how to write speech choir

Speech Choir Mechanics

Speech Choir (English Month Competition). Speech Choir or verse choir brings out the beauty of harmony and unison, hence providing speakers and listeners alike with an experience that is both exciting and intense in the interpretation of a literary piece.

Speech choirs shall be comprised of twelve (12) to twenty-five (25) class members.
“REVERSE CREATION” by Bernard Backman shall be the piece and be recited with vocal and other effects in five (5) to seven (7) minutes.
Members of the choirs shall wear and use costumes, props, and others whenever appropriate to improve the choral interpretation of the piece.
Dangerous stunts shall be prohibited. The board of judges reserves the right to discontinue presentations whenever posing danger or risks to the members of the team, the judges, and the audience.
Upon submission of the results to the committee, judges’ decision shall be considered final and irrevocable.
Only three (3) speech choirs shall be awarded as Champion, 1st Runner-Up, and 2nd Runner-Up.
Overall Interpretation (40%) . The speech choir invokes thoughts and feelings and initiates a shared experience with the audience through superior dynamics, unique techniques, and expressive interpretations of the lines.
Mastery and Delivery (40%) . The speech choir demonstrates mastery of the piece by maintaining vocal unison, stage poise, eye contact, and other verbal and nonverbal effects.
Costume and Props (10%) . The speech choir wears costumes and uses props indispensable in the interpretation of the piece and shared experience between the choir and the audience.
Audience Impact (10%) . The speech choir succeeds in engaging the audience in the shared experience, hence communicating the message of the literary piece.

Other English Month Competitions

Communication-in-Photo Contest (Mechanics) . Communication-in-Photo Contest is a photography competition that aims to integrate student photographer’s understanding of the communication process in the digital age into the art of photography.

Declamation Contest (Mechanics) . Declamation Contest is a public speaking event that showcases student declaimers’ communication prowess in interpreting a literary piece, thereby providing the audience with a direct experience of the craft.

E-Poetry: Poetry Beyond Text (Mechanics) . E-Poetry: Poetry Beyond Text is a digital poetry composition and presentation contest that captures the literary prowess of student poets in the light of digital media.

Essay Writing Contest (Mechanics) . Essay Writing Contest is a writing competition where student essayists compose argumentative essays that have substance and that adhere to the conventions of the written discourse.

Extemporaneous Speech (Mechanics) . Extemporaneous Speech is a public speaking competition that requires student speakers to deliver a limited-preparation speech with special focus on substance, organization of ideas and information, and confident delivery.

Flash Fiction Writing Contest (Mechanics) . Flash Fiction Writing challenges student writers to frame a self-contained story in a few hundreds of words that can entertain, intrigue, and satisfy a reader in a tornado effect.

Statement Shirt Competition (Mechanics) . Statement Shirt Competition showcases student artists’ creativity and wit in designing a shirt that communicates their knowledge and insights into the functions, importance, and challenges of communication in English in the digital age.

Extemporaneous Speech (English Month Competition). Extemporaneous Speech is a public speaking competition that requires student speakers to deliver a…

Declamation Contest (English Month Competition). Declamation Contest is a public speaking event that showcases student declaimers’ communication prowess in…

Essay Writing Contest (English Month Competition). Essay Writing Contest is a writing competition where student essayists compose argumentative essays…

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Speech Preparation #7: Choreograph Your Speech with Staging, Gestures, and Vocal Variety

Wrong. You only have words on paper, and your audience doesn’t want to read your speech .

Your audience wants to see and hear your presentation. You will dazzle them by complementing your speech with staging, gestures, and vocal variety .

This article shows you how.

How to Prepare Your Presentation
Select Your Speech Topic
Plan Your Speech Outline
Writing Your First Draft
Editing Your Speech
Add Speech Impact with Rhetorical Devices
Staging, Gestures, and Vocal Variety
Practicing Your Presentation
Self-Critique: Preparation for Next Time
Winning a Toastmasters Speech Contest

Vocal Variety: The Four P’s

Monotone delivery puts your audience to sleep , no matter how riveting your content. On the other hand, an energetic and varied voice will be music to their ears.

Vocal variety covers the 4 P’s:

Power (or volume)

Power refers to the volume you project. At a minimum, be sure that your entire audience can easily hear you without straining.

Turning your voice volume up or down adds interest. Use both variations when they match the emotion you want to convey. For example, speaking loud might be used to convey excitement. Speaking soft might convey sadness.
Use a microphone to amplify your voice in large rooms.
Eliminate outside noises, if you can. If you can’t, consider moving the audience closer to you, or moving into the audience.

“ Monotone delivery puts your audience to sleep, no matter how riveting your content. ”

Pitch is the frequency of the sound you emit. To some extent, you are born with your voice pitch , whether it be soprano, mezzo-soprano, tenor, or baritone. However, if your speech contains dialogue for several characters , varying your pitch is an excellent way to distinguish between them.

Pace is your speaking rate, and varying it throughout the speech adds great interest. There are many effects that a variable pace can generate, but the most basic are:

Speed up to heighten the emotion in a dramatic story.
Slow down when delivering key phrases.

The most common pace problem is speaking too fast for the audience to absorb the material . There are two underlying reasons for this:

Lack of editing leaves too much content and too little time. The resulting pace is far too fast for the audience to absorb.
Nervousness also contributes to a rapid speaking rate.

For an example of rapid speaking rate, see Majora Carter in Greening the Ghetto .

“ Failure to use gestures will lead your audience to watch the inside of their eyeballs. ”

Pauses are magical. On the lips of master speakers, pauses can be used for a multitude of purposes.

Short pauses can signal the end of a clause or sentence . Your audience needs these because they can’t read the punctuation in your text.
Longer pauses signal the transition between major points or stories. Experienced speakers will often take a drink of water, ready a prop, or consult notes at these times.
Pauses before and after key points are wonderful buffers. The preceding pause signals to the audience that you are about to say something important. The following pause gives the audience time to reflect on what you just said and internalize it.
Pauses can also be used to enhance audience interaction (e.g. ask a rhetorical question, and then wait).

Example: Steve Jobs demonstrates a powerful pause in his Stanford Commencement speech.

Gestures / Body Language

Hundreds of gestures are available to help complement your words . Gestures throughout your speech make you interesting to watch. If you are interesting to watch, then your audience will be more attentive to your message. Failure to use gestures will lead your audience to watch the inside of their eyeballs.

Rather than attempting to itemize hundreds of different gestures, I’ll highlight a few general principles :

Your body will naturally want to move as you speak. Don’t inhibit these natural gestures as they convey a sense that you are comfortable and confident in your message.
Mix in deliberate gestures to coincide with key points . Mimic the actions of your speech (e.g. throwing a ball), or convey concepts through recognizable symbols (e.g. convey “censorship” by covering your mouth).
Use a variety of gestures. Don’t use the same one over and over and over again.
Increase the size of your gestures to match the size of the room. When presenting to three of your co-workers at a table, your gestures can be small (e.g. hand gestures that start at the wrist). When presenting to a packed auditorium, your gestures should be large (e.g. full-body gestures originating from the shoulders)
Don’t neglect the power of facial gestures . Your audience will feed off the facial gestures you make.

