The Individual Voice in the Choral Ensemble: Symposium at 1:30 General Session,

Wednesday, March 14, 1962, Chicago National Conference

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 The Individual Voice in the Choral Ensemble
Symposium at 1:30 General Session, Wednesday, March 14, 1962, Chicago National Conference

ing, a well-blended texture of choral close the chairman will attempt to sum
INTRODUCTION sound, is lacking. A choral group cannot marize, and to some degree synthesize,
actually be referred to as such unless it the divergent ideas that have been de
By BERNARD REGIER projects an integrated effect. Until that veloped.
Chairman of Symposium, * * #
Director of Choral Organizations, occurs the group is merely a collection of
Western Washington State College, individual voices unified only through
Bellingham, Washington
physical and mechanistic means. VERNON H. OPHEIM
Director of Choral Activities,
We are met here this afternoon to Terms such as Chorus, choir, glee
Moorhead (Minnesota) High School
consider the problem of "The Individual club, chorale, etc. are all singular in
Voice in the Choral Ensemble". This is number, not plural. The implication, In order to answer the question of how
does the individual fit into the choral sit
a perennial problem, one that all of ustherefore, is that its projected sound
have been concerned with in our own should also have a singular, not a plural uation, other questions must be answered
situations. Many solutions have been ofcharacter. The word singular has addi first. I. What is the reason for the ex
fered by individual choral directors in tional meanings, such as unique, unusual, istence of a choir? 2. What purpose
exceptional, and remarkable; and these
writings, in lectures, and in practice. The does it fulfill? The answer a person will
fact that the problem rears its head at meanings are also apropos to a choral give to these two questions will influence
organization that has found the secret of
this convention is indicative that the prob the position given to the individual in the
lem has not been solved to everyone's melting a conglomerate aggregation of choral ensemble.
singers into a single instrument upon
satisfaction, or else it is one that is too In my training at various schools, I
frequently ignored or overlooked. which the director may play. The com have always been instructed to believe
We do not propose to solve completely parative rarity of such groups indeed that the art of music was "bigger" than
the problem of how to amalgamate amakes them "singular". any one individual and that to serve this
group of individual voices into a musical Probably the most discussed phenom art was both a privilege and a responsi
whole today. We shall, however, presentenon relating to the treatment of the in bility.
a number of varying approaches which dividual voice in a choral ensemble is If we are to serve the art of the music,
that of the so-called straight lone. Many
we trust will assist you in clarifying your then it is our responsibility to serve it in
choral directors and voice teachers have the manner, to the best of our ability, that
own thinking on this matter and help you
arrayed themselves on opposite sides of the composer wished. No one can say
develop techniques that you will find mu
the straight-tone controversy that has for sure how a composer wanted a cer
sically and vocally sound. We hope that
an airing of the question of how to fusepersisted for about forty years in Amer tain composition interpreted unless he had
many voices of individualistic qualities ica. I suspect that this issue was foremost the privilege of working under that com
and properties into a true choral instru in the minds of those who planned this poser. For those of us less fortunate, we
ment will help you arrive at judgments session. Whether by happenstance or demust go on hearsay, knowledge gained
that will enable you to function with sign,
a we have the pro and con viewpoints
from books, and general musical experi
greater sense of integrity in your work. represented by two participants on our ence. The composer set down on paper
Even though the task of welding a mot panel, while the third member represents the notes in certain patterns, with certain
ley array of voices into a unified entitya position mid-way between the positive emphasis, and values on specific phrases.
of sound should be the most obvious ob and the negative poles in this contention. With the aforementioned knowledge, we
ligation confronting choral directors, fre Undoubtedly the issue is sharpened by try to reason why this particular sequence
quently high school, and even college andthe fact that the term "straight tone" is of events was chosen.
university choirs and their directors seemoften misunderstood. A clarification of Our next responsibility, then, is to
its true meaning by one of its advocates is, find the way in which we can best ex
oblivious to this sine qua non of choral
singing. Generally choirs will have a therefore, certainly in order; conversely, press this written concept. It is at this
great deal of physical unity which is at the proponent of the employment of the point that a divergence of opinion exists.
tained through uniformity of dress, comvibrato in choral singing should have an It is my opinion that the responsibility
pact and well-ordered standing forma opportunity to justify this practice. of the choir is to create a fusion of sound
tions, the joining of hands, and the un It is expected that the issue of the most correctly portraying this concept.
wavering eye upon the director. Also, instraight tone will not absorb the full at Everything mentioned so far has been
most cases a mechanical oneness exists, tention and time of our panelists as tone directed to the responsibility of the choir.
as evidenced by precise attacks and re control is merely one factor in attaining A choir naturally consists of many sing
leases, clean-cut articulation of conso blend or unity of tone. ers — all of whom will try to create this
nants, unified dynamic shadings, and Each of the panelists will be allowed fusion. If it is the responsibility of the
flexible rhythmic variations. Yet too oftenten minutes in which to present his think choir to portray this concept, then it log
the basic ingredient of true choral sing ing bearing on the topic at hand. At the ically follows that it is likewise the res

