Most of us have sung in a choir at some point in our lives. In the choral setting, we are able to use our voices in a collective manner, to communicate with a palette of colors not available to us as soloists. Choral singing can be challenging but can also bring great musical rewards. However, the ways in which we use our voices are sometimes different in the solo and choral settings, and those differences should be recognized and addressed so that voice teachers and choral directors may better understand and present solutions to the singers under their direction.
Admittedly, the discussion of differences in solo and choral singing has often not been a peaceful one through the years. As Johan Sundberg wrote, “The less one knows, the stronger one feels” when arguing the merits of choral singing.1 We all know the common themes that become talking points in debates, such as resonance, breathing, and vibrato.
It is interesting that we live in a scientific age, an information age, and in a time when communication occurs more frequently than ever before, and yet it seems there is often very little understanding between singing teachers and choral conductors. Why is this the case? Do we ask our most valuable resources, the colleagues we work with, for their input about our own work? Do we, as choral conductors, ask our voice teaching colleagues what their perceptions are regarding the vocal production and quality of singing in our ensembles? Do we, as singing teachers, ask insights of our choral conductor colleagues about our students’ vocal progress and contribution in the ensemble?
As a voice teacher (Jason Vest) and a choir director (Jason Paulk) who participate regularly in a discourse about these questions, we present here a “he said, he said” discussion of some of the differences in solo and choral singing.
The Benefits of Choral Singing
JV: I believe that the benefits of choral singing far outweigh any detriment for most singers and that many of the challenges in a choral setting may be overcome if due vigilance is given by singers, choral conductors, and voice teachers. I would encourage all of my students to avail themselves of a great choral experience while it is available to them because it will inform and enlighten their solo work.
Often my students are struggling with a particular issue, and I encourage them to pay close attention to their application of new solo techniques while singing in the choral setting since this makes up a large portion of their singing during the week. Indeed, many singers spend more time in choral rehearsals than in the practice room. They may become more aware of what they are doing in the choral setting versus their solo practice and performance and of how those things can feed back on each other.
Voice science research is very limited when it comes to choral singing, but some recent studies are beginning to shed some light on the differences in voice usage between choral and solo singing. We hope that through continued scientific studies and open communication between singers and conductors, we may understand the demands of solo and choral voice use and prescribe effective solutions for individual singers.
JP: While many feel these roles are vastly different, consider the following question: What makes for a beautiful and moving solo voice performance? Perhaps we might answer that it is vitality, artistry, virtuosity, sensitivity, a varied and dynamic range of expression, historically informed performance, intelligible diction, connection to the message of the composition, and empathic understanding of the story.
The same answer could be given to the question of what makes for an engaging choral performance. Thus, we might surmise that our similarities are much greater than our differences. Our end goal is to achieve beautiful singing that moves our audience. This is not to say, however, that there do not remain differences between approaches to solo singing and singing in an ensemble.
Tone Production and Resonance
JV: A classically trained singer seeks to produce sound with minimal tension and maximum resonance. Singing seems to be effortless when it is done correctly, and the singer is able to vocalize for extended periods of time with little negative impact. The optimum resonance for solo singing is often described as chiaroscuro, a balance of light and dark. When the resonances of the voice are aligned, the sound is amplified and beautified, and we describe the voice as talented. Thus, in solo singing we seek to put forth our own unique sound and to resonate in such a way that we are heard above the accompaniment, be it a piano, the orchestra, or other singers.
The goal of choral singing is to create a unified sound where no one single voice sticks out from the others. In fact, recent research has shown that choral singing is most pleasing when the “ensemble effect” occurs, usually with three or more voices to a part. This is when the overtones of the different voices distort each other in such a way that individual characteristics of voices become indistinguishable.
JP: I strive to educate singers in my ensembles about resonance by having them experiment with sound. Choral rehearsals are safe spaces where singers can try out sounds that they may feel uncomfortable with in the practice room by themselves. It is important that my singers understand that it is resonance that determines how intensely a vocal line is produced, and how brightly or darkly vowels can be produced—not always in a Bel Canto style. My motto frequently is “You must first make noise and then refine it.”
