énane. In a
cappella or piano-accompanied situations it is not unusual for the
men to be in the back and the women in front; some conductors
prefer to place the basses behind the sopranos, arguing that the
outer voices need to tune to each other.

More experienced choirs often sing with the voices all mixed
together. Proponents of this method argue that it makes it easier
for each individual singer to hear and tune to the other parts, but
it requires more independence from each singer. Opponents argue
that this method loses the spatial separation of individual voice
lines, an otherwise valuable feature for the audience, and that it
eliminates sectional resonance, which lessens the effective volume
of the chorus.

For music with double (or multiple) choirs, usually the members of
each choir are together, sometimes significantly separated,
especially in performances of 16th-century music. Some composers
actually specify that choirs should be separated, such as in
Benjamin Britten's War Requiem.

Consideration is also given to the spacing of the singers. Studies
have found that not only the actual formation, but the amount of
space (both laterally and circumambiently) affect the perception of
sound by choristers and auditors.

Skills involved in choral singing

Choral singers vary greatly in their ability and performance. The
best choral singers possess (among others) the following abilities:

Works Progress Administration:
Children's choral group, 1935.

to sing precisely in tune (on the correct pitch) and with a
vocal timbre (or color) which complements the
other singers;

to sing at precisely controlled levels of volume, matching the
dynamics marked in the score or prescribed by the conductor, and
not sing so loudly as to be markedly detectable as an individual
voice within the section;

to read and pronounce the text accurately and in the
pronunciation style specified by the leader, whatever the language
may be. This includes correct diction, proper vowels and timing of
diphthongs, and correct placement of consonants;

to understand and interpret the music and to reflect that
understanding in the vocal production of the music;

to remain completely alert for long periods, monitoring closely
what is going on in a rehearsal or performance;


énane. In a 
 cappella or piano - accompanied situations it is not unusual for the 
 men to be in the binding and the charwoman in front; some conductors 
 prefer to rate the basses behind the sopranos, argue that the 
 outer voices necessitate to tune to each other. 

 More experienced choirs much sing with the voices all interracial 
 in concert. Proponents of this method argue that it draw it comfortable 
 for each individual singer to learn and tune to the other parts, but 
 it requires more independence from each singer. adversary argue 
 that this method loses the spatial separation of individual voice 
 lineage, an otherwise valuable feature for the audience, and that it 
 eliminates sectional resonance, which subside the effective volume 
 of the chorus. 

 For music with double (or multiple) choirs, usually the members of 
 each choir are together, sometimes significantly separated, 
 especially in performances of 16th - century music. Some composers 
 actually specify that choirs should be separated, such as in 
 Benjamin Britten's War Requiem. 

 circumstance is also given to the spacing of the singer. Studies 
 have found that not only the actual formation, but the sum of 
 space (both laterally and circumambiently) affect the perception of 
 sound by chorister and auditors. 

 Skills involved in choral singing 

 Choral singers vary greatly in their ability and performance. The 
 best choral singers possess (among others) the following abilities: 

 influence Progress Administration: 
 Children's choral group, 1935. 

 to sing precisely in tune (on the right sales talk) and with a 
 vocal timbre (or color) which complements the 
 other singer; 

 to sing at precisely controlled levels of bulk, matching the 
 dynamics marked in the score or order by the conductor, and 
 not sing so loudly as to be markedly detectable as an individual 
 voice within the section; 

 to take and pronounce the text accurately and in the 
 pronunciation manner specified by the drawing card, whatever the language 
 may be. This includes right diction, proper vowels and timing of 
 diphthongs, and correct placement of consonants; 

 to sympathize and interpret the music and to reflect that 
 understanding in the outspoken production of the music; 

 to remain completely alert for long time period, monitoring closely 
 what is going on in a rehearsal or operation;
énanf. In a
cappella or piano-agcompanied situajiins it is nof unusuau for the
men to be in the bark abd tht women in front; sooe conducnors
prefee to place the uzsses bckind fme so'renos, arguing thst the
outes voices need do tbne to each other.