12 CHORAL JOURNAL

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ponsibility of the individual member to do ers can verify. He will hear vibratos always be a slight difference in the har
the same. from the overwhelming majority, ranging monic structure of the vowels from one
Who is to decide how this individual from those which are hardly perceptible to person to the next. This differenc
member can best do this? Is it to be the some considerable amplitude." This hereafter be referred to as reed qual
conductor or the individual singer? If director goes on to explain what he be- as one type and flute quality as the o
it is to be the individual singer, then we lieves most people erroneously call a type. To achieve the desired unison
have as many different ideas being ex- "straight tone". conductor must seat the individua
pressed as there are singers in the group. "Generally, it seems to me that good such a manner that one voice complim
However, if it is to be the conductor who unisons and 'straight tone' have been con- the next. In choosing the order of plac
makes this decision, then there can be on- fused. Good unisons are heard so infre- ment, these two previously mentioned f
ly one studied idea presented. If the con- quently that when one does hear them, tors are considered, assuming, of c
ductor's idea is to be presented, then the there is a tendency to conclude, 'straight an equality in sensitivity to pitch
individual member must produce that tone'. But the conclusion is false . . . smaller, reedy voices are placed on ch
which the conductor feels will be right. Good unisons are the result of uniform- one- The progressive chairs down
In attempting to portray his idea, the ity of pitch, color and dynamics within section are progressively less reed
conductor will have a previously con- and between sections. Pitch certainly in- more flutelike. The larger voices
ceived sound in his mind which he will volves, among other things, vibrato (de- placed near the middle of the se
endeavor to have the choir produce. He viations from an 'absolute' pitch) ; color I" s'ze> the section would be first ch
will then naturally require the respective involves vowels; and dynamics involves small, getting bigger towards the m
sections within the choir to produce a tone strength. I have found that the so-called and smaller again towards the end of t
of the timbre which he deems necessary. 'straight tone' choirs sing good unisons section. This seating arrangement
In working with the individual section, and that they line up on their chords ; but sometimes hide a voice which h
his preconceived sound will dictate what also, that if one listens to the members ficulty in blending. Assuming they
must come from the individual members individually while they are singing with singing the basic pitch and are all singin
to produce the overall sound for the sec- the group, he will find a surprising amount vowels in their pure form with equal
tion. In other words, he will be attempt- of vibrato and of varying amplitudes." tensity but with various extensity
ing to produce a unison, which he will, Gojng back tQ what j said shortly be. ^¡on tone created by seating the sin
in turn, fuse with the other sections to fore> ^ conductor wi!1 strive t0 achieve a ers thls manner Wl11 Produce th
produce the total sound portraying the certa¡n sound from ^ respective sectl0n. Slred unlson"
concept which he believes the composer ybe brst tb¡ng tb¡s conductor must do \s This, then, seems to be the respo
desired. The idea that the conductor tQ acbieve as c]ose a umson as possible. 'ty of the conductor to achieve good
must choose the interpretation is never j do nQt bebeve any conductor would sons within and between the sectio
argued in instrumental circles. The indi- purposely have his singers use faulty tone When he has achieved these uniso
vidual in the instrumental group must production t0 achieve tbis. In striving t0 has a flexible instrument upon wh
conform his concept of interpretation to acb;eve tb;s unison, the conductor may can play to best portray his conce
that of the conductor. Why should the ask some individual members to modify is the responsibility of the individual
members of a choir have any less respon- tbg way tbey are s¡ng¡ng) so as to become himself into this unison, maintaining t
sibility to the conductor than the instru- unjform with the rest of the section. freedom of voice, which is his nec
mental member? This is done carefully so as to not place and right; but this individual may not
In the part of the country from which restrictions that would remove the freedom the choral situation, make his own c
I come, there are some choirs which have 0f the voice. °f the colors or the dynamics that m
been labeled as "straight tone" choirs. Jhe human vojce bas a wider gamut necessary, any more than he could in
This, I believe to be completely erron- of co|or variations than any other musical instrumental situation. This choic
eous. In my listening experiences, I have instrument. Jbe perfectly trained voice is longs t0 the conductor. When the condu
never heard a "straight tone" choir, nor Qne that ¡s perfectiy flexible and can be tor does not have a Preconceived so
do I believe that a "straight tone" is even adapted tQ the demands of the music. his mind, this usually results ,n va
used within the choirs except for a short jt ¡s tbg duty of tbe vojce instructori be colors from individuals — the res
duration for a coloristic purpose. ^ a separate individual or the choir sound being a conglomeration of mu
A director of one of these so-called conductor, to show the singer how to '"dividual colors, instead of a u
"straight tone" choirs stated, "I have produce the sounds necessary but still do wlt in an etween sections,
never asked any of my singers to use a it with freedom. All the variations of When this unison has been achieve
'straight tone' because to do so, would re- tones that are necessary in order to pro- then the purposes and functions
quire them to make an unnatural tone, duce a unison can be accomplished with- choral ensemble are being served —
since the vibrato is a natural phenomena out any harm or forcing of the voice. is, to then portray that concept ind
of singing." The quotes previously mentioned prove by the composer. When this is d
The director of another of these so- this. then it can truly be said that the ind
called "straight tone" choirs states, "We In the same manner that people vary ua' >s serving the art of music,
are not a 'straight tone' choir, as anyone in physical sizes, so the singing voices * * *
who walks between the rows of our sung- will vary m sizes of tones. There will —Continued on Next P

