Positioning Singers for Optimal Sound John Warren Director of Choral Activties Syracuse University

Purpose Show how acoustically matching voices helps each section and entire choir sound better Demonstrate a sequential procedure for placing singers

Why I do it Better tone Comfortable place for each singer

Credit Weston Noble – Achieving Choral Blend Through Standing Position (DVD from GIA – http://giamusic.com/products/P-628.cfm Jo-Michael Scheibe

General Guidelines Place each section individually, away from the rest of the choir It is unnecessary for anyone to sing alone Allow singers to give feedback about differences they hear or which position is more comfortable Use a simple, legato, mid-range melody for each section Remind singers to sing comfortably Explain this is not a qualitative, rating system, but an attempt to find the best sound for the section and the most comfortable place for each singer

The Process Start in random order, single row Sing the melody together a few times (conductor moves around) Hear small groups (2-3-4) sing the melody Select 2 or 3 voices you think will sound good together, or produce the sound you want to hear from the section Try this pair or trio in every combination Pick one additional voice and try in each spot Repeat with each singer until all are placed

The Process Listen to the section all together Divide into two or more rows if needed (careful with ends)

Other Considerations Heavy to light continuum Unique voices Divisi Choose tone over height Music learning formation

Voice Matching for Mixed Arrangements Choose a simple, legato, mid-range, work in the appropriate number of parts Match two members from outer parts Add an inner voice on either side I skip this

Considerations for Riser Formations Core – clear sound in back if you have a shell or hard surface Or tenor and basses in back if they are outnumbered Larger voices interior Front row is a wild card Make sure singers can hear other parts and their own (ribbons) Experiment – endless possibilities Contrapuntal music – sections Homophonic music - mixed

Sample Riser Positions

Two Row Sections B9 B8 B7 B6 B5 B4 B3 B2 B1 T9 T8 T7 T6 T5 T4 T3 T2 T1 A1 A2 A3 A4 A5 A6 A7 A8 A9

Four Row Sections B8 B6 B4 B3 B1 T7 T6 T1 T2 B9 B7 B5 B2 T8 T9 T5 T3   B9 B7 B5 B2 T8 T9 T5 T3 T4 S2 S4 S6 S9 A1 A3 A6 A9 A8 S1 S3 S5 S7 S8 A2 A4 A5 A7

Two Row Mixed S1 B1 A3 T8 S9 B8 A6 T1 S2 B3 A5 T9 S6 B9 A7 T2 S5 T6 S4   S4 B4 A2 T7 S8 B6 A9 T4 S3 B2 T5 S7 B7 A8 T3 A1 B5

Four Row Mixed S4 B1 B2 A3 T8 S9 B8 A6 T1 S2 B3 A4 T6 S6 S7 B7 A9 T2   S2 B3 A4 T6 S6 S7 B7 A9 T2 S1 B4 A1 T9 T3 S5 B9 A7 T4 S3 B5 A2 T7 S8 B6 A5 A8 T5

Contact Information John Warren Director of Choral Activities Professor of Music Setnor School of Music Syracuse University 315-443-4106 jfwarr01@syr.edu