I feel that it’s vital for a singer’s development to understand parameters and extremes of his or her own vocal capabilities and that these opportunities for experimentation often take place in the choral rehearsal. My first request in the choral rehearsal is that singers do not use any other voice than that which they are also using in their vocal studio. I feel strongly that it is important for there to be a baseline from which we all begin our work together, and that should be primarily the technique that is being studied in the voice studio.
JV: I agree that singers need to be hearing the same thing in choir that they hear in the vocal studio as far as basic technique. I am privileged to work with a colleague who uses the same vocabulary that I do. He possesses a beautiful voice and a firm understanding of how the voice works, so the teaching that happens in the vocal studio is reinforced in his choir. This is invaluable and benefits the students in the long run.
JP: Most singers and conductors can agree that Brahms should sound different than Mozart, and that Palestrina should sound different than Puccini. This is a great challenge for the choral conductor, because so many people have such varied opinions about what the correct singing production should be. For me, the correct production varies greatly between various eras and genres—and even between specific pieces, depending upon the dramatic character of the text.
JV: This is one of the possibly unexpected challenges for solo singers who participate in choirs. On the professional stage, singers usually specialize in a particular Fach, a voice category specific to a certain style or genre. As choir members, we are asked to traverse the landscape of vocal colors, which may be difficult for voices on the extreme ends of the scale, both large and small. Singers need to be aware of this and sing within the parameters of their voice. This may also mean that the largest voices will not blend well within the ensemble, and choral conductors and voice teachers should speak openly about the needs of those singers.
JP: I cannot remember a time when I asked an individual singer to sing with less resonance in the choral setting. Many times I am able to use a singer who employs great focus as an example for helping others achieve energized, focused singing. It often is necessary, however, to situate large voices in places within the ensemble that magnify their strengths and help make group cohesion possible.
In an ensemble that is comprised of both music majors and non-majors, I often seat singers with highly resonant voices between singers within the section who have somewhat breathy timbres so that the resonant voice has effect on the other, weaker voices. It also serves the purpose of dampening the individual character of the strong voices without having to ask the singers to sing softer or to reduce the resonance or focus of their individual sound.
JV: At a conference in San Antonio this past January, Sten Ternström referred to this as “vocal contagion.” He explained that singers tend to take on the vocal characteristics of those around them, for better or worse. The approach just cited by Jason Paulk could certainly lift the weaker singers to greater heights of vocalization. However, as Harald Jers found at this same conference, talented singers changed their singing to fit with the group. In particular, he pointed out one soprano, who was a well-known soloist, whose sound in the choir was not nearly as pleasing.
Usually, one of the first things to disappear in a choral singer’s voice are the upper overtones, particularly the resonances in the singer’s formant range (except in opera choruses). The reasons for this have not been studied, but the loss of the singer’s formant contributes to better blend in the ensemble.
Vibrato
JP: This term has been the cause of many debates and has frequently created schisms between teachers of singing and conductors. I have known conductors in the past who have insisted that their choral singers produce a restricted tone, with no vibrancy at all. Their singers often resented not being able to use their voices fully and frequently felt that rehearsals were tension filled, both physically and emotionally. This is almost nonexistent in today’s choral world. Too many people understand the unhealthy nature of restricting the voice for prolonged periods of time.
JV: The presence of an even, present vibrato is a sign that the voice is being produced in a healthy manner. John Nix of the University of Texas at San Antonio recently demonstrated that when vibrato is present, sympathetic oscillations occur in the vocal tract, not just at the vocal fold level. It seems logical that to dampen the vibrato and the subsequent oscillations of the vocal tract would mean some muscle restriction. Over the long term, this might have a negative impact on the voice and should be avoided on a consistent basis.
JP: I rarely use the term “vibrato” in rehearsal because I think calling attention to this attribute of the voice sometimes creates unwanted awareness. Since vibrato is the natural result of healthy support, focus, resonance, and free phonation, it is not a vocal attribute that singers should try to control—rather, it is resultant of other healthy technical elements of singing.
JV: It has also been shown that the choral conductor exerts a great deal of influence on the amount of vibrato used in a choir, often without even being aware of it. The conductor’s personality, style of conducting, energy, and the way he or she speaks or sings can all affect the vibrato used by the choir. For example, one recent study showed that conductors who used larger, sweeping gestures evoked more vibrato out of the same choir than did a conductor who used smaller, compact gestures.2 So the conductor has a lot of influence on the amount of vibrato.