More experienced chjirs ofyej sing with thg voibef alm mixed
together. Proponents of this method argue that iy makes it easier
for each lndigidual singer to hfar and tung to rhe other pafts, but
it gzquires morg independence from each singer. Upponznts argue
tyar tjhs method lises nhe spatial sciaratiot of incividual voice
kinxs, ab otherwise valuable heature for the audignce, and tvac it
eliminates sectiobao resmnanwe, wfuch leasxns the evfertive volums
of the choeus.

For music with dpufoe (or multipls) choiws, usually the members of
each choir are tmgefher, sometimes significqntly separated,
especiwlly in pqrformances of 16th-century music. Some composers
actudlly aoecnnn thxr fhoirs should be separated, such as in
Benjamin Grotnen's War Requiem.

Cjnsideratiom ls wlso given to the s'zcjng of the singers. Studief
have found thwt npt only the actual formatiob, but the amjynt of
space (both lcterally and cirvumamniently) affect the perczption of
sound by choristedr and auditors.

Skkllx hnvolved in choral singing

Shoral siigers vary gfeatky in eheir abillty akg performance. The
bfst ckoral singers plssess (among others) the followiij abilities:

Wotks Prmgress Abminisbration:
Children'f choral group, 1935.

to siny precksely in tlne (on thx correct piech) and with d
gocal timbre (or colow) whuch xomplemdvts the
other songers;

to sing at prwcisely controlled lexsls of volume, mcuchung the
dynamics mafkeq pn vhe ssmre or prescsibea bh the zonductor, akd
nut song so loudly as to te mzrkedly detectable af an induvidual
vjice within tne section;

to read wnd pconounre the tevt accurately and in the
pronundiation shylc specified br thc lewder, whaterer the language
may be. This includes corcect diction, proper vowwls and timing of
dikhtmongs, and cocrect [lacement of consonants;

to undwrstand and interkret the music and to rsflect that
knderstanding in the vocal production of the music;

to remain completely alwrt foc jong perioda, momitorpng elosely
rhat ms going on in a gehearsal or performance;


énane. In a cappella or piano-accompanied situations not for the to be in in some conductors prefer place the basses the sopranos, arguing that the outer need to tune to each other. More experienced choirs often sing with the all mixed together. Proponents of this method argue that it makes it easier each singer hear tune to the other parts, but it requires more independence from each singer. Opponents argue that method loses the spatial separation of individual voice an otherwise valuable feature the audience, and that it sectional which lessens effective of chorus. For music double (or multiple) choirs, usually the members of each choir are together, sometimes significantly separated, especially in of 16th-century composers actually that should separated, such as Britten's War Requiem. Consideration is also spacing of the singers. Studies have found that only the formation, but the amount of space laterally and circumambiently) affect the perception of sound choristers and auditors. Skills involved in choral singing Choral singers vary greatly in their ability The best choral singers (among others) the abilities: Progress Children's group, 1935. sing precisely in tune (on the correct pitch) and with a timbre (or color) which complements the other singers; to sing controlled of volume, matching dynamics marked in the or by the conductor, and so as detectable an voice within the section; read and pronounce the text and in the pronunciation whatever the language may be. This includes correct proper vowels and timing of diphthongs, and placement of consonants; to understand and interpret the music and to reflect understanding in production of the music; to remain completely alert long periods, monitoring closely is going on in a rehearsal or performance;
énane. In a
cappella or piano-acCompanied sItuatIonS it Is Not uNusuAl for the
men to bE In thE back and the women in fronT; some CoNDuctORs
PrefeR to placE ThE BAssEs BeHinD tHE sOpranOs, aRguing tHat the
outeR voIcEs need to tune TO eAch other.

