The Solo Singer in the Choral Ensemble

Author(s): Richard Miller

Source: The Choral Journal, Vol. 35, No. 8 (MARCH 1995), pp. 31-36
Published by: American Choral Directors Association
Stable URL: http://www.jstor.org/stable/23551228
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 Rehearsal Breaks

The Solo Singer in the Choral Ensemble

by Richard Miller

MUSIC is vocal music, produce an energized vocal sound to in ensembles with amateur singers pos
The most efficient vocalism, match the orchestral sonority. It is the limited vocal resources. Much
sessing pub
CHORALwhether from the solo singer or traditional choral literature, where voices lished literature on the care of the
from the chorister, produces the most are expected to blend at all tessituras and voice makes a fallacious as
professional
aesthetically pleasing vocal timbre. There dynamic levels, that most solo about the of choral
young sumption dangers
is a history of conflict in American aca- voices find problematic. when it states that vocal abuse
singing
demie circles between the training of the results from to sing as loudly
attempting
solo voice and what is expected of a as the next to "in order to
person you
singer in the choral ensemble. Such con- iflhcVCYlt
hear yourself." In point of fact, for the
ÍJVoblcTTl
flict need not exist. x voice or the professional the
major singer,
An inherent problem for the solo singer threat to vocal health in choral
fnv ¿-Lp çn]n çiytn-pr ic singing
i i lili* /1/ » k'/C 31/ F F 1/3 |. • i *i i • • i •
is that much J o
early choral literature was lies not in decibel competition but in
not intended for solo voices Most liturgi- attempting to submerge the voice into
^ ear[y •/ Cfjoml
cal music was written to be performed the bland sound. Because
surrounding
not in concert halls and theaters but in each vocal instrument has its own unique
Htemture was mt
chapels, churches, abbeys, and cathedrals. timbre characteristics, the choral con
The vocal demands of the early literature ductor's task is not to make solo singers
ijltCYldcd foT Solo V01CCS '
are not modest; its performers were J emulate the technical level of amateur
clearly
musicians of great skill. But the singers of voices but to work for a more efficient

complex early liturgical music were not production from the less proficient sing
expected to give solo recitals in which the Further, there is a problem for vocal ers. There cannot be one vocal timbre

unique timbre of the individual voice was performance majors when they are mixed that the entire unless
encompasses group
valued. The vocal-performance major of

todays conservatories and schools of mu

sic experiences different demands than

did the singer of Josquin's, Palestrina's, or
Gesualdo's music.

The
International Choral
large choral works of the late eigh
teenth and nineteenth centuries generally
call for a quartet of soloists. Nevertheless, Kathaumixw
the vocal demands for the choristers, who
- 6, 1996
often are amateur the
July 2
singers, may equal
Powell River, British Columbia, Canada
tasks assigned the solo voices. It is clear

that the tessitura requirements for the so

Join 25 adult, youth and childrens choirs from around the
prano choristers in the Bach B-Minor
world in a week of concerts, competitions, workshops
Mass or the Beethoven Ninth Symphony and social events on the shores of Canada's magnificent
go beyond even what is requested in many Pacific Coast.
operatic roles. Nonetheless, it is not sym
phonic choral literature that causes the For information and contact
application,
chief difficultyfor the solo singer, since in
that the is called on to Don James, Music Director
repertory singer
Powell River Academy of Music
Richard Miller is Professor of Singing
Box 334, Powell River, B.C.
Canada V8A 5C2
and Director of the Otto B. Schoepfle

Vocal Arts at the Oberlin

Telephone: 604 483-3346; Fax: 604 483-3383
Laboratory

Conservatory of Music, Oberlin, Ohio.

