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

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

3. Why I do it
Better tone
Comfortable place for each singer

4. Credit
Weston Noble – Achieving Choral Blend Through Standing Position (DVD from GIA –
Jo-Michael Scheibe

5. 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

6. 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

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

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

9. 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

10. 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

11. Sample Riser Positions

12. Two Row Sections B9 B8 B7 B6 B5 B4 B3 B2 B1 T9 T8 T7 T6 T5 T4 T3 T2 T1A1 A2 A3 A4 A5 A6 A7 A8 A9

13. Four Row Sections B8 B6 B4 B3 B1 T7 T6 T1 T2 B9 B7 B5 B2 T8 T9 T5 T3B9 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

14. Two Row Mixed S1 B1 A3 T8 S9 B8 A6 T1 S2 B3 A5 T9 S6 B9 A7 T2 S5 T6 S4S4 B4 A2 T7 S8 B6 A9 T4 S3 B2 T5 S7 B7 A8 T3 A1 B5

15. Four Row Mixed S4 B1 B2 A3 T8 S9 B8 A6 T1 S2 B3 A4 T6 S6 S7 B7 A9 T2S2 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

16. Contact Information
John Warren
Director of Choral Activities
Professor of Music
Setnor School of Music
Syracuse University