The Solo Singer in the Choral Setting by Olson Margaret;Titze Ingo R.;

Author:Olson, Margaret;Titze, Ingo R.; [Olson]
Language: eng
Format: epub
Publisher: Scarecrow Press, Incorporated
Published: 2010-08-15T00:00:00+00:00

Chapter Six

v

Pedagogical Issues of Classification, Blend, Rehearsal Demands, and

Tone Quality: Expectations

of the Choral Conductor

Choral conductors are in a position to positively or negatively influence

solo singers in their ensemble. Choral conductor Lloyd Pfautsch offers his belief that the choral environment should complement and enhance solo study:

Although vocal training provided by choral conductors is somewhat different from that which singers receive in private studios, the technique employed in rehearsal should always be compatible with that used in the private studio.1

Preferences in voice classification, blend, rehearsal demands, and tone quality are among the most important pedagogical issues a conductor must handle.

Voice Classification

The proper classification of the voice is essential to vocal health in both the voice studio and choral environment. The method and outcome of classification differ greatly in these two contexts. A choral singer is usually classified as one of four principal parts: soprano, alto, tenor, or bass. Within these parts are variations of high and low (Soprano I and Soprano II, for example). The collegiate solo singer interested in a professional career will be working toward a voice classification based on the fach system, a German classification system for operatic voices. Young singers will identify with lyric categories, and with age and additional training will later refine these categories to include classifications such as dramatic or coloratura.2

During the choral audition process a choral conductor has only a few minutes to assess a voice for classification. This classification will be applied for a minimum of one semester. If a student’s voice is going through vocal changes, the choral conductor can help by being willing to consider changing parts mid-semester. The solo singer and voice teacher spend years developing the voice, and the classification may change with time and experience. In most cases, at the end of undergraduate work (age 21 or 22), the solo singer will need three or four more years of formal training before the fach category is determined.

The choral conductor must make the choral classification himself, even when the solo singer has sought the input of teachers and professional opera coaches over a period of several years. Some choral conductors will confer with voice teachers before classification. This is beneficial for the vocal health of the student, and helps create a productive work environment for all faculty.

Misclassification of a young singer is a common occurrence, as James McKinney explains:

The typical choral situation affords many opportunities for misclassification to occur. The most common division of vocal parts is for high and low voices within each sex (SATB). Since most people have medium voices, they must be assigned to a part which is either too high or too low for them; the mezzo-soprano must sing soprano and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than there are in singing too high.3

The choral conductor will be listening for a singer’s timbre, range, negotiation of passaggio (transition points), and overall vocal health.

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