MAY 196'Z 13

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 to the tone, but an excess of vibrato can- whole step. Students enjoy this type of
The Individual Voice— not be tolerated. This is true of any ex- chording and while warming up it gives
—Continued from Page 13
cess in art. them an opportunity to hear chords, to
B. FRED WISE The director's first responsibility to the listen for balance and blend
Immediate Past President of NATS,
individual or ensemble member is to stimu- the feel for nasalizing the
American Conservatory of lale his thinking. He must be taught and are, of course, many var
Music, Chicago
inspired to think and practice good pos- type of exercise such as
The choral ensemble I have in mind ture, good breathing habits, good tone "n" or other voiced conso
for this discussion is one numbering twenproduction and good intonation. He must ing them with vowels, words
ty to sixty, in which the voices sing asbe taught and inspired to think musically It is also good to hum th
chorus members and not as individuals inand expressively while singing. slow, sustained selection as
a quartet or solo ensemble. Within the Every director is aware of the diffi- exercise. The number need
framework of this thinking we certainly culty the rapidly growing high school ily be easy, but most of t
cannot have an ensemble without individ student has of maintaining the posture so culties should have been elim
ual voices, but we hope to avoid hearing necessary for alert thinking and proper procedure if properly app
individual voices in the ensemble. breathing. In most cases this difficulty warm-up, help tune-up, en
If that is the premise on which we never seems to diminish as he grows older. ing and help memorizing i
work, then our task is to find and develop But no more about the need for good are urged to think the word
a technique or techniques which will sat posture. To develop the proper concept and listen. It is also very ef
isfy the director's concept of tone unificaof breathing and breath control for sing- the chorus go from hum
tion, intonation, blend, balance and proing takes understanding, practice and de- words as the director indicat
jection which result in good ensemblemonstration over a relatively long period A good activity to dev
singing. of time and perhaps individual attention ness of tone relationsh
There are many contributing factors for some members of the group. But sel- number phrases. First establ
which influence the final result of an en dom should this practice be isolated from numbers in the scale, t
semble performance such as the quality the act of phonation and diction or sing- stressing the non-active
and availability of singers, rehearsal time, ing. Breath support is the foundation for tate number phrases suc
acoustics and many more. However, the relaxed proper tone production, diction, 3-6-5, etc., and have the
director must assume the complete respon musical phrasing, delicate accenting, stac- back the phrase using the n
sibility for improvement, development and cato singing and dynamics. Awareness of the students can think the n
performance. His personality, musician these facts must be established but not at the phrase sung back using
ship, rehearsal technique, and his concept the expense of developing misplaced ten- lable. Later relate the nu
of tone quality and tone production are sions. staff and finally to the printed music.
all reflected in the final ensemble singing. While choral tone is produced by in- This activity is n
Since there is no one RIGHT way, dividuals, it is necessary for these individ- relationship or re
we have in Choral Art an interesting, uals to work within the framework of a an awareness of tone relations and can
stimulating and argumentative subject. concept established by the director. As I be individually stimulating and very re
When directors hear a choral work well stated before, the better the voices and warding for the chorus. Students thor
performed they all admit it was good, the better trained the individual voices the oughly enjoy this activity,
excellent or superior. But they still may better the chorus should be IF those To get results from these exercises or
differ on certain factors such as tone voices are willing to do teamwork, and activities the physical posture and mental
quality, vibrato or the lack of it, inter conscientiously stay within the established attitude must be one that will encourage
pretation and so on. Fortunately, fine framework for choral and blended tone. and stimulate individual thinking. What
ensemble singing can be greater than the One way to establish or help sense this the chorus member thinks will reflect the
sum of its parts or individual members. choral tone is to have the chorus hum ability of the director to "get across" his
That is, a good ensemble can be develwith closed lips, relaxed tongue and an concepts of breathing, tone quality and
oped with a choir of average singers conattitude or feel of a positive inflection as blend and his insistence to satisfy those
taining no soloists. Davison calls this if thinking "yes, I like that". Use some concepts.
"distinguished mediocrity". Perhaps the very simple unison humming exercises. Diction for singing may be thought of
reverse of this may also be true ; that is,Then use some chordal exercises. Have as proper articulation, proper pronuncia
too many soloists mar the ensemble. Ne dle basses hum the tonic or 1, the tenors tion and correct tone production, all re
vertheless, the better the voices, the more the dominant or 5, the altos the mediant suiting in being able to understand the
thrilling the chorus should be. It is my or 3, and the sopranos the tonic or 8. words. But this is only a prerequisite for
philosophy that singers with solo or While the humming is being sustained, imaginative, expressive singing. The chor
trained voices who are good, sensitive mupermitting breathing when necessary, die- us member should be primarily concerned
sicians and have the will to blend their tate the movement of the various parts to with the production of beautiful pure
voices into the ensemble, can be a great make a minor chord, a diminished chord, vowels, rhythmic articulation of conson
asset to the choir if they have not devel a dominant-seventh chord and perhaps ants, blend and expressive singing. We all
oped an uncontrollable vibrato. A natural some very dissonant chords. Or have all have our favorite diction or word exer
vibrato adds dignity, quality and beauty the voices move up or down a half or cises. But again, the use of phrases from