For an outstanding demonstration of gestures which complement a speech, see J.A. Gamache deliver Being a Mr. G .

“ Great speakers move around the speaking area with purpose . ”

Staging your speech means utilizing the 3-dimensional space around you in the most effective way possible.

Novice speakers will chain themselves to the lectern or stand in one spot on the middle of the stage.
Intermediate speakers will meander randomly around the speaking area. Body movement appeals to the audience and keeps attention.
Great speakers move around the speaking area with purpose. Every time they take a few steps, they are doing so with a distinct purpose in mind.

Like gestures, there are innumerable ways to stage your speech, but here are a few general principles :

The simplest act of staging is to prepare the speaking area before you begin . Move the lectern to the side. Move obstacles away, or at least be aware of them. Make sure every person in the audience has a clear sight line to you (or your slides). Simple acts like this show the audience that you’ve thought of everything, and that you want no barriers between you and them.
If you are using props or other visual aids , plan where they will be before and after you use them. When they are not being used, you want them out of sight.
Just as long pauses can signal the transition between major points , so can considerable movement within the speaking area.
You can map specific locations in the speaking area to be virtual locations for certain stories of your speech. Then, when you refer back to these stories, a simple gesture back to that area of the speaking area is valuable to help the audience make the connection.
In very large rooms, be sure to balance your position on the left, center, and right of the speaking area.
Not every speech allows for it, but don’t forget about the forward/backward direction as well as up/down . If you can meaningfully bring in these directions, it will make a powerful statement. For example, consider what climbing on a chair might allow you to do within your speech.

Example of Staging, Gestures, and Vocal Variety — Face the Wind

As I have done with previous articles in this series, I will use my 2007 contest speech Face the Wind to illustrate the use of staging, gestures, and vocal variety.

Below is an annotated summary of key staging, gestures, and vocal variety — the choreography of the speaking performance. The summary is time-indexed e.g. [1:15] according to the video.

Staging: Throughout the speech, note how most of the humor “punch lines” are delivered looking right or left. Similarly, many of the serious lines are delivered front and center. This is a technique that I was exploring in this speech for the first time.
Gesture: Arm gesture to left, then right to match the trading of house keys for condo keys. [0:27]
Vocal variety: “ escaped … loud vacuous whoosh “. Also complemented by arm gestures to the right [0:42]
Gesture: Facial expressions on “ yard work ” [0:56]
Gesture: Arm gesture referring to audience on “ a Toastmasters club officer ” because many in the audience were (or have been) officers. [1:00]
Staging: The walk around my yard looking at numerous bushes and trees [1:26]
Gesture / Staging: Introduction of the Japanese maple tree is with arms up to indicate the height of the tree. Notice how this stage position is mapped to the tree location. [1:34]
Vocal variety: Vocal variety: “ no, not wide enough ” [2:10]
Gesture / Staging: Difficult to see this on the video, but the hole-digging sequence involves stage movement from front to back, diagonally. [2:13]
Gesture: Arms open wide to indicate the breadth of the “ moat ” [2:21]
Staging: Drop to the floor to wrestle the tree. [2:30] This position was also the setup for the “ roots like tentacles, as expansive as its branches ” gesture [2:50]
Gesture: Triumphant gesture [2:34]
Staging: Note the location of the neighbour’s monster tree is off to the right (actually above the audience). This position is mapped for future reference to the monster tree. [3:12]. For example, notice reference to monster tree at [3:51] and again at [4:12].
Gesture: Forceful gestures to mimic the gas BBQ being lifted up [4:05]
Gesture: Double hand gesture for “ force combined with direction ” [4:30]
Gesture / Staging: Full body gestures for wind blowing and tree resisting. Notice that for these gestures, I am facing to the side so that the majority of the audience will see these gestures in profile. This is more effective than facing the audience. Note also how the contrasting wind directions are indicated [4:39 to 4:55].
Vocal variety: Voice is quieter at the start of the miscarriage story, then gets louder with “ when that wind came for them, not once but twice ” [5:05]
Gesture: holding infant Maximus [6:22]
Gesture: incubator [6:30]
Gesture: Notice the gestures in the “ yesterday-today-tomorrow ” segment [6:45] It starts on the audience’s left, then middle, then right… just as if they were viewing a standard timeline from left to right.
Vocal variety: Lengthy pause before “ We are not trees ” [7:04]
Gesture: Emphatic gestures to indicate we are not trees [7:12] and roots going through the seat [7:13]. Energy here is amplified.

Next in the Speech Preparation Series

Your speech is finally ready. No… wait… you haven’t practiced it yet. The next article in the Speech Preparation Series discusses techniques to get maximum benefit from your rehearsal sessions .

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This example of video is too much for me, it make me tired to look at his hands gesticulating to much and do not feel the spontaneity of it, somehow it seems faked or artificial.

If we stage all our moves, does it not become just that?

First-time commentor on your site. I’m preparing for my CC2, which will be tomorrow night and your site is helping me sooooo much.

Many thanks and I loved your speech. I agree that there were too many hand gestures but the content and nearly all of the delivery were perfect.

I love this article! Very great! I have to give a speech in church and I was coming to this site seeking advice. I’m so sad now because I’ll be in the pulpit behind a podium and I can’t use any of these tips:(

Yes, speaking in church reduces your options, but you can still deliver a great speech. You may find this article helpful: Speaking in Church: Lectern or No Lectern?

I really love this article,very educative and informative too. I recommend this site to anyone who want to do public speaking. Thanks a lot

Excellent article…this is used as my blueprint for writting presentations….thank you for such a great article.

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ScholarWorks > Arts & Sciences > Communication > JCP > Vol. 1 (2018)

Creating a Speech Choir: The Bounty of Authentic Audience Experience for Students

Susan Redding Emel , Baker University Follow

For most students at my university, classroom experience alone was the choice for formally developing speaking skills. My idea was to provide students with recurring authentic audience experience, attending to the audience dimension outlined by Derryberry (1989) as a critical requirement of public speaking pedagogy. Through research, a new idea was proposed: Create a Speech Choir, combining talents of the students in one performance. Though it has elements of forensics, reader’s theater, choral reading, public speaking and more, it is not identical to any of these. As the team evolved, more pedagogical elements were added including service learning, attention to feedback intervention, and limited social activism in an atmosphere of collaboration and creativity. Quite unexpectedly, however, Speech Choir managed to attract both students with performance confidence and those professing high communication apprehension.

10.31446/JCP.2018.11

Recommended Citation

Emel, S. R. (2018). Creating a speech choir: The bounty of authentic audience experience for students. Journal of Communication Pedagogy, 1, 58-63. https://doi.org/ 10.31446/JCP.2018.11

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About the NEL Curriculum

Objectives of using Speech Choir

The speech choir experience – 1. getting teachers ready.

