A big THANK YOU goes to Ron Atteberry for his leadership and service to MMEA for the past two years. . For 20 years I have received the MSM and read the articles written by choral conductors whom I admire, respect and appreciate. I am honored and humbled to hold the position that has been held by such esteemed choral directors and I thank you for allowing me to have this opportunity to serve you.

After several years of teaching, I finished my masters in the summer of 2003. I had decided to write my thesis on the subject of individual voice/section placement in the choir and its effect on blend. As part of the paper, I interviewed several choral director to find out their opinions on the subject. I thought it might be interesting (I hope you do too) to share their thoughts with you. This article will share part of the questions asked and some of the answers given. I felt that young directors could possibly glean something from these comments that could help them experiment with their choir’s sound and blend and even those of us who have been around for a while can learn from these awesome directors. The directors: Pat Allen (PA), Nixa Jr. High (now retired); Kevin Hawkins (KH), Springfield Glendale HS; Dr. Richard Honea (RH), Evangel University Chorale; Mark Lawley (ML), Willard HS and Mid-America Singers; Kathy Phillips (KP), Republic HS; and Allin Sorenson (AS), Drury Univ.

Do you see any benefits of having a choir perform in different formations for different pieces of music?
(PA) Absolutely. Singing in quartets or different groupings enables the singers to experience a different blend, tone quality, and tuning perceptions.
(KP) Yes, some pieces work better in different formations. The effect or the blend may be affected by a different formation.
(KH) Yes, it teaches my singers flexibility and cooperation. It teaches them to listen and blend in volume, vowels and velocity of pitch.
(ML) Absolutely! I have heard the texture of my choir’s sound get thicker by changing the standing order.
(AS) Most literature is performed in sections. I find that this gives me the best blend and also facilitates polyphony better than a mixed formation. Exceptions include antiphonal pieces and special effects pieces such as ‘Past Life Melodies” which we performed in a quasi mixed formation standing in small groups.

How do you decide where to position singers in the rehearsal setting? How do you change that for the concert setting?
(PA) Ordinarily, I start with SBTA sections. If the voice parts are difficult, I may rehearse the sections in circles for part reinforcement. Often, I rehearse different sections together so they can hear the difficult intervals and qualities. For the concert, we would go to an arrangement that best suits that song.
(ML) My choir always rehearses in this order (left to right) SBTA, with strong voices in the center of each section and weaker and non-blending voices on the outer edge. If I’m planning to stand in a different formation for the performance-we will rehearse that way generally about three weeks before the performance. This is determined by the piece: I have used front two rows women, back two rows men; front row women, second row men, third women, fourth men; men on one side, women on the other; mixed quartets; SBTA.
(AS) I typically seat them in SBTA formation. Within the sections I use a version of Weston Noble’s blending technique. I find it necessary to recheck the group before concerts, or as needed based on the quality of the blend. We don’t make any changes for the concert setting.
(RH) Traditionally I rehearse in section formation until the music is learned pretty well, or at least until most of the singers are comfortable with the selections. After the singers become comfortable with the literature, I move pretty rapidly to a mixed formation that varies from rehearsal to rehearsal. I think that varying the mixed standing formation for each rehearsal builds confidence in individual singers and makes them more dependent upon their own musical ability rather than always “leaning” on the same people around them.

What is the most common riser formation that you use for a mixed choir?
(KH) uses SATB, the other use SBTA except for RH
(RH) My most common sectional riser formation is soprano front to my right, alto front to my left, basses top to my right, and tenors top to my left.

What percentage of the time does your choir perform in a mixed or quartet formation?
(PA) Never. In the junior high setting, I use the quartet formation as a rehearsal technique only, out of consideration for the insecure singer.
(KP) I usually only use quartets in chamber choir about 50% of the time.
(AS) Rarely. Standing in sections requires each voice to blend and match pitch with the others in their section. This is much easier than trying to match with different voice parts singing different pitches and possibly different vowels. Singing in a mixed formation also masks poor singing and can, for a short time, make a choir sound better. It is also my opinion that these choirs typically sing with a breathy tone production and a mediocre blend at best.
(RH) My singers always perform in a modified mixed quartet formation unless the literature is so difficult that the singers need support from fellow section members-and that does not happen very often. My modified mixed arrangement is formulated by alternating voice parts from front to back beginning with Choir I people followed by Choir II people. If you listen very closely to an Evangel Chorale performance you will hear the tone color change from my right to my left because the lighter voices with more “ping” are to my right and the tone color changes to a darker sound as you scan to my left.