Application Deadline November 1, 1995

MARCH 1995 PAGE 31

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the choristers are a single vocal become efficient singers so that they will singer, but he or she should be able to
imitating
model, thereby falsifyingtheir own voices. profit from, and not be injured by, the lead choristers to improved vocal profi
As Robert Shaw has stated on musical demands placed on them and so ciency. Dealing solely in musical matters,
publicly
occasion, it is as for the choral that the quality of sound from the en however, will not accomplish that goal.
illogical
conductor to demand one vocal quality semble is of the highest possible order. The traditional voice class requirement
from all of voices as for the If the premise is accepted that choral for keyboard majors in most music edu
categories
orchestral conductor to that all music is vocal music, the qualifications cation curricula is insufficient vocal train
request
instruments have the same timbre. Bal required of a choral director must be ad ing for a prospective choral director.

ancing voices is far better choral tech dressed. Is it sufficient to be a good musi

nique than is the unrealizable goal of cian, have leadership qualities, possess
Teaching Voice in
trying to blend them. A complete choral skills as an organist or pianist, or to be the Choral Rehearsal
sound can be achieved only when the musicologically well-informed? It is not Assuming the choral conductor is prop

within the ensemble use their necessary to be a professional singer in erly prepared to work with singers, how
singers
voices a vocal order to be a fine teacher of singing, but can vocal technique be taught in an en
efficiently, using produc
tion based on breath it is necessary that one achieve a good semble situation? Most choir directors do
good management,
free laryngeal action, and flexible resona level of technical proficiency with one's not have time to give private voice lessons

tor track It is the duty of the own voice. Similarly, it is not necessary to each member of the choral ensemble.
adjustment.
choir director to teach choristers how to for the choir director to be a performing Still, much can be accomplished through

group instruction by using a brief program

? ? > I > in vocal before re
techniques beginning
hearsal of the literature. These sessions

should consist of exercises that, through

systematic application, develop good hab

mH its in the three main areas of vocal tech

nique: 1) breath management (vocal onset,

release, and breath renewal), 2) free laryn

Figure 1
geal function (efficient coordination of
breath with tone), and 3) resonance bal

ancing (desirable relationships among the

harmonic partíais or overtones).

INVITATION Onset (often termed "attack") vocalises

can be found in every vocalization system

MUSICA DEL CARDA Riva del Garda (Italy)
of the nineteenth and in some
June22th - 25th, 1995 century
recent as well.
Folksong Competition, Folklore Competition, pedagogical publications
Folklore Workshop, Vocal Jazz Meeting Silent inhalation each brief onset,
precedes
ArtisticKommittee:Dr. MatthiasBecker,
Gábor Hollerung,HubertusWeimer which begins with a vibrant tone accu

rately centered on pitch. The conclusion

of this phonation coincides with the im

4th International
Choir Competition
Riva del Garda (Italy) mediate, quiet renewal of the breath. This
March 31st - April 3rd, 1996
ensures that at the cessation of each sound,
Open for all kinds of choirs,
with and without compulsory piece, the vocal folds part and the breath is re
category for madrigal and folklore. in a synergistic manner. Then
Artistic Advisers: Giovanni Acciai & Gábor Hollerung plenished
the onset cycle is repeated. Crucial to the

maintenance of vocal freedom through the

2nd International SMETANA Choir Competition
duration of the phonation is the manner
Litomysl (Czech Republic)
September 31st - October 3st, 1995 in which a singer begins the vocal sound.
Open for all kinds of choirs,
without compulsory Choristers sing the onset exercises
piece.
Artistic Adviser: Vlastislav Novák based on standard harmonic chordal pro

gressions such as the traditional I—IV—

2nd International Robert Schumann
V—I series, over a two-measure phrase
Choir Competition Zwickau (Germany)
May 25th - 28th, 1995 consisting of a measure of four quarter
Open for all kinds of choirs, notes followed by a sustained whole-note
demanding compulsory pieces.
Artistic Adviser: Dr. Ralf EisenbeiB measure, beginning with the tempo mark