14 CHORAL JOURNAL

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song material is highly rewarding. meaning and that the individual singers dark or flute-like voices in the front, and
The result of our vocalizing and ex- communicate through their eyes and facial those who have succeeded in securing a
ercising so that the individual qualities expressions the emotional quality needed fusion of focus (ping) and fullness in the
and characteristics are mixed into a satis- to express certain words and phrases and middle rows. The composite tone secured
fying harmonious whole is usually re- the overall mood of the song. However, in this manner is superior in quality to
ferred to as blend. The director must all this must take place within the frame- that of the majority of individual singers
first establish the framework within which work of appropriateness, sincerity and within the group.
the individual voices must work, and then good taste. The matter of similar quantity is un
he must stimulate the individual ensemble Choral Art or good ensemble is the re- doubtedly the most obvious. A singer
members to constantly think and listen suit of unified tone and diction, good who sings more loudly than the others
and finally to enjoy the harmonious effect blend, balance and intonation plus expres- within a section is, of course, going to
of toleration and blend. sion, imagination and projection. Some stand out. A dark voice can sing with
One effective way to encourage listen- of these qualities can be produced as more intensity than a thin or bright voice
ing, harmonizing and blending of voices well or better by a fine organist on an without destroying the unity of sound,
is to disperse the voices, especially the bet- adequate instrument. But a fine choral Frequently it is not the fault of the strong
ter musicians and better voices. This can ensemble has the unapproachable advan- voice that it protrudes; it is the fault of
be done simply by changing rows or tage of being made up of individuals the weak voices in that they do not co
changing seats within the rows. A better who can think and through words express tribute enough volume of tone on dynamic
way is to divide the choir into two choirs and communicate directly with the listener. levels of forte and above to maintain bal
and occasionally have them sing for each * * » ance. Here again, voice building within
other; this also creates a challenging and the choral rehearsal is the answer. Unde
stimulating situation. The ideal way is to SUMMARY veloped and untrained voices must be
divide the choir into four to six complete As predicted in the introduction to our taught to produce the "big sound" with
small ensembles within the chorus. (Ul- symposium, the panel did not resolve com- out sacrifice of quality through correct
timately into quartets.) The students en- pletely the problem of The Individual breath support and proper resonation so
joy being a part of a small group and Voice in the Choral Ensemble How- that a balance of voices can be main
find it quite exciting and rewarding. They evei". it did set in motion trains of thought tained at all dynamic levels,
hear parts and effects they seldom hear in the minds of all of us that should lead The third factor in blend, uniformity
in a section of ten or fifteen voices singing to a clearer crystalization of the essen- Df pitch, is the most controversial, as the
the same part. The dispersing of voices tials in the process of unifying individual vibrato, a normal phenomenon of the hu