What are your thoughts on individual voice placement and how do you go about placing the individual singers? (PA) I put the most secure singer in the center of the section, then alternate strong and uncertain singers. If a singer is struggling with voice placement or tone quality or pitch, I put them next to a singer that is secure with that concept.
(ML) I try to put vibrato next to non-vibrato, big next to small, robust next to flute-like, I don’t pair up similar sounding voices.
(AS) Individual voices are first categorized as SATB and then as a I or II based on range, timbre, location of passaggio and of course the need. Typically I try to have more IIs than Is. I also take into consideration whether the voice is a blending or a soloistic voice.
(RH) I always try to place opposite type voices together in the choral formation. That opposite thought might be a mixed quartet with no two voice parts standing together and the quartets alternating between the Choir I (the people with more “ping”) and Choir II (the people with richer/darker tones). In sectional standing formations, the opposite idea might be basses behind sopranos, but even with the contrasts between sopranos and basses I will place the low basses behind the first sopranos and the baritones behind the second sopranos. Same idea applies with tenors behind altos to my left with first tenors on the outside behind the second altos, and second tenors in the center behind the first altos. The important thing is opposites/opposites/opposites.

On a scale of 1-5, one being very important- five being least important, rate each of the following on how important each is to placing a voice within a section/on the risers.
(PA) Pitch 1, Size of voice 2, Tone 3, height 4, vibrato 5
(KH) Height 1, Size of voice 2, tone 3, vibrato 4, pitch 5
(KP) Size of Voice 1, Tone 2, Vibrato 3, Pitch 4, physical height 5
(ML) Size of voice 1, vibrato 1, tone 1, pitch 1, height 5
(AS) Pitch 1, tone 2, Size of voice 3, vibrato 4, height 5
(RH) Pitch N/A, Tone 1, Size of voice 1, height 3, vibrato 5

Any added information not covered in my questions?
(KP) At the beginning of the year while working on district/state quartet piece, I do a lot of quartet and individual work even in class, moving students all around and with different groups. During the first quarter, I basically seat students alphabetically according to last names within the section. I start moving them around from the beginning. At the end of the quarter, for second quarter I do a social preference. I ask students to write on an index card three people that they would like to sit by and guarantee that they will get to sit by at least one of them. Usually I don’t move them around that quarter. Third and fourth quarter, I move a lot. I do singing tests on tape in quartets and individually, so I have a pretty good idea about their sound.
(AS) My concept of tone production and blend is centered on the idea that “perfect” blend is achieved when two or more singers are singing the same vowel color, the same pitch, and the same dynamic – at the same time. Leland Sateren speaks to this concept in his book “Those Straight Tone Choirs” where he argues against the idea that singing with a straight tone is the only way to achieve blend. Straight tone is contraindicated in the bel canto school of singing where a free and natural vibrato is nurtured and developed. A singer can sing with a pure straight tone in a healthy manner if trained to do so, but the result is often colorless and unexpressive. It is only when singing in sections that this “perfect” blend has any chance of being achieved.

The concepts of voice placement and section arrangement seem to be unending. Although directors would probably agree on what is “bad,” they may disagree about what is “good,” or at least disagree about how to achieve it. The decision, and in the end, the blend that is heard, are up to the individual conductor. They are really a personal choice often made through years of experimentation and practice. When developing a seating plan or choral arrangement, the director needs to first evaluate his or her own singers, their ability, their musicianship and tone, the selection of music, to see if it mandates what the riser formation should be and his or her own preference. The director should remember that what works for someone else, may or may not work in his or her situation. Experimentation is the key. Be willing, as a conductor, to step out of your comfort zone and experiment with new and different ideas to assist you in achieving your “ideal” choral blend. You should also listen to those around you who have experimented with and evaluated their choir’s final outcome. Although you may not agree with their ideas, it is good to try new things.

Please plan to send in your auditions for the 2009 MMEA. The deadline is fast approaching. I look forward to hearing from you.