Screen Shot 2018-07-05 at 3.12.55 PM.png

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

Screen Shot 2018-07-05 at 3.13.34 PM.png

The Speech Choir Experience – 3. Choreographing the performance

Screen Shot 2018-07-05 at 3.14.00 PM.png

The Speech Choir Experience – 4. The performance

Screen Shot 2018-07-05 at 3.14.34 PM.png

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

Oxford University Press's Academic Insights for the Thinking World

Songs with words: choosing and interpreting texts for choral composition

Round me falls the night

By Annabel Rooney
June 11 th 2021

Like many aspects of choral composition, choosing the words is a combination of practical and creative considerations. If you want your music to be performed (and most composers do!), thinking about who might sing the words, and on what occasion, is as important as their inspirational qualities.

To date, most of my choral music is sacred, setting words that are chosen because they are suited for liturgical use. The Bible, works of religious poets, and collections of Christmas and Eastertide poems and carols have provided rich sources of lyrics. Looking at the choral output of other composers has led to some interesting poetic discoveries, for example Edward Elgar’s setting of Thomas Toke Lynch’s How calmly the evening , whilst the poet Alice Meynell was recommended by a friend working on Victorian literature. The gentle tone of her poem Unto us a son is given (“Given, not lent”) especially appealed.

It is hard to define what makes a text attractive, and, of course, this is probably different for every composer. But there are some texts which have received numerous musical settings, such as Drop, drop, slow tears by the seventeenth-century poet Phineas Fletcher. The expressive words of redemption fit well in the Lenten liturgy, and their character and imagery, in particular the dropping tears, invite musical illustration. The falling thirds at the opening of William Walton’s setting , for example, immediately evoke teardrops. Popular, too, is George Herbert’s The Call (“Come, my way, my truth, my life”). A versatile text which lends itself to a variety of occasions, the emotion is, strikingly, expressed almost entirely in monosyllables, imparting powerful simplicity and directness. Sometimes it may simply be the sound of the words that captivates, as in this excerpt from John Milton’s On the morning of Christ’s Nativity. The gentle alliteration is music itself:

“The winds with wonder whist, Smoothly the waters kissed, Whispering new joys to the mild Ocean…..”

Having found words that appeal, practically and creatively, my goal is to write music which illustrates and enhances the words, and is also musically coherent. There may be large-scale structural decisions, such as whether to replicate a strophic structure, or to reprise parts of the text, either in the interests of the musical form, or to give them particular stress. At a more localized level, the meaning and emotion of individual words might be depicted by melodic, harmonic, and rhythmic means. The interest is in deciding what the emphasis and interpretation shall be.

The well-known words of the Magnificat provide plenty of opportunities for such contemplation. Their nature (images of motion such as “scattered,” “put down,” and “exalted,” which often attract an appropriate musical illustration), and a knowledge of how other composers have responded to them, make the question ‘What is my response to the Magnificat ?’ particularly pertinent. Shall I scatter the proud in a musical flourish? Are the rich to be “sent away” in musical emptiness, in descending lines and a thinning texture? Perhaps this could rather be a moment of exultation, focusing not on the literal meaning of the words but on the triumph of justice?

Looking for a text suitable for Evensong, I found William Romanis’ Round me falls the night by the simple strategy of perusing the “Evening” section of a hymn book. It was immediately appealing to me, and a musical idea came quite quickly. This is not always the case! The opportunity for intense quiet in a “whisper,” in “softly speaking,” and “Earthly sounds are none” contrasts with the potency of “Arms so strong to clasp and hold me.” Soft dynamics and low pitches contrast with fortissimo and the highest note of the piece. The light of the Saviour shines through the dark of the night, with a recurring juxtaposition of Db major and A major colouring the work. And it is the plea for the Saviour to keep watch through the night which becomes my focus. His presence is realized musically with repetitions of the phrase “I am near,” and it is with this that the work concludes.

Occasionally I have written my own words, finding that a musical and verbal idea come simultaneously. But generally, I prefer not to start with a blank canvas! Indeed, it is working with another creative form, with a seed from which the compositional idea may grow, which is one of the pleasures of writing choral music.

Feature image by enterlinedesign

Annabel McLauchlan Rooney read music at Christ's College, Cambridge, holding a university instrumental award on the cello. She continued her studies in Cambridge with an MPhil and a PhD on eighteenth-century opera. Rooney started composing seriously in 2011, predominantly writing choral music, and now combines this with performance and instrumental teaching. Her music has been performed by renowned ensembles, including the Choirs of the Chapel Royal, and Exeter and Ely Cathedrals, and broadcast on Radio 3. In 2019, the Choir of Christ's College, Cambridge released an album of Rooney's sacred choral music, As a seed bursts forth.

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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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About the author: david pegel.

How to write a speech that your audience remembers

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Elevate your communication skills

Unlock the power of clear and persuasive communication. Our coaches can guide you to build strong relationships and succeed in both personal and professional life.

Whether in a work meeting or at an investor panel, you might give a speech at some point. And no matter how excited you are about the opportunity, the experience can be nerve-wracking .

But feeling butterflies doesn’t mean you can’t give a great speech. With the proper preparation and a clear outline, apprehensive public speakers and natural wordsmiths alike can write and present a compelling message. Here’s how to write a good speech you’ll be proud to deliver.

What is good speech writing?

Good speech writing is the art of crafting words and ideas into a compelling, coherent, and memorable message that resonates with the audience. Here are some key elements of great speech writing:

It begins with clearly understanding the speech's purpose and the audience it seeks to engage.
A well-written speech clearly conveys its central message, ensuring that the audience understands and retains the key points.
It is structured thoughtfully, with a captivating opening, a well-organized body, and a conclusion that reinforces the main message.
Good speech writing embraces the power of engaging content, weaving in stories, examples, and relatable anecdotes to connect with the audience on both intellectual and emotional levels.

Ultimately, it is the combination of these elements, along with the authenticity and delivery of the speaker , that transforms words on a page into a powerful and impactful spoken narrative.

What makes a good speech?

A great speech includes several key qualities, but three fundamental elements make a speech truly effective:

Clarity and purpose

Remembering the audience, cohesive structure.

While other important factors make a speech a home run, these three elements are essential for writing an effective speech.

The main elements of a good speech

The main elements of a speech typically include:

Introduction: The introduction sets the stage for your speech and grabs the audience's attention. It should include a hook or attention-grabbing opening, introduce the topic, and provide an overview of what will be covered.
Opening/captivating statement: This is a strong statement that immediately engages the audience and creates curiosity about the speech topics.
Thesis statement/central idea: The thesis statement or central idea is a concise statement that summarizes the main point or argument of your speech. It serves as a roadmap for the audience to understand what your speech is about.
Body: The body of the speech is where you elaborate on your main points or arguments. Each point is typically supported by evidence, examples, statistics, or anecdotes. The body should be organized logically and coherently, with smooth transitions between the main points.
Supporting evidence: This includes facts, data, research findings, expert opinions, or personal stories that support and strengthen your main points. Well-chosen and credible evidence enhances the persuasive power of your speech.
Transitions: Transitions are phrases or statements that connect different parts of your speech, guiding the audience from one idea to the next. Effective transitions signal the shifts in topics or ideas and help maintain a smooth flow throughout the speech.
Counterarguments and rebuttals (if applicable): If your speech involves addressing opposing viewpoints or counterarguments, you should acknowledge and address them. Presenting counterarguments makes your speech more persuasive and demonstrates critical thinking.
Conclusion: The conclusion is the final part of your speech and should bring your message to a satisfying close. Summarize your main points, restate your thesis statement, and leave the audience with a memorable closing thought or call to action.
Closing statement: This is the final statement that leaves a lasting impression and reinforces the main message of your speech. It can be a call to action, a thought-provoking question, a powerful quote, or a memorable anecdote.
Delivery and presentation: How you deliver your speech is also an essential element to consider. Pay attention to your tone, body language, eye contact , voice modulation, and timing. Practice and rehearse your speech, and try using the 7-38-55 rule to ensure confident and effective delivery.