can bring about amazing results in alert- voices into a choral whole. man voice, implies not only a pulsation of
ness, blend and intonation. Unless the The chairman of this symposium has energy but also a fluctuation of pitch,
group is quite strong I would not recom- (°r years considered four factors essen- When perfect blend requires not merely
mend the dispersing of voices for reading tial to the securing of blend in a choral similarity but uniformity of pitch, the
difficult new music or in the early stages group. All four of these factors have been only alternative would appear to be a
of learning the music. However, it can be referred to by one or more of the panel- "vibrato-less" or "straight" tone. This,
a real challenge for reading simple music. ists in their discussions, but they have not however, is not the case as pitch is not
Interpretation in all of its ramifications been outlined so succinctly as to fix them- normally judged scientifically, but rather
and effects is highly individual, both on selves definitely in our thinking. These empirically. The fallible human ear will
the part of the director and the singers. four factors are : ( 1 ) Similarity of qual- accept unison tones as being unified even
The individual members of the ensemble ity, (2) Similarity of quantity, (3) Uni- ¡f they are not perfectly straight in pitch
must conform to the concept and desires formity of pitch, and (4) Uniformity of a limited vibrato can be tolerated,
of the director, but not to the extent of vowels. In more highly emotional and dramatic
being expressionless. I have always been It will be observed that the first two music both the rate and the degree of vi
thrilled to see a fine high school choir factors of quality and quantity are ex- brato should increase. The ideal for the
walk onto their risers full of life, energy, pected to be only similar among all voices. sake of blend is to have all the singers in
expression and personality only to be This does not mean that wide divergences a group increase the rate and degree of
amazed and distressed to see their faces of quality should be tolerated. Through the vibrato to the same extent. This is
turn to stone when the director raises his the use of suitable vocalises voices that difficult, is not impossible to attain, un
hands. are predominantly reedy and thin in qual- less the personnel of the group rehearse
Art is the perfection of technique, ity can be trained to sound full and voices ancJ performs together for a long time,
"plus". The technique is largely academ- that are thick and dark in quality can possibly for years. The acme of perfec
ic and intellectual. The "plus" comes develop color and clarity. When proper tion in choral singing requires that every
from well-written music wedded to appro- resonation has established a similarity of member of a particular choral group be
priate words meaningfully and sincerely quality, slight variances in timbre can be so we]] trained that he can control bot
projected by the singers under inspired taken care of by seating singers as sug- the rate and degree of his vibrato to con
leadership. The director must make it his gested by Mr. Opheim. Another preva- form to the other members of the group
business that the ensemble understand lent way of seating singers of slightly and to adjust to the style of music sung,
what they are singing about, that the mu- differing colors is to seat the bright or The fourth factor in blend, uniformit
sic is properly phrased to project this reedy voices in the rear of the choir, the —Continued on Page 30
15
MAY 1962

