7 Tips for Choir Directors

Advice on the care and feeding of the church choir

For many choir directors getting people to sign up isn't the problem. Getting them to stick with their commitment is. Choirs that are
loosely organized, that don't have a clear mandate and purpose, that lack an enthusiastic and creative director, often fade away before
Christmas.
In the paragraphs that follow, Brent Assink, minister of music at Calvary CRC in Minneapolis, offers seven guidelines that should help
choir directors develop and nurture longer-lasting, better-sounding choirs.
1 Establish a consistent time and style of rehearsal.
Before you decide on a rehearsal time, do some research. Find out when most of those who might be interested in singing can attend
and when the practice room is available. Once you have determined the best time for your choir rehearsalSunday afternoon, for
examplestick with it. You may lose some members at first, but in the long run both you and the choir will benefit from a regular time of
rehearsal.
The main function of the church choir is to lead God's people in praise and worship. However, many choir members may judge the
worth of their participation not only by their contribution to worship, but also by the content and value of rehearsals. As a result, it is
critical that you establish a consistent style of rehearsing.
In my church we have tried to run rather intensive rehearsal with little opportunity for conversation. This style has a double benefit:
members tend to learn more music in a shorter period of time and to look back at the rehearsal hour with a greater sense of
accomplishment and satisfaction.
2 Select your repertoire with care.