While the order and emphasis of these elements may vary depending on the type of speech and audience, these elements provide a framework for organizing and delivering a successful speech.

Man-holding-microphone-at-panel-while-talking--how-to-give-a-speech

How to structure a good speech

You know what message you want to transmit, who you’re delivering it to, and even how you want to say it. But you need to know how to start, develop, and close a speech before writing it.

Think of a speech like an essay. It should have an introduction, conclusion, and body sections in between. This places ideas in a logical order that the audience can better understand and follow them. Learning how to make a speech with an outline gives your storytelling the scaffolding it needs to get its point across.

Here’s a general speech structure to guide your writing process:

Explanation 1
Explanation 2
Explanation 3

How to write a compelling speech opener

Some research shows that engaged audiences pay attention for only 15 to 20 minutes at a time. Other estimates are even lower, citing that people stop listening intently in fewer than 10 minutes . If you make a good first impression at the beginning of your speech, you have a better chance of interesting your audience through the middle when attention spans fade.

Implementing the INTRO model can help grab and keep your audience’s attention as soon as you start speaking. This acronym stands for interest, need, timing, roadmap, and objectives, and it represents the key points you should hit in an opening.

Here’s what to include for each of these points:

Interest : Introduce yourself or your topic concisely and speak with confidence . Write a compelling opening statement using relevant data or an anecdote that the audience can relate to.
Needs : The audience is listening to you because they have something to learn. If you’re pitching a new app idea to a panel of investors, those potential partners want to discover more about your product and what they can earn from it. Read the room and gently remind them of the purpose of your speech.
Timing : When appropriate, let your audience know how long you’ll speak. This lets listeners set expectations and keep tabs on their own attention span. If a weary audience member knows you’ll talk for 40 minutes, they can better manage their energy as that time goes on.
Routemap : Give a brief overview of the three main points you’ll cover in your speech. If an audience member’s attention starts to drop off and they miss a few sentences, they can more easily get their bearings if they know the general outline of the presentation.
Objectives : Tell the audience what you hope to achieve, encouraging them to listen to the end for the payout.

Writing the middle of a speech

The body of your speech is the most information-dense section. Facts, visual aids, PowerPoints — all this information meets an audience with a waning attention span. Sticking to the speech structure gives your message focus and keeps you from going off track, making everything you say as useful as possible.

Limit the middle of your speech to three points, and support them with no more than three explanations. Following this model organizes your thoughts and prevents you from offering more information than the audience can retain.

Using this section of the speech to make your presentation interactive can add interest and engage your audience. Try including a video or demonstration to break the monotony. A quick poll or survey also keeps the audience on their toes.

Wrapping the speech up

To you, restating your points at the end can feel repetitive and dull. You’ve practiced countless times and heard it all before. But repetition aids memory and learning , helping your audience retain what you’ve told them. Use your speech’s conclusion to summarize the main points with a few short sentences.

Try to end on a memorable note, like posing a motivational quote or a thoughtful question the audience can contemplate once they leave. In proposal or pitch-style speeches, consider landing on a call to action (CTA) that invites your audience to take the next step.

People-clapping-after-coworker-gave-a-speech-how-to-give-a-speech

How to write a good speech

If public speaking gives you the jitters, you’re not alone. Roughly 80% of the population feels nervous before giving a speech, and another 10% percent experiences intense anxiety and sometimes even panic.

The fear of failure can cause procrastination and can cause you to put off your speechwriting process until the last minute. Finding the right words takes time and preparation, and if you’re already feeling nervous, starting from a blank page might seem even harder.

But putting in the effort despite your stress is worth it. Presenting a speech you worked hard on fosters authenticity and connects you to the subject matter, which can help your audience understand your points better. Human connection is all about honesty and vulnerability, and if you want to connect to the people you’re speaking to, they should see that in you.

1. Identify your objectives and target audience

Before diving into the writing process, find healthy coping strategies to help you stop worrying . Then you can define your speech’s purpose, think about your target audience, and start identifying your objectives. Here are some questions to ask yourself and ground your thinking :

What purpose do I want my speech to achieve?
What would it mean to me if I achieved the speech’s purpose?
What audience am I writing for?
What do I know about my audience?
What values do I want to transmit?
If the audience remembers one take-home message, what should it be?
What do I want my audience to feel, think, or do after I finish speaking?
What parts of my message could be confusing and require further explanation?

2. Know your audience

Understanding your audience is crucial for tailoring your speech effectively. Consider the demographics of your audience, their interests, and their expectations. For instance, if you're addressing a group of healthcare professionals, you'll want to use medical terminology and data that resonate with them. Conversely, if your audience is a group of young students, you'd adjust your content to be more relatable to their experiences and interests.

3. Choose a clear message

Your message should be the central idea that you want your audience to take away from your speech. Let's say you're giving a speech on climate change. Your clear message might be something like, "Individual actions can make a significant impact on mitigating climate change." Throughout your speech, all your points and examples should support this central message, reinforcing it for your audience.

4. Structure your speech

Organizing your speech properly keeps your audience engaged and helps them follow your ideas. The introduction should grab your audience's attention and introduce the topic. For example, if you're discussing space exploration, you could start with a fascinating fact about a recent space mission. In the body, you'd present your main points logically, such as the history of space exploration, its scientific significance, and future prospects. Finally, in the conclusion, you'd summarize your key points and reiterate the importance of space exploration in advancing human knowledge.

5. Use engaging content for clarity

Engaging content includes stories, anecdotes, statistics, and examples that illustrate your main points. For instance, if you're giving a speech about the importance of reading, you might share a personal story about how a particular book changed your perspective. You could also include statistics on the benefits of reading, such as improved cognitive abilities and empathy.

6. Maintain clarity and simplicity

It's essential to communicate your ideas clearly. Avoid using overly technical jargon or complex language that might confuse your audience. For example, if you're discussing a medical breakthrough with a non-medical audience, explain complex terms in simple, understandable language.

7. Practice and rehearse

Practice is key to delivering a great speech. Rehearse multiple times to refine your delivery, timing, and tone. Consider using a mirror or recording yourself to observe your body language and gestures. For instance, if you're giving a motivational speech, practice your gestures and expressions to convey enthusiasm and confidence.