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INSTITUTE ON CHORAL ART WILHOUSKY CHORAL MASTER
Singing in Hi Schools—
AUGUST 4-9 AT THE CLASS TO BE HELD IN —Continued from Page 9
UNIVERSITY OF DELAWARE NEW YORK JULY 9-13
about them before even beginning to give
The University of Delaware music de The Tenth Annual Peter J. Wil them a musical vehicle. One cannot write
partment, in cooperation with the division housky Master Class in Choral Conduct just anything that will "fit" in meter. It
of extension, will expand its summer mu ing will be held from July 9 to July 1 3 must "fit" in spirit. Perhaps if the con
sic program with the inauguration of an at air-conditioned Judson Hall in New ductor will keep in mind the idea that
Institute on the Choral Art, August 4-9. York City. the words are more important than the
Julius Herford, distinguished musician In five compact lectures, which will music, a good understanding of the inter
and teacher, will be musicologist for the be held from 10 a.m. to 1 p.m. eachpretation will be presented by that Voice
institute, which will be under the general day, Dr. Wilhousky will cover the sub from the Power outside himself. At any
supervision of Dr. Ivan Truster, director jects of "how to": analyze vocal tone; rate, this is my conviction and it is that
of choral music at the University of Del improve tone production; secure blend which has dominated many of my more
aware.
ing and balance; deal with intonation than one thousand published works.
Herford has for several years
problems;conclarify diction; improve con "Let all my life be music" is still my
ducted similar programs across the con plan programs and dedication. But my purpose is found in
ducting techniques;
rehearsals; and evaluate new choral liter the words of the 1 3th century Cavalcanti
tinent from Oak Ridge, Tenn., to An
chorage, Alaska. The institute, Concluding sessions will be devoted which I have just set and which we are
ature. designed
for high school, college, community and
to the sight-singing of especially selectedgoing to sing together tomorrow:
church choral directors, will music.
include daily "Go, song of mine, dishevelled and in
lectures and demonstrations by Herford
Please direct inquiries to Wilhousky tears, to break the hardness of the heart
on selected choral works. Master Class, co. Carl Fischer, Inc., 62 of Man. Say how his life began in dust
The final session will be aCooper
concertSquare, of
New York 3, N. Y. and in that dust doth sink supine. Yet,
the works studied by participants under say how the unerring spirit of grief shall
the direction of Dr. Trusler. Herford guide his soul, being purified, to seek its
will comment on each work at the per Maker at the heavenly shrine. Go, song
formance, in Mitchell Hallstudy of phonics
on the uni to become aurally consof mine!" •
cious of the specific vowel color that is
versity campus.
desired on each
The institute has been organized to syllable. Nor have they
coordinate intensive score studies with knowledge
any definite re as to the formChoral Re
or shape the oral cavity should assume for
—Continued from Page 29
hearsal and performance, taking partici
each particular vowel. If they know what
pants from the classroom to the rehearsal
each vowel should sound and look like, The Lord's Prayer - Flor Peetërs, SA,
hall and to the concert stage. C. F. Peters, No. 6202, 20c. Piano or or
the directors
Herford was one of Germany's forefrequently do not have the gan accompaniment. A much needed con
courage nor persistence to establish uni tribution by the prominent Belgian or
most pianists before coming to the United ganist-composer. Simple yet interesting
States some 25 years ago. He formity of vowels with an uninitiated in
has served harmonic content. Also available for
group. Courage
on the faculties of Columbia University, and persistence are al mixed voices.

