when we're searching for our place.
A simple, sensitive guide, without jargon.

And since you can't tell if a book is for you until you've leafed through it, I'm offering you the first 30 pages.
The beginning, the tone, the breath, and an entire first chapter on breathing.

Download the free sample

Even if you do not go any further, I hope that these few pages will accompany you a little on your vocal journey.

Discover the complete book