8. Consider nonverbal communication

Your body language, tone of voice, and gestures should align with your message . If you're delivering a speech on leadership, maintain strong eye contact to convey authority and connection with your audience. A steady pace and varied tone can also enhance your speech's impact.

9. Engage your audience

Engaging your audience keeps them interested and attentive. Encourage interaction by asking thought-provoking questions or sharing relatable anecdotes. If you're giving a speech on teamwork, ask the audience to recall a time when teamwork led to a successful outcome, fostering engagement and connection.

10. Prepare for Q&A

Anticipate potential questions or objections your audience might have and prepare concise, well-informed responses. If you're delivering a speech on a controversial topic, such as healthcare reform, be ready to address common concerns, like the impact on healthcare costs or access to services, during the Q&A session.

By following these steps and incorporating examples that align with your specific speech topic and purpose, you can craft and deliver a compelling and impactful speech that resonates with your audience.

Woman-at-home-doing-research-in-her-laptop-how-to-give-a-speech

Tools for writing a great speech

There are several helpful tools available for speechwriting, both technological and communication-related. Here are a few examples:

Word processing software: Tools like Microsoft Word, Google Docs, or other word processors provide a user-friendly environment for writing and editing speeches. They offer features like spell-checking, grammar correction, formatting options, and easy revision tracking.
Presentation software: Software such as Microsoft PowerPoint or Google Slides is useful when creating visual aids to accompany your speech. These tools allow you to create engaging slideshows with text, images, charts, and videos to enhance your presentation.
Speechwriting Templates: Online platforms or software offer pre-designed templates specifically for speechwriting. These templates provide guidance on structuring your speech and may include prompts for different sections like introductions, main points, and conclusions.
Rhetorical devices and figures of speech: Rhetorical tools such as metaphors, similes, alliteration, and parallelism can add impact and persuasion to your speech. Resources like books, websites, or academic papers detailing various rhetorical devices can help you incorporate them effectively.
Speechwriting apps: Mobile apps designed specifically for speechwriting can be helpful in organizing your thoughts, creating outlines, and composing a speech. These apps often provide features like voice recording, note-taking, and virtual prompts to keep you on track.
Grammar and style checkers: Online tools or plugins like Grammarly or Hemingway Editor help improve the clarity and readability of your speech by checking for grammar, spelling, and style errors. They provide suggestions for sentence structure, word choice, and overall tone.
Thesaurus and dictionary: Online or offline resources such as thesauruses and dictionaries help expand your vocabulary and find alternative words or phrases to express your ideas more effectively. They can also clarify meanings or provide context for unfamiliar terms.
Online speechwriting communities: Joining online forums or communities focused on speechwriting can be beneficial for getting feedback, sharing ideas, and learning from experienced speechwriters. It's an opportunity to connect with like-minded individuals and improve your public speaking skills through collaboration.

Remember, while these tools can assist in the speechwriting process, it's essential to use them thoughtfully and adapt them to your specific needs and style. The most important aspect of speechwriting remains the creativity, authenticity, and connection with your audience that you bring to your speech.

Man-holding-microphone-while-speaking-in-public-how-to-give-a-speech

5 tips for writing a speech

Behind every great speech is an excellent idea and a speaker who refined it. But a successful speech is about more than the initial words on the page, and there are a few more things you can do to help it land.

Here are five more tips for writing and practicing your speech:

1. Structure first, write second

If you start the writing process before organizing your thoughts, you may have to re-order, cut, and scrap the sentences you worked hard on. Save yourself some time by using a speech structure, like the one above, to order your talking points first. This can also help you identify unclear points or moments that disrupt your flow.

2. Do your homework

Data strengthens your argument with a scientific edge. Research your topic with an eye for attention-grabbing statistics, or look for findings you can use to support each point. If you’re pitching a product or service, pull information from company metrics that demonstrate past or potential successes.

Audience members will likely have questions, so learn all talking points inside and out. If you tell investors that your product will provide 12% returns, for example, come prepared with projections that support that statement.

3. Sound like yourself

Memorable speakers have distinct voices. Think of Martin Luther King Jr’s urgent, inspiring timbre or Oprah’s empathetic, personal tone . Establish your voice — one that aligns with your personality and values — and stick with it. If you’re a motivational speaker, keep your tone upbeat to inspire your audience . If you’re the CEO of a startup, try sounding assured but approachable.

4. Practice

As you practice a speech, you become more confident , gain a better handle on the material, and learn the outline so well that unexpected questions are less likely to trip you up. Practice in front of a colleague or friend for honest feedback about what you could change, and speak in front of the mirror to tweak your nonverbal communication and body language .

5. Remember to breathe

When you’re stressed, you breathe more rapidly . It can be challenging to talk normally when you can’t regulate your breath. Before your presentation, try some mindful breathing exercises so that when the day comes, you already have strategies that will calm you down and remain present . This can also help you control your voice and avoid speaking too quickly.

How to ghostwrite a great speech for someone else

Ghostwriting a speech requires a unique set of skills, as you're essentially writing a piece that will be delivered by someone else. Here are some tips on how to effectively ghostwrite a speech:

Understand the speaker's voice and style : Begin by thoroughly understanding the speaker's personality, speaking style, and preferences. This includes their tone, humor, and any personal anecdotes they may want to include.
Interview the speaker : Have a detailed conversation with the speaker to gather information about their speech's purpose, target audience, key messages, and any specific points they want to emphasize. Ask for personal stories or examples they may want to include.
Research thoroughly : Research the topic to ensure you have a strong foundation of knowledge. This helps you craft a well-informed and credible speech.
Create an outline : Develop a clear outline that includes the introduction, main points, supporting evidence, and a conclusion. Share this outline with the speaker for their input and approval.
Write in the speaker's voice : While crafting the speech, maintain the speaker's voice and style. Use language and phrasing that feel natural to them. If they have a particular way of expressing ideas, incorporate that into the speech.
Craft a captivating opening : Begin the speech with a compelling opening that grabs the audience's attention. This could be a relevant quote, an interesting fact, a personal anecdote, or a thought-provoking question.
Organize content logically : Ensure the speech flows logically, with each point building on the previous one. Use transitions to guide the audience from one idea to the next smoothly.
Incorporate engaging stories and examples : Include anecdotes, stories, and real-life examples that illustrate key points and make the speech relatable and memorable.
Edit and revise : Edit the speech carefully for clarity, grammar, and coherence. Ensure the speech is the right length and aligns with the speaker's time constraints.
Seek feedback : Share drafts of the speech with the speaker for their feedback and revisions. They may have specific changes or additions they'd like to make.
Practice delivery : If possible, work with the speaker on their delivery. Practice the speech together, allowing the speaker to become familiar with the content and your writing style.
Maintain confidentiality : As a ghostwriter, it's essential to respect the confidentiality and anonymity of the work. Do not disclose that you wrote the speech unless you have the speaker's permission to do so.
Be flexible : Be open to making changes and revisions as per the speaker's preferences. Your goal is to make them look good and effectively convey their message.
Meet deadlines : Stick to agreed-upon deadlines for drafts and revisions. Punctuality and reliability are essential in ghostwriting.
Provide support : Support the speaker during their preparation and rehearsal process. This can include helping with cue cards, speech notes, or any other materials they need.

