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Solo sound in choir settingsDate: April 21, 2012 by Aaren Rivard  Views: 2822
I am a vocalist currently studying for my undergraduate degree in voice performance, and I was wondering about the various thoughts people had about an individual's sound in a choir. How often do you feel the need to tell individual singers to lessen vibrato? Is there a time when someone's "solo" sound is simply too much for what the choir is trying to achieve? This may be more of an issue in a chamber choir of twenty to twent-five, than in a large choir of one hundred plus. But I am just curious as to what methods people use, and where the line is drawn as to what is too much.
John Howell on April 21, 2012 11:08am
Aaren: You touch on a crucial factor: the size of the ensemble. A single mismatched voice can stand out in a small ensemble and completely destroy the blend or, sometimes, the balance, both of which are essential to good choral sound.
But you also seem to miss a different and equally crucial factor. When a conductor has a particular sound in mind, that conductor is going to audition for and select for that particular sound. I've read that Shaw was asked how he got a specific sound from his sopranos, and he answered that he selected voices that would give him that sound. When I have a choice of voices (and of course one does not always have that choice), I am very careful to select good ensemble voices, and my first sopranos are especially critical to this. If the ensemble also includes members who can step forward as soloists, that's just an added benefit. And that goes equally--but differently--for both show ensembles and classical ensembles.
So your question really seems to turn back on itself: what is a conductor's concept of choral sound that will guide his or her selection of singers? My personal belief is that being a great soloist takes one skill set, while being a great chorister takes a different skill set. Some singers can do both equally well. Some cannot, or are at a point in their vocal development where they cannot do both or where their teacher does not WANT them to do both. Thus there can be (and often is) a difference between the goals of a voice teacher and those of a conductor.
I don't happen to believe that there can be such a thing as an "ensemble of soloists." The worst sound I've every heard, albeit an extreme case, was "The Metropolitan Opera Madrigal Singers" (accompanied by piano of course!!!)--5 singers singing against each other as if it were Rigoletto!
However, the genre of the music is a third crucial factor. Barbershop singing requires much less vibrato; traditional country singing requires none; conventional choral singing requires a relaxed, natural vibrato that does not distort either the tone or the pitch; an opera chorus can get away with trying to be an "ensemble of soloists" but suffers musically in order to gratify the singers' egos (or, to be fair, the expectation of opera conductors and coaches). Renaissance and baroque music requires fine tuning to just intonation, so wide pitch vibratos are unacceptable, but that doesn't mean that a straight tone is needed. And when my son sang with Chanticleer they varied their tuning and vibrato according to what music they were singing, but they didn't have to adjust much because there were no voices with pulsating or wide pitch vibratos in the ensemble.
I'm sure others will disagree. That's why they run the horse races. And there is no one "perfect" choral sound that everyone subscribes to, although balance, blend, intonation and rhythmic accuracy are always factors that need to be balanced up.
All the best,
John
on April 21, 2012 3:54pm
I think one of the best strategies to deal with solo voices sticking out in your choir is to simply explain that each person has a solo voice and a choral voice. The choral voice has to blend with others around them...therefore, they may need to soften when singing in an ensemble. If they can't hear those next to them singing, then they are probably singing too loud. One should never hear an individual voice or voices sticking out.
I agree with John that there is no one "perfect" choral sound. When singing, if the voice is correctly "placed" in the masque, there will be a natural vibrato. I work with a boy choir, and there is no vibrato at all in their sound. I also work with a church choir, whose members are of all ages. With age, often comes expanding vibratos. We work a lot with the choral vowel and blend...that seems to help. Although if the vibrato of one voice is sticking out, I work with that singer individually, especially on breath support and placement. It's also effective to work with the choir on removing all vibrato and singing a straight tone...that way they understand the concept of vibrato in singing.