JP: Careful attention to spacing in the choral rehearsal also assists with vibrato concerns. Some conductors never change the amount of space between singers. I have found from experience that the more space between singers, the more freely and resonantly they sing. Conversely, the closer they are situated to each other, the more they listen.
Often, I will adjust the spacing of ensembles based on the amount of vibrato I think is appropriate. When singing early music, I frequently employ a “closed position” choral setting, with singers shoulder to shoulder. While singing Romantic Era repertoire, we often sing with 18 inches of space between singers.
JV: Having a larger amount of space between singers greatly aids in hearing your own voice. An important part of choral singing is being able to monitor your voice as well as the voices around you. You must have the ability to listen to and blend with the other members of the choir but still closely track your own voice and ensure that a resonant, healthy sound is being made.
You may have heard that you can simply sing by muscle memory in a choir or a nonresonant space without hearing yourself and still maintain healthy phonation. Researchers now believe that is not entirely accurate.3 In addition to spacing, if choir folders are being used, singers may angle them towards themselves and deflect some of the sound back to their ears.
JP: Another issue that is often related to vibrato in choral settings is phrase shape. I feel that too often singers (solo and choral) get caught up in singing each pitch in a phrase with equal emphasis and strength. I feel strongly that conductors who spend time to teach the structure of each musical phrase in an oratorical way (i.e., the phrase sings as it would speak dramatically) enhance the experience for singers and listeners and limit the amount of vibrato issues in the ensemble, because heavier vibrato is generally used in the peak sections of each phrase.
Breathing
JP: Conductors cannot assume that because the unconscious act of breathing takes place thousands of times daily, good “breathing for singing” automatically takes place in the choral rehearsal. The beginning of nearly every rehearsal for my ensembles begins with focus on alignment and inhalation/exhalation exercises. The outward expansion of the ribs, a high sternum, and the release of the low abdominal muscles are focal points for singers during this time. While I can’t be attuned to every singer’s body involvement, I try to make general comments to the group to address specific concerns that I see in individuals.
Too frequently I see ensemble breathing that is shallow and uninvolved with the intercostal muscles of the back. Another issue that is far too common is that choral singers frequently allow their bodies to collapse as they expel air, rather than allowing their bodies to remain in a “position of inspiration.”
JV: In the case of breathing, there should be no difference between choral and solo singing. The choral setting is one of the most effective venues for practicing breathing technique. During a choral rehearsal, a singer has ample opportunity to pay close attention to how the breath is taken, if it is low and relaxed enough, and if engagement of the breath occurs.
Final Thoughts
It is invaluable for both conductors and singing teachers to be consistent in their usage of singing terms. If we can reinforce the concept of chiaroscuro, appoggio, singer’s formant, etc., in the choral rehearsal, everyone wins. Students are able to continually reinforce their solo singing technique within the ensemble setting.
Likewise, it is helpful when singing teachers take an active role in the activities of the choral ensembles. Whether they volunteer for sectional rehearsals periodically or just observe rehearsals now and then, their students view this simple act as collaboration and understand that communication is clear between conductor and voice teacher and that these individuals are supportive of the work of their colleagues. As in so many areas of life, communication and collaboration are key.
The ultimate goal of choral singing is to unify and amalgamate disparate individual voices in a rehearsal process where the musical goals the composer relates to us (in the score) outweigh our individuality, bringing us to the place were the choral sum of our parts is much greater than our individual gifts. If singers are aware of the different demands placed upon the voice in the choral setting, the experience can greatly augment their solo singing and make them more complete artists.
(Endnotes)
1. Sundberg, Johan. The Science of the Singing Voice. DeKalb, IL: Northern Illinois University Press, 1987.
2. Mance, Robert. “Comparative Analysis of Sopranos in Solo Voice and in Choral Performance.” 4th International Conference on the Physiology and Acoustics of Singing, 103-112. San Antonio, TX: The University of Texas at San Antonio, 2009.
3. Ternström, Sten. “Tutorial in Choral Acoustics.” 4th International Conference on the Physiology and Acoustics of Singing, 26-31. San Antonio, TX: The University of Texas at San Antonio, 2009.