Remember that successful ghostwriting is about capturing the essence of the speaker while delivering a well-structured and engaging speech. Collaboration, communication, and adaptability are key to achieving this.

Give your best speech yet

Learn how to make a speech that’ll hold an audience’s attention by structuring your thoughts and practicing frequently. Put the effort into writing and preparing your content, and aim to improve your breathing, eye contact , and body language as you practice. The more you work on your speech, the more confident you’ll become.

The energy you invest in writing an effective speech will help your audience remember and connect to every concept. Remember: some life-changing philosophies have come from good speeches, so give your words a chance to resonate with others. You might even change their thinking.

Elizabeth Perry, ACC

Elizabeth Perry is a Coach Community Manager at BetterUp. She uses strategic engagement strategies to cultivate a learning community across a global network of Coaches through in-person and virtual experiences, technology-enabled platforms, and strategic coaching industry partnerships. With over 3 years of coaching experience and a certification in transformative leadership and life coaching from Sofia University, Elizabeth leverages transpersonal psychology expertise to help coaches and clients gain awareness of their behavioral and thought patterns, discover their purpose and passions, and elevate their potential. She is a lifelong student of psychology, personal growth, and human potential as well as an ICF-certified ACC transpersonal life and leadership Coach.

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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)

Recruiting Members for Your Church Choir

Most choir directors spend time thinking about how to keep their group vital and thriving. This usually involves the recruitment of new members from your congregation and community. Keeping things fresh and vibrant is a true challenge, and sometimes competing with the rest of the world to help grow your ministry can be tiresome. Here are some ideas about how you can invest in your ministry and grow in important ways.

One-on-one interaction

Giving someone the opportunity to express themselves is a huge gift. Personally inviting them to join your group is priceless. Most singers, and people who like to sing, have insecurities about their voices. By giving people a chance to express themselves in a safe environment and to become a part of something greater than themselves, you can help facilitate positive change. Putting all of that in the context of ministry and the role of the choir within worship brings the meaning of what they are doing to a deeper level. Letting people know that they and their gifts matter is paramount.

Recruitment Ideas

Everyone bring one – Designate a rehearsal day or dates to have everyone bring at least one person to rehearsal. Plan to have fun and work hard so that people get an idea of what they would be investing in. Have time for prayer and a devotion; do warm-ups, and balance all of the elements of a successful rehearsal while always remaining positive. Have some social time at the end to promote fellowship and allow newcomers to ask questions.

Invite extra people during bigger seasons like Advent and Christmas or Palm Sunday and Easter – Asking prospective singers to add into the choir for a four- to six-week period is an excellent way to allow people to participate in your ministry without committing to the entire season. This also shows people that your group is open and flexible, which is essential in attracting new members. That attitude will carry through into your ministry during worship.

Relationships – Relationships with staff, church members and choir members will help you with recruiting. If people speak positively about their experiences with you, that will become a magnet for new members. If you keep in close touch with the staff, they can let you know about congregational prospects for various ministries you offer. These relationships are essential to your success. What happens if you personally meet every new member and get to learn about their lives? What comes from the question “Have you ever played an instrument or sung?”

Visitation – I once heard composer Hal Hopson talk about how he and his wife visited every choir member and every prospective choir member together. Anyone who knows them knows that they are a great team. I’ve found that this interaction is essential to truly getting to know people. There’s rarely adequate time at rehearsal for meaningful socializing, so setting aside a specific time with just a few people in the group can reap huge benefits down the road.

If you are an introvert and this is hard for you, I get it. Try coming up with a few icebreaker questions to get the conversation going. Maybe it’s as simple as taking an extrovert with you.

Communicate clearly and regularly – Reinforce with emails, signs and newsletter articles, but don’t believe that these alone are effective recruiting tools. We want to build energy around the thought of participating – so much energy that people will feel like they are missing out if they aren’t involved. Everyone is valuable, and everyone deserves to be valued. We show singers this by inviting them to experience something with us that they can’t get in the outside world –the opportunity to use their gifts to lead God’s people in worship.

Rehearsal options – If we expect people to participate in our choirs, we need to offer a variety of opportunities to rehearse. If we say everyone must be at choir rehearsal at 7 p.m. on Wednesday nights, there may be many people who will be left out due to raising children or their work or school hours. If we want multiple generations to be represented in our group, we have to be willing to meet them where they are. Maybe a rehearsal during the day or just after work with babysitting would allow them to participate with the regular choir on Sunday mornings. This is a part of our challenge in the modern age. To expect people to adapt to an old model will not breed success.

Quality childcare during rehearsals – If you want younger generations in your choir, you have to provide reliable childcare – not just for infants but for all ages. This might require two people, depending on your choir – one person for the young ones and one for the older children. Encouraging kids to bring things to do will make it easier for the caregivers.

The childcare option is especially important during a daytime rehearsal. An hour and a half to sing free from the responsibilities of children can be a real gift in the middle of the week. Might you have a senior citizen or two who would be willing to help, or a group of seniors who could rotate? This offering increases the opportunity for younger generations to participate in the music ministry.

Quality and a positive attitude – Happy choir members and having fun are a part of a high-quality music ministry. Choosing music that is balanced between old and new, fast and slow, with a wide variety of musical styles is also important. People’s hearts are moved by different styles. For us to impose our preferences on them means we limit their participation in worship at our church. Don’t try to be something you’re not, but don’t get stuck in a comfortable rut, either.

Coda – A church choir is a group of people you are tasked with shepherding. I always imagine myself behind the group nudging them gently in the direction I think God is calling us; rarely do I feel the need to grab a flag and say “Follow me,” expecting everyone will just be there for the ride. Those who sing with you are God’s children, flawed and beautiful. Our calling involves gathering and pointing the way through musical and spiritual goals. Preparing people to lead meaningful worship is not for the faint of heart; it requires the heart of a servant leader.

View some books that talk about leading a music ministry.

Nice article Chris! Some really great ideas. I really enjoyed reading them as a life-long music educator returning to a church choir soon as a member:)

From Chris Titko: Thanks, Jenny! Glad this will be of help! Chris

Something that has worked for me is to use Worshiplanner software. Choir members enter attendance for each rehearsal and service, which allows me to immediately contact those who were absent. The program also generates a weekly newsletter with member updates and rehearsal files. Members feel they are important and are missed and respond to accountability.

How to Write a Commemorative Speech: Examples & Tips

Updated 09/9/2022

Published 11/15/2019

Yvonne Bertovich

Contributing writer

Learn how to write a commemorative speech with this step-by-step guide, including examples, topic ideas, and tips.

Cake values integrity and transparency. We follow a strict editorial process to provide you with the best content possible. We also may earn commission from purchases made through affiliate links. As an Amazon Associate, we earn from qualifying purchases. Learn more in our affiliate disclosure .