The best strategy to hear voices and vocal problems sticking out in your choir is to record the choir and then listen to the recording. I would always meet with a singer individually if there are problems and discuss solutions, never embarass them in front of the choir.
on April 22, 2012 10:23am
Technically, from the standpoint of bio-physics, there is no sound "without vibrato". If you slap the table where your computer sits, there is a tiny vibration that causes that sound. The tone that folks call "straight' or "choirboy" has a vibrato that is essentially imperceptible to most ears.
If a tone quality is supported, relaxed, and focused well enough to be pitch-accurate, does not vacillate excessively in volume, and the vowel is well-produced/consistent, vibrato shouldn't be a problem in any ensemble or style. My experience - as a soloist, choral director and voice teacher - has shown me that most issues of blend are due to lack of technique [or "teach-nique" ;) - the singer has trouble with coordinating the art of vocal control and relaxation. Yes, the paradox of singing is that these need to be simultaneous.
If you, as a singer, are concerned about being included, or considered for solos, I recommend talking with the director about their background and musical vision. Offer to demonstrate your own 'choral" and "solo" sound. There are many choir directors, at all levels, who have not studied voice privately, or whose lessons have not been extensive. They often are excellent musicians/leaders, have good words/images, even sometimes good exercises, to shape group sound. However, not all of them understand the various individual issues and how they could actually improve the group sound by improving the individual's technique. I affirm Denise's statement, " Although if the vibrato of one voice is sticking out, I work with that singer individually, especially on breath support and placement." One phenomenon is that "tremolo"can be mistaken for "vibrato". There are many issues.. You may find yourself being happier in an ensemble directed by someone with some vocal background, or who has a flexible philosophy of sound production. Some directors, after they become familiar enough to trust your "sound philosophy" :), may allow you to warm up the choir. This can really be a win-win situation; Director gets a few extra minutes , the choir becomes exposed to good teach-niques, and you may pick up some vocal students! :)
Yes, John, sometimes the "ensemble of soloists" can be musically messy, especially if they have one of those 'unlatched" sounds where the vibrato [perhaps in this case called a " wobble"] is "wide enought to drive a Mack truck through" ;) But I have also sometimes heard quartets/trios in opera, oratorio, broadway, jazz,country music, etc. where people, who are normally soloists, blend beautifully. The singer must be well-trained, versatile, sensitive to the moment, and sing appropriately. I sang with Shaw for 2 years, in separate decades. He actually had a wide variety of "natural" sounds and vocal "sizes". But he described images of what he wanted - from tiny-ethereal to big and deep-throated - a myriad of vocal characters and colors. We were prepared to comply because most of us had really good teachers. When voice teachers and choral directors confer supportively, all benefit - especially the student.
I think that when voice teachers discourage ensemble singing, or straighter tones, it is because their experience has shown them that it does confuse some singers. [ Until we become well-acquainted, ] it is basically impossible to predict how a singer will interpret and physicalize any piece of choral/vocal advice. We try it, and hear the result, and adjust accordingly. I just heard a student last night who is, at the grad level, still trying to develop a technique that supports her naturally-large-and-beautiful voice well. Her former teacher and/or choir director may have been giving advice that worked for others, but not for her. She has a perceptual difference in the way she hears vowels; she and her teacher have had to re-write the "language-code" (IPA does no good for this individual.)
Denise's point about age is something we hear frequently. While age is a factor, I think lack of technique and practice is a larger factor. We see people in their 80's and 90's running road races, and - in some cases - finishing faster than a 30-something who has not trained well.. Ginger Rogers has danced well into her nineties. The voice is a muscle like any other - it is just small, hidden, and used in different/frequent patterns. If we keep it in good shape, take care of it, it will generally be there for us.