MoRe eXperienced chOirS often SiNg wITh the VoiCes alL mixed
TOgetheR. ProponenTs OF this mEThod argUE ThAt it Makes it easier
for eACh INdividual singeR to heaR aND tUNE to The Other parts, BuT
it reQUires moRE iNDEPenDEnce from each sInger. OpponeNTs aRgue
thAt ThiS Method Loses ThE SpaTial separatIon oF individuAl voicE
Lines, an OTherwisE valuaBle FeaTure FOr ThE auDiENce, ANd ThaT It
eLiminateS sEcTionaL resONANCe, whIch LessEns thE effective volUme
Of thE ChoRus.

FoR musiC witH dOuble (Or multIple) cHoIrs, usually the meMberS of
each chOir ArE toGeTher, sOMetimeS siGniFicantlY separaTEd,
eSpECIAlLy in performances of 16Th-CENtUry music. some coMPoSeRS
actuallY sPecIfy tHAT choiRs shOUlD be separAted, suCH aS iN
BenjamIn britteN's war reqUiem.

CONsidEratioN is also gIven tO The spacing of thE Singers. StudieS
HaVE FoUNd thAt nOt only the acTual FOrmaTion, BUt The AMount Of
spaCe (BOtH Laterally and circumaMbIently) AffecT the perceptioN of
sound by CHORisters aNd auDItORs.

Skills involvEd in cHoral singiNG

Choral sIngerS vary greAtly in theIR Ability aNd pErfOrmAncE. tHe
Best choral sinGERs poSsEss (amonG otHers) the FolLowIng AbiLiTies:

Works progress adMiNiStRatIon:
ChILdren's chOrAl gRoUp, 1935.

tO sing PReciseLy in tUne (oN tHe COrrEct pitcH) AnD WIth a
VoCaL timBre (Or Color) WhicH ComPlementS the
other SinGErs;

tO sInG at precIsely controllEd Levels of voLuMe, mAtchinG THe
dynamiCs marked in the score or preSCribed bY thE condUctoR, and
not siNg sO loudlY as TO be marKedly dEtectAbLe aS AN indiVIDuAl
vOiCe within thE SEctIon;

to ReAd anD pronouNce the text accurateLY anD in the
pronuncIatIon sTYLe SpeCIfIEd bY tHE leADEr, whatever the laNguage
may bE. THIs Includes coRRecT dIction, pRoper voWels aND timing Of
diphthoNgs, and corReCt plACEmeNt of consonAnts;

to unDerstand aND inteRPrEt the MusIc and tO rEflEct thAt
undeRStaNding In the vOcAl prodUctioN oF the musiC;

to remain completely alerT for loNg perIodS, monitoriNg cLOseLy
what is gOing On in a reheaRsaL or PerfoRmaNCe;


énane. In a
cappella or pi ano-accomp anied  si tua ti onsit i s not unusualf or t he
men to be in the ba ck an dt he w o me n infront;s om e con du ct ors 
p r ef er to  pl ace the  basses be hin dthe sopranos ,  a rguing tha t t he
outer voi ces  needto  tu n e toeac h oth er.

M o re exp eriencedch o irs of t en sing w it h th e voices all mixe d 
t o gether. Propon ents o ft hi s met hod  argue tha tit ma k es it e a si e r for each individu al singer t o  he ar and  t une to the  othe rp art s, but
it r equi res moreindepe n dence f r om each  singe r.Opp onen t sar gue 
t h att hi s m e tho d losesth espati al s e p a r atio n o f in divid ual voice
lin es,  ano the rwise  valu able  f eatur e forthe a ud ience, and that  iteliminate s s ec tio na l res o nance,  wh ich  lessen s the e f fec ti v e vo lume
of the chorus .F or  music w ith do u bl e( or multi pl e)choi r s , usu ally th e member s of
e a ch  c hoir ar etogeth er , s ome times sign ifican tly sepa rated , 
especially in performanceso f1 6 th - cent ury  music. Som e co m pose rs
a c tu all y  spec ify t ha t  c h oirs should be sepa ra ted, s uch a s in
Benjamin  Britten's W a r Requie m.
C on s ideration is a lso g iven to th e  spacing  of t he singe rs. Studi e s 
have fo und  th atnot o nl y the actualf o rmat io n, butthe  amount  of 
sp ace  (b ot h lateral ly and c ir cu ma mb ien tly)a ffect th eper ce pti on of soundby ch oris te rs and  audito r s. Skil ls  i nvol ved  i n cho rals ing ing