Julliard School of Music,ways rewarded when the singers them Moon River - Henry Mancini, arr. Har
Manhattan ry Simeone, SSA, Shawnee Press, No.
College of Music and Boston selves experience what uniform vowels B 204, 25c. Recommended for the "pop"
University.
He is presently lecturer in music will do for
at the
thegroup in attaining unified section of your programs. Not difficult.
sound. Recommended for Male Voices
School of Sacred Music at Union Theo Let Nothing Ever Grieve Thee - Jo
logical Seminary and professor of music Vowels are often referred to as "the hannes Brahms, TTBB, C. F. Peters, No.
6009, 25c. Organ accompaniment which
at Westminster Choir College. vehicle of tone" and in this capacity
publisher suggests might be adapted for
Dr. Trusler has been on the Delawarethey bear directly on the first three fac piano, 3 or 4 hands. Independent voice
writing throughout. Style of German
faculty since 1955. His engagements as tors of blend. Correct vowels contribute Requiem. English and German texts.
guest conductor of choral festivals and to good tone quality. They affect free Album for Male Voices - Grieg TTBB,
clinician have taken him to many com dom of tone and thus have a relationship C. F. Peters, No. 2492a, 50c. Eight ex
cerpts from Grieg's Opus 30. All except
munities outside the state. He is choir to quantity. Poor intonation can often be one make use of Baritone solo. English
master at Grace Church in Wilmington. blamed on poor vowels as sounds that text translated by Percy Grainger. Ex
quisite miniatures displaying the great
are not properly formed and placed will beauty of Grieg's writings. A cappella.
not ring true in pitch. Inveni David - Anton Bruckner, TTBB,
The Individual Voice— The outstanding choral directors
C. F. Peters, No. 6318, 30c. A cappella
of to or with four trombones ad libitum. By
—Continued from Page 15
day are placing great emphasis uponall means try it with the trombone parts.
Latin text based on Psalm 89. Alleluias
vowels. This aspect of choral singing has at close of composition are particularly
of vowels, is without question difficult to only partially explored. Further ad effective.
been
America the Beautful - Ward, arr.
attain in a group because it is bothvances
an in this area of choral singing will Leidzen, TTBB, Belwin, No. 1962, 20c.
aural and a physical matter. Too many bring rewards beyond the experience of Might be useful to those seeking a patri
otic number. Free treatment of the fa
choral directors have not made a sufficient
many present-day choral directors. • miliar melody. Also available for SSA.

80 CHORAL JOURNAL

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