Fórderverein INTERKULTUR e.V. ing J = m.m. 60, and followed by a whole

Post Box 12 55 Tel: +49 6403 - 6 1 4 82 bar of rest (Figure 1). These exercises be
D-3541 2 Pohlheim Fax: +49 6403 - 6 81 32
gin in lower-middle range and progress
Germany
through several neighboring keys to up

PAGE 32 CHORAL JOURNAL

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 9 9,9. ?
per-middle range, using alternate series of

cardinal vowels. Through this onset pro $

cedure the singer induces subconscious (any vowel)

activity that produces healthy vocal-fold

Figure 2
approximation (neither pressed nor

breathy), ensures efficient breath man

agement, and establishes a proper reso

nance balance.
Such onset exercises can be varied in

duration, being gradually elongated.

Combinations of short and sustained pho
nations prove beneficial. Devoting four

to five minutes of each session to onsetting

trains the singer in initiating free vocal

sound and in sustaining well-balanced

tone without an early rib-cage collapse.

Repetition of these exercises strengthens

the musculature

dominal wall.
of the antero-lateral ab
WITTE TRAVEL
Several additional minutes of techni Specializing in custom-designed tours for performing groups
cal work should be given over to brief

agility exercises. These begin as short pat

terns imitative of quiet UNITED STATES • CANADA • EUROPE
laughter, progress
to short staccato patterns (5-4—3-2-1),
and into articulated SCANDINAVIA • GREAT BRITAIN
subsequently develop

legato passages in ranges of easy execu

tion (Figure 2).

In all onset, and sostenuto exer
3250 - 28th Street, S.E.
agility,
the abdominal flex
Grand
--- Rapids,
-- MI 49512
cises, wall, although
ible while articulating the laughterlike
J>
remains stable. The nei
(616) 957-8113or (800) 469-4883 -,
impulses,
ther inward nor
singer
outward at
JJ
pulls presses
the moment of onset. On notes of short
Wherever you travel, let us be your guide.
duration, there is minimal change in the

abdominal wall from the initial inspiratory

position. During sustained phonation, the

position of inspiration is maintained until

just before the termination of the phrase.

This technique of breath management is

termed the appoggio. Its origins are in the

historic Italian school, and it has long been

the major breath-management system of

professional
cises circumvent
vocalism. These group
and
exer

time
Almeda d" Jackson Berkey
complicated

consuming explanations about breath

/f^ T*i
support, and they avoid nonproductive
Almeda conducts
techniques for "controlling the breath."
Soli Deo Gloria
Another type of short exercise for
Cantorum singing
groups of singers is directed toward vowel Arvo Part's
definition. Many of the tuning problems Magnificat &
Jackson Berkey's
in choral ensembles are the consequence God Be In My Head
of the singers' inability to clearly differen and Native American
tiate vowels. As an instrument that Ambiances
obeys
the laws of acoustics, the resonator tract

must assume that accurately de

positions At finerecord stores everywhere! 9§RUP(K3I
fine lateral (front) and rounded (back) or call Collegium 800 367 9059 RECORDS
vowels. Choristers sometimes hold the

MARCH 1995 PAGE 33

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naive assumption (physiologically not sup- produce a fully resonant vocal timbre.

portable) that opening the mouth by drop- CJl)0VÍSt6TS US Well US Solo

^'s consistency of timbre can be main
ping the jaw opens the throat and provides tained only if the resonator tract (largely
additional space for the emission of sound. the mouth and the pharynx) is permitted
sÍYIPCYS Yl6C(l tO IcUYfl tO
however, is not o to assume that "track" the
Pharyngeal space, geared shapes laryn
to increased buccal room; the pharynx can geally generated vowels. The ability to
"tYUck t¡J6 VOUJcl" bv
be whether breath is in- •/ the of the resonator tract
equally spacious change shapes
haled through the nose with the mouth a"ows voca' timbre to remain constant
chutlPÍYl? the shut)6 of th6
closed or an mouth ¿So r J when vowels are differentiated,
through open posi-
tion. In fact dropping the jaw tends to One way to accomplish good vowel
tmct fQ COYYeSpOfld
narrow the pharynx. 1 he result of the false definition in is to choose a se
singing
acoustic premise is distortion of vowels quence of vowels on one pitch, beginning
^ the tUYPCtcd VOWcl '
and vocal timbre. o with a lateral vowel, to a
proceeding
Choristers as well as solo singers need rounded vowel, and then returning to the
to learn to "track the vowel" by changing original lateral vowel posture. An [i-e-a
the shape of the vocal tract (including the instruments, the resonator tract of the e-i] sequence (ee-ay-ah-ay-ee) is an ex

lips, tongue, mouth, and jaw) to corre- voice is not fixed, but rather is a flexible ample. Once they reach the [a] vowel,

spond to the targeted vowel. Each vowel system that assumes physical shapes in re- many have a tendency to retain
singers
has its own laryngeal configuration, and sponse to phonetic requirements. It is not the more mouth
open position appropri
there is a corresponding vocal tract con- the absolute dimensions of either of the ate to that central vowel, so that the sub

figuration that permits a specific vowel to chief resonators (the mouth and the sequent [e] and [i] vowels do not match
take on its distinctive form. It is false to pharynx) that produce ideal acoustic con- the earlier [i] and [e] vocal tract postures;
assume that there is a single ideal position ditions for singing. The particular vowel, those vowels are then distorted. This ex
of the mouth and jaw for singing. The the tessitura, and the intensity determine ercise can be done in several neighboring
vocal tract (which extends from the vocal the degree of jaw opening. keys; then the reverse vowel sequence is
folds to the lip bastion and whose shape A few vowel differentiation exercises, [a-e-i-e-a] Other
sung: (ah-ay-ee-ay-ah).
depends on positions of the lips, the jaw, executed individually or in groups, first combinations of lateral and rounded vow
the tongue, the velum, the zygomatic arch, slowly, then quickly, bring about an aware- els may be introduced,
and the larynx) serves as filter to the la- ness of how vowels can be changed with- A brief exercise use of alter
making
ryngeal sound. Unlike that of some other out loss of the consistency necessary to lateral and rounded vowels on
nating

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PAGE 34 CHORAL JOURNAL

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changing pitch is also beneficial in teach
ing good vowel definition. A typical de
ifrtj^Vnp [eoeoeoeo e]
vice built on a 1-3—2-4-3-5-4—2-1
[oeoeoeoe o]
pattern, uses an [e-o-e-D-e-D-e-D-e] (ay
The is then re Figure 3
aw) sequence. pattern
versed with an [o-eo-e-D-eo-e-o] (aw-ay)
vowel sequence 3). Some
(Figure sing
ers, particularly if they have been told to

drop the jaw in the hope of opening the

throat to "let the sound out," will retain $
[i o a o e]
the same jaw position for both the lat o i
[a o e]
eral and rounded vowels, thereby pro
vowel and timbre Figure 4
ducing distortion.
What was intended as a means for achiev

ing a common quality of vocal resonance introduced. When these vowels can be

despite vowel changes actually becomes cleanly differentiated so that no timbre THE TEMPOWATCH
the in not For all musicians
culprit allowing such consis distortion is involved in vowel
change, - For the conductor,
composer,
tency to remain. a second combination of vowel teacher,student
changes - Exact
tempo as ithappens in
When the ears of the conductor and is introduced, as in [i-o-a-o-e] (ee-oh rehearsal,in recording.
- Precisetimingof beats
those of the choristers that These are then per
recognize ah-oh-ay). patterns sung minute.
clean vowel in neighboring - Fullyguaranteed.Comes with
definition has been estab tonalities, moving by protectivecarryingcase.
lished on two vowels—one lateral and first then more
half-step, slowly rap Write for information:
one rounded—then a sequence of chang The exercise also can be extended
idly. MUSIC PRINT COMPANY. INC.
ing vowels, as in [a-o-i-o-e] (ah-oh-ee over a longer arpeggio pattern, such as P.O. BOX 17608 • BOULDER, CO 80308
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oh-ay) on a 1—3—5—3—1 pattern is 1-3-5—8-5—3-1 (Figure 4) or a broken

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MARCH 1995 PAGE 35

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 hn « h«_i
y$y [e d e o e o e
4^
0 e]
[o e o e o e o e o]

Figure 5

such as 3-1-5-3—8—5- times a rounded vowel is the top note of e-i] and [a-e-i-e-a] for example, with care
arPeggi° pattern,
3-5-1 5), once the arpeggio. ful attention to the tracking of vow
(Figure again alternating given
the sequence of the vowel so that harmony on I-IV-V—I can els and to intonation. These exercises are
patterns Four-part
sometimes a lateral vowel and at other now be to vowel [i-e-a- beneficial in the choristers'
applied changes, developing

perception of vowel tracking and reso

nance balancing.
The of Minnesota School of Music, announces the following An even vibrato, the result of relaxant
University workshop
laryngeal function, is an inherent char

acteristic of freely produced vocal sound.

Choral singers should not be requested

to remove vibrancy from their voices in

the hope of blending them with non

SACRED CHORAL vibrant voices. Rather, the conductor

should assist the nonvibrant amateur,

REPERTOIRE through
the
onset

natural
and agility exercises,
of the coor
to

induce
June 2 6 - 3 0, 1 9 9 5 vibrancy
dinated singing instrument. Properly
an intensive week music for chorus the church - 2 credits vibrant voices can be balanced
exploring covering year produced
with PHILIP BRUNELLE, outstanding even more readily than can nonvibrant

nationally-known conductor, innovative voices. Of course, if voices in the en

musician, music director, founder of the semble suffer from oscillation (too wide

Plymouth Music Series of Minnesota, choral too slow a pitch less

and variant, kindly
clinician, author of the monthly column on
termed "wobble"), or from a tremolo
choral repertoire for The American Organist,
(too narrow and too swift a vibrato rate),
Organist-Choirmaster at Plymouth
voices will not balance. Additional pri
Congregational Church, Minneapolis,
vate technical work with those singers
Minnesota, and member of the National
may be necessary.
Council on the Arts.
For every choral director, musical ac
The workshop will include sacred choral
curacy has to be a major priority. Training
literature, NOT DUPLICATED IN
the choir to sing accurately requires time.
PREVIOUS WORKSHOPS, from all periods
It may seem difficult to reserve fifteen
of music, covering the church year from Advent
as well as festive occasions such as Thanksgiving. minutes of each rehearsal period for the
to Pentecost,
teaching of vocal technique. Most choral
Additional Sessions:
conductors, however, use warmup exer
John Gardner, the noted English composer, makes a rare visit to the United States
cises with the choir. The systematic tech
Sigrid Johnson offers "Warm-ups and Choral Blend"
will exercises suggested here could be
Constantina Tsolainu, Southern Methodist University's choral conductor, nique

make her first visit to Philip Brunelle's part of that warmup process. Improve
workshop
ment in intonation, attacks and releases,
The will introduce to a great deal of unfamiliar old and
workshops participants breath management, dynamic control,
new music of outstanding quality, and music will be provided by various
and, above all, basic choral sound, will
publishers and local libraries.
make such an investment of time pay off
For information, contact Professional Development and Conference Services, 221
handsomely. The solo singer will no longer
Nolte Center, 315 Pillshury Drive S.E., Minneapolis, MN 55455, (612) 625-6358,
be an alien member of the ensemble.
smueffel@mail.cee. limn .edu

The Universityof Minnesotaas an equal opportunityeducator and employer.These workshopsare facilitatedhy

ProfessionalDevelopmentand ConferenceServices,ContinuingEducation and Extension,Universityof -CJ
Minnesota,and sponsoredin part, hyBoosey & Hawkes, Inc.

University of Minnesota

PAGE 36 CHORAL JOURNAL

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