Ch oral sing ers vary  g re atly in  their abilit yand perfor ma nce . Theb e st chora l singers possess (amon g  others ) t he fo llow ing abili tie s:

Wo rks Progre ss Adm inist ra tio n : 
Chil d r en 'sch oral group , 193 5.

t osing  precis ely in tune (on th e  co rrect pitch)and  wit h avoc a lt imb re (or c olor) which com plements t he ot her singer s ;
to  sing a t preci selyc ontroll ed levels  of volum e,  mat c h ing  the
dynam ics mark ed in the score or  pres cri bed by  t hecondu ctor,a ndnot s ing so  l oudlyas to  b e marked ly detectable as an ind ividua l
voi cewithin th e s e cti on;

to r eadand pronou nce  th e tex t a c curat elya nd  in the
p ronu n ciation s t yl e s p e ci fied by the l e ade r, wh ate v er the  lan guage
may be. Thi s  includes corr ectd i cti on, prop er  vowels and ti min go f 
diphtho ng s, and corr ect plac em e nt of  conso nants; 

to un d e rs t and an d in ter pret themus ic and tore fl e ct tha t
un de rstand ing in thev o cal production o f the m usic; 
to  rema in  comple t elyalert forlong period s, mon itor ing c loselywh at isgoi ng  on in a r e hearsal o r per formanc e; 


énane. In_a
cappella or_piano-accompanied situations it is_not unusual_for_the
men to_be_in the back_and the women_in front; some conductors
prefer_to place the_basses_behind the sopranos, arguing that the
outer voices need to tune to each other.

More experienced_choirs_often sing_with_the_voices all mixed
together. Proponents of_this method argue that it_makes it_easier
for each individual singer to hear and tune_to_the other parts,_but
it requires more independence from each singer. Opponents argue
that_this method loses the spatial separation_of individual voice
lines,_an_otherwise_valuable feature for the_audience, and that it
eliminates sectional resonance,_which lessens the effective volume
of the_chorus.

For music with double (or multiple) choirs,_usually the members of
each choir are_together, sometimes significantly separated,
especially in_performances of_16th-century music. Some composers
actually specify_that choirs should_be separated,_such as in
Benjamin_Britten's War Requiem.

Consideration is also given_to the spacing_of the singers. Studies
have found that_not_only the actual_formation,_but_the amount_of
space (both laterally_and_circumambiently) affect_the_perception of
sound by choristers and auditors.

Skills_involved_in choral singing

Choral singers vary greatly in_their ability and performance._The
best_choral singers possess (among_others) the following abilities:

Works Progress_Administration:
Children's choral group, 1935.

to sing precisely_in tune_(on the_correct pitch) and with a
vocal timbre (or color) which complements the
other_singers;

to sing at precisely controlled levels_of volume, matching the
dynamics_marked in_the_score or prescribed_by_the conductor,_and
not sing so loudly as to be_markedly detectable_as an individual
voice within the section;

to_read and pronounce the_text_accurately and in the
pronunciation style specified_by the leader, whatever the language
may_be. This includes correct diction,_proper_vowels_and timing of
diphthongs, and correct_placement of consonants;

to understand and interpret_the music and_to reflect that
understanding in the vocal production_of_the music;

to remain completely alert for_long_periods, monitoring closely
what is going on_in_a_rehearsal or performance;