In my choral rehearsal and in my studio, I rarely say, "Lessen vibrato." (Who knows what all those individuals might do to acheive that? If they tighten, it often gets worse. ) What I will advise is "Energize your support. Focus your tone on to the hard palate. Don't push. Release excessive tension." If they can really do that, they will, generally, blend well and sound lovely! :)
on April 22, 2012 10:58pm
No choral director worth his salt subscribes to the idea of subjugating individual vocal development by encouraging vibratoless singing as a norm. The St. Olaf Choir tradition abandoned that 30 years ago, and the Westminster Choir tradition changed its choral "ideal" after Frauke Haasemann joined their faculty as vocal developer-almost 25 years ago. Many choral directors today achieve blend through not only calling for unified vowel placement, but placing complementary voices next to each other (strong voices next to less robust voices, etc.) Weston Noble has done some wonderful workshops on how this can be achieved.
I found the latest article in the Choral Journal about the 10 most basic gripes between voice teachers and choral directors rather disturbing. The article seemed to be based on concepts which have been outmoded for decades. It is rare to hear a choral director demanding consistent vibratoless ("straight tone") singing these days. Of course one of the best ways to ensure that a choral director is attuned to the development of the individual voice is to have that director teach some private voice students. Helping students develop their voices and prepare solo literature aids in keeping a balance from erring on one side or the other.
Also, I firmly believe that ensemble singing is important for most singers to help sharpen their ears, increase their musical understanding, be exposed to a wide range of literature and even to expand the parameters of vocal development by learning to sing in different styles (as literature should dictate). Many many great voices of our century have confirmed this and have had experience in both solo and ensemble venues. There occasionally is a rare voice that cannot adjust to ensemble singing, but most singers with good vocal technic can and should be able to do so.
on April 23, 2012 5:48am
Hi Aaren -
To echo John's comments, what kind of music are you talking about? A Renaissance motet? An Eric Whitacre composition? A jazz arrangement?
If we are to distinguish between a "solo voice" and a "choral voice" (IMHO there isn't one, just changes in volume and color), then I think we have to ask, which choir with which repertoire are we talking about? If I were to sing in the St. Olaf Choir when Kenneth Jennings was conducting versus the St. Olaf Choir under Anton Armstrong, I would sing differently. Both conductors would ask for different things in voices. Let's just hypothetically say in a fantasy world I had to opportunity to sing in the Kings Singers, Chanticleer, and Cantus. My voice would change because each group has different sound requirements.
I never say lesson vibrato in a rehearsal and I never say the word blend in a rehearsal. With my church choir, I ask them to sing like intelligent soloists otherwise they will sing off the breath, without resonance, with a colorless choral tone, and most likely out of tune! Maybe it's just me, but blend seems to be such a subjective term. For the first 20ish years of my choral singing career, I never had a choir director mention blend in rehearsal. Does it refer to tone, rhythm, diction, balance within a section, balance between sections, articulation? Does it refer to making sure complementary voice types are next to each (a la Weston Noble)? Does it refer to all of the above?
on April 23, 2012 6:46am
Dear Aaren--
The best opera singer and professional choral singer I currently work with happen to be the same person. She is a wonderful lyric coloratura with a recent masters degree from the Eastman School of Music and is a successful teacher as well. I asked her for her response to your question. Here it is:
--------
The difference between solo singing and choral singing can be simplified down to two components: breath and vowels. Activate your breath before you sing a note. In a manual engine, you have to press the clutch before you can change gears. The same goes for singing. A coach of mine used to say to me: "Idea, breath, phrase." Its as simple as that. Once you activate your breath, you have to maintain it through a phrase. Pretend you are lying flat on your back with a balloon floating above you. In order to keep the balloon from landing on your face, you have to have a constant stream of air coming out of your mouth. The rate at which the air escapes determines the kind of tone you sing. It takes much more air to sing with a purer, "straighter" tone than, say, "Lucia." There IS such a thing as too much solo-istic singing in a chamber group. Save it for the opera hall. There is also such a thing as too much choir-boy sound. Sopranos, you are women. Sing like it. Every voice is different and there are many different techniques and tricks to blending with voices different than your own. I have found that larger voices require more air in the sound than smaller voices if they want to blend in. By riding your breath through a phrase, you re-energize your sound, create a legato like no other, and access head and chest voice effectively, moving with ease through the passaggio. To practice feeding air through your sound, sing through songs on a tall [u] with no consonants. Feed so much air through that is almost sounds like a sound-effect, and not singing. Put your hand up to your mouth to check your air: you should feel a good amount of air escaping all the times. Adding in consonants is like hanging clothes on a clothesline. The vowels are the line and the consonants are the clothespin: just clip them on. Once again... think of the balloon theory and feed air through your sound at all times.