In an ideal world, giving a commemorative speech would be simply pulling words straight from your heart and saying them out loud to great aplomb. However, unless you regularly chase the muse of creativity with abandon, there are not many people who can write a perfectly crafted speech without some work.

But there is a way to capture emotion in a moving commemorative speech and also give honor to a subject. A good speech seeks to entertain, engage, and move others. And this statement can also inform your audience with firsthand, personal education about the person or topic you’re honoring.

Jump ahead to these sections:

Step 1: decide on the topic, step 2: do your research, step 3: take notes, step 4: start drafting, step 5: take a break.

Step 6: Edit, and Draft Again

Step 7: Finalize It

Step 8: share the “final” aloud, commemorative speech topic ideas, commemorative speech examples.

Whether you’re a confident writer and speaker who needs to brush up or someone could use a bit (or a lot) of help, here is a step-by-step guide to help you write a persuasive commemorative speech of your own.

But even with the best writing and delivery, a mesmerizing commemorative speech can only happen if it comes from the heart. Bring people to their feet with your heart, and keep them engrossed with your words.

Are you hoping to share a story or historical event relevant to a family member or loved one? Or, are you hoping to give a brief biography about a recently deceased loved one? The topic is entirely up to you, and you may already have something in mind.

Maybe you have a few different, but related topics you’d like to weave together. The number of topics you write about doesn’t matter, as long as you can create a cohesive piece in the end. Think about how you can guide your audience to better understand this person or event, for example, if you’re speaking on a death anniversary .

Tip: Jot down words or phrases freely to help yourself brainstorm.

Once you decide upon your topic or topics, do your research. You may not have to visit your local library and peer intently at the microfilms, even if you’re covering something really historical and not well known.

If you’re planning to write about another family member, such as a grandparent, sit down with someone else close to them. Interview them informally, but take copious notes or record them.

Depending on their level of recall, you may have to ask more than one relative. On the other hand, don’t be afraid to talk to people who may not know as much about the person or event you’re researching. They may say something inspirational or silly, but something that’ll add some whimsy and lightness to your speech.

There’s always your good friend Google, too. Get creative with your searching and what details you choose to include. You may learn something new about your loved one.

Tip: Don’t get in your own way. If you’re having a hard time writing about a certain person or topic — change it or take a step back.

Share your final wishes, just in case.

Create a free Cake end-of-life planning profile and instantly share your health, legal, funeral, and legacy decisions with a loved one.

Isn’t taking notes a way of putting off the drafting process? Isn’t it more writing? Taking notes is considered more writing, yes, but when you sit down to write your first draft, these notes will be your best friend.

Think of it less as writing notes but more so as writing an outline. Chances are, within your notes are some real nuggets of gold that can make your piece truly shine. Without notes, it can be extremely hard to reference anything that is not written down somewhere.

In addition, with your notes organized in an outline (check our commemorative speech templates for inspiration), you can take a deeper look at the flow and structure without having to write again from scratch.

Starting to draft a speech on a blank Word document, or sheet of paper if you’re old school, is much more daunting than if you craft notes or an outline. Identify key points as “subheadings” to give your speech some structure. Notes will also ensure you focus on important facts before going off on a tangent.

Tip: Try to organize your notes in a way that makes sense to you, either chronologically or in order of importance.

Breathe. How do you feel? Writing a commemorative speech, much like writing a eulogy , can be an emotional thing to do. If you’re not in a good headspace or a quiet, reliable place to work, your speech will reflect this. Don’t write your speech until you’re ready.

Once you are ready, open up your notebook or document. If you find yourself unable to start at the very beginning, don’t worry. Start on one section or another and fill in transitions later. You can always rearrange the content of your speech so it makes the most sense.

Tip: Give yourself deadlines to complete each of these steps, and be conservative if you tend to procrastinate.

Taking mental (and physical) breaks is an important part of completing any task. If you find yourself on a tight deadline, budget an hour to do something that doesn’t require much thinking. Go out for a meal, walk your dog, or do some laundry if it’s therapeutic for you.

Walking away from your speech and revisiting it with fresh eyes will not only help you suss out any obvious mistakes or errors but likely reinvigorate you to get back to writing. There’s nothing worse than trying to write something out of frustration, rather than will.

Tip: Make sure you’re adequately fueled before you attack your speech again. Brew a pot of coffee or have a healthy meal.

Step 6: Edit, Then Draft Again

Once you get back to your draft, make any necessary edits. Read the progress of your draft beginning to end, and then backward.

Does it still make sense? If you constantly read your writing beginning to end, you may get caught up in your words and glaze over plot holes or mistakes.

Did you find some areas to make changes? Continue tweaking your draft and adding and deleting when necessary. Now that you’re further along in the draft, you can likely tell what areas need more elaboration and what areas are complete. Revisit your brainstorm notes if you have to.

Tip: Writing isn’t always a compounding process. It involves adding and subtracting. Don’t be afraid to delete words or phrases — sometimes less is more.

You’re nearing the end of the writing process. Read over your draft again. Is there a theme or detail you started with? Try to bring this into the conclusion. Putting a detail from the beginning of your speech in the last line is an impactful way to send your audience off.

If this sounds too complicated, you can always keep the conclusion simple. Briefly reiterate what the person or topic means to you and why you chose to speak about it.

Tip: Don’t give complete details in the beginning. Wait till the end to disclose something about the person or topic. For example, “and that’s why…”

If you don’t have time or feel comfortable enough to practice your speech in front of someone else, at least read your speech out loud to yourself. You can identify words or phrases that are awkward or choppy.

After all, this is a speech. If you are tripping over words, it may be a sign to simplify some of your phrasings or adjust some words.

Consider practicing in front of the mirror, too. Then, if you feel confident enough, read the speech to someone else. Getting some honest feedback will help you better prepare for the live delivery. This is also a good practice if you ever have to speak at a funeral . Although difficult and emotional, familiarizing yourself with the speech will make it easier.

Tip: Practicing where to pause in your speech is just as important as the spoken portions. Allow your audience to absorb your words, and let yourself breathe.

Now that you know how to write a commemorative speech, are you still having trouble with step one, i.e. deciding on a topic? Here are a few ideas to get you started, followed by some examples.

A broad look at a relative’s life
A relative’s involvement in a historical event, such as a war or movement
A relative’s childhood or upbringing
How a relative got into their career and details about it
A prominent event from your hometown
A “where are they now” story
A speech about a relative’s last wishes or dreams
About a relative’s marriage or family life
About a relative’s relationship with a pet
A firsthand account of your relationship with a relative

If you’re still struggling to get the ball rolling, here are some specific examples of commemorative speeches. No matter what person or topic you decide on, make it your own and feel free to get creative.

“ Grandpa Jack was a lifelong firefighter. To me, it only makes sense that he moved up north to retire, when most people do the opposite. After decades of taking the heat, all he wanted was to feel the cold. For those of you who don’t already know, you’ll never believe how he decided to become a firefighter in the first place. This is his story... ”

“ On November 20, 1962, our little town changed forever. What was once a tired, somewhat melancholy place, was suddenly bursting with life. The Jones’ family’s decision to open up a ski resort turned it into a winter paradise. As an employee of the Jones family for 25 years, I wanted to share a little bit more about their history and legacy... ”

“ Why did Terry become a teacher? Some of you may think she was plucked from heaven and put back on earth to do just that. I tend to think so, too. For a woman who started life as an orphan, bouncing around from foster home to foster home, she spent the remainder of her life as a voice for children. She was patient, hilarious, and sharp as a tack. She was my best friend... ”

“ Hank, as you all know him, came to this country in 1940. He fled occupied Poland with his father and his grandmother. His mother was estranged when he was a young boy and was never heard from again. It was suspected that Hank’s missing mother was Jewish. The result? Hank was taken from his classroom in his home country of Lithuania one day to find himself in a concentration camp far away... ”

It’s Not Just About Facts

Writing and delivering a powerful commemorative speech isn’t about the many facts and figures you can spout off to your audience. A good commemorative speech encapsulates your feelings for the person or topic you’re covering.

A person’s life is more than important dates, years, or how much they did at any given point in time. Keep these steps in mind, but don’t forget to enjoy it and speak from your heart.

How to Write a Funeral Speech for Dad From a Daughter

How to Write a Memorable Tribute Speech: Step-By-Step

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9 Tips for Dealing With Family Dysfunction After a Death

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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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COMMENTS

Speech Choir: 8 Easy Tips in Conducting It
8. Deliver to be understood. Communicate with the goal of being understood; hence, actions and props are not essential for a traditional speaking choir. It is sufficient to just stand with the hands at the sides of the body. The tone of one's voice and the look on one's face are what really matter.
PDF Creating a Speech Choir: The Bounty of Authentic Audience ...
Conclusion. This Speech Choir incorporates audience authenticity by requiring external invitations to propel the work of the class. Creativity and adaptability to rhetorical exigencies powers the visibility of the group, generating more invitations and giving impetus to productive collaboration.
How to Write a Speech Choir Piece
Task 2: Sketch Your Blueprint. Describe your plans in short sentences. Façade (Intro): In the first stanza, I'll talk about righteousness. I'll emphasize that everywhere, people say they are righteous. Gateway (Getting Serious): In the second stanza, I'll talk about the opposite case.
Speech Choir Mechanics
Speech Choir or verse choir brings out the beauty of harmony and unison, hence providing speakers and listeners alike with an experience that is both exciting and intense in the interpretation of a literary piece. ... Essay Writing Contest is a writing competition where student essayists compose argumentative essays that have substance and that ...
Choreograph Your Speech with Staging, Gestures, and Vocal Variety
Staging your speech means utilizing the 3-dimensional space around you in the most effective way possible. Novice speakers will chain themselves to the lectern or stand in one spot on the middle of the stage.; Intermediate speakers will meander randomly around the speaking area. Body movement appeals to the audience and keeps attention.
Speech Choir: A sample presentation by grade 3 pupil
Speech choir is a group performance that recite speeches, verses, stories or rhymes in unison with elements of choreography and costuming to help bring the ...
How to Conduct a Choir: Lead Like a Pro
First and foremost, we recommend that for every type of formation, the singers should be assembled in a slight arch. If that isn't possible, the singers on each end should angle their bodies in towards the center. This allows for your choir to really hear each other and blend well.
Creating a Speech Choir: The Bounty of Authentic Audience Experience
For most students at my university, classroom experience alone was the choice for formally developing speaking skills. My idea was to provide students with recurring authentic audience experience, attending to the audience dimension outlined by Derryberry (1989) as a critical requirement of public speaking pedagogy. Through research, a new idea was proposed: Create a Speech Choir, combining ...
How to Write An Effective Choir Handbook
If you want to know what should be included in your choir handbook, this post is for you. This is everything you need to know! ...
Speech Choir
Objectives of using Speech Choir. Children. • Improve their oral skills e.g. pitch, tone, volume, pace, diction and enunciation. • Work as a team towards a common goal. • Develop confidence. Teachers. • Trained on the use of 'Speech Choir' as an instructional strategy. • Equipped with skills to carry out lessons using 'Speech ...
Songs with words: choosing and interpreting texts for choral
In 2019, the Choir of Christ's College, Cambridge released an album of Rooney's sacred choral music, As a seed bursts forth. Like many aspects of choral composition, choosing the words is a combination of practical and creative considerations. If you want your music to be performed (and most composers do!), thinking about who might sing the ...
Ten Things You Should Do if You Want to Write Choral Music
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.
How to Write a Good Speech: 10 Steps and Tips
Consider using a mirror or recording yourself to observe your body language and gestures. For instance, if you're giving a motivational speech, practice your gestures and expressions to convey enthusiasm and confidence. 8. Consider nonverbal communication.
What Are The Elements Of A Speech Choir? (Answer)
The highness or the lowness of the voice. Power. The capacity to control volume, force, or loudness in order to enhance or reduce emphasis. Tempo. The rate of speed or the ability to balance the rhythm of a piece. Staging. The capacity to organize the position of the choir on stage for performance effect.
Recruiting Members for Your Church Choir
Relationships - Relationships with staff, church members and choir members will help you with recruiting. If people speak positively about their experiences with you, that will become a magnet for new members. If you keep in close touch with the staff, they can let you know about congregational prospects for various ministries you offer.
5 Simple Ways to Communicate with Your Choir
1 | Spoken Announcements. Spoken announcements are a natural way to communicate important information quickly and effectively. - 2-3 short-term reminders (e.g. "Don't forget to RSVP for the picnic!" or "Mark your calendars for our Christmas Choir Kickoff next month!") Share these announcements toward the beginning of your rehearsal, or in ...
Church choir welcome address
choir welcome address. I greet you in the name of Jesus, good morning. We want to thank our heavenly Father for the wonderful opportunity granted to us today in our church, we have seen His hand with us. Thank you all who have come here today today during this occasion of our choir in our church. We invited several choirs to come and grace this ...
How to Write a Commemorative Speech: Examples & Tips
Breathe. How do you feel? Writing a commemorative speech, much like writing a eulogy, can be an emotional thing to do. If you're not in a good headspace or a quiet, reliable place to work, your speech will reflect this. Don't write your speech until you're ready. Once you are ready, open up your notebook or document.
choir director appreciation speech
We can help you to write a speech that fit the occasion and your specific choir director. You already know your choir director, his or her personality and you would love we address him or her in the speech. You can furnish us with details and then we can write a nice speech for you that fit the appreciation day that you have in the church.
Speech Choir
PLEASE SUBSCRIBE FOR MORE VIDEOShttp://bit.ly/KOCSUBSCRIBE --~--#speechchoir#sabayangpagbigkasspeech choir chants, speech choir champion, speech choir if i ...
welcome speech for choir concert
Here is the welcome speech for choir concert sample. welcome speech for choir concert. Ladies and gentlemen, I greet you in the name of our Lord Jesus. ... 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. ...