There are 2 reasons why the [u] vowel is useful; it is one of the most closed vowels, therefore, the easiest to purify. It is much more difficult to sing an open vowel simply because they are harder to place. In solo singing, you can sing an [a] depending on what suits your voice (for example, I sing a schwa), but if everyone in a choir sang an [a] the way that suited them, there would be no blend or pitch center. The closed [u] sound is also helpful because it creates a common denominator in choral vowels. Every vowel should start at an [u]. Once again, sing an [u]; switch to an [a] but do not change the shape of your mouth and lips.... think of it like an umlaut. Do the same on other vowels. Always start with an [u]. Sing every vowel of every piece with the [u] vowel in mind. I can't say it enough. This technique (also called vowel harmonization) encourages a healthy sound, well supported by breath, and unified in a group setting. When singing solos it is perfectly acceptable (and encouraged) to utilize brighter vowels. They create a healthy edge (or ping) to your sound that will carry in bigger halls. The easiest way to have bright vowels is to smile while you sing. It engages the cheek muscles and makes singing a whole lot easier. Try it! You can smile when you sing without having a spread tone. This is also called singing "in the mask." Choral singing is in the mask too, but accomplished in a different way. If everyone sang with the brighter vowels, it would be too piercing. Sing them through an [u]l I can't say it enough.
I have found that vibrato is not as much of an issue when you activate and utilize your breath and vowels effectively. There are also different degrees of choral singing. I recently sang Gesualdo and Brahms with a group and you can not sing the two with the same voice. Both can be free, but to sing Gesualdo, you do have to think more "choir boy." The more dissonant the piece, the more "straight" the tone. Do not hold your breath; continue to feed air through your sound. This will keep the "straight-tone" from becoming stagnant and sharp. It will also keep warmth in the sound. With Brahms, however, it is possible to have a free, full sound, with more depth as long as you lock in the chords on longer notes. I'm speaking mainly to sopranos here, but it can apply to all. The higher you sing, the more [u] you must think. Even when singing Brahms or Beethoven, you can't be an opera diva. The rest of the choir will support you, so you don't have to blast the notes (as fun as that can be.... I know!). Stay connected with your breath. Think more "floaty" than full. The notes will still be heard, have no fear!
The greatest tool that a choir member can have is the person sitting next to them. Allow yourselves to build off each other, tune to each other, and match your vowels. You will be amazed at the blend that you can achieve if you listen louder than you sing.
I hope that I've offered some insight. These are the tools that I use to switch between the two worlds. I hope you find them as useful as I do!
on April 23, 2012 12:44pm
Oh, what a can of worms! This is a complicated subject, and many very talented and successful singers disagree on this topic. Here's what makes sense to me.
I know two singers with big operatic sounds who sing successfully in choirs, one a contralto and the other a bass-baritone. When I asked them "How do you manage to sing so well in the choir?" They gave me two different answers. The contralto said, "I just sing piano." The bass-baritone said, "You know all that resonance they teach you about in conservatory? I give a lot of that up while singing in choir."
I've found that the people with big voices who can "blend in" don't stop using vibrato, they just sing more quietly. But they don't wobble, either, at any volume level, and they don't use vowel modification very much, at least when singing gently in the middle range. They also all seem to use some variation of abdominal breathing. Singers who find it difficult to blend in often use a very different breathing method, in which they "bear down" to sing. This latter method can produce a very exciting operatic sound, but it makes gentle singing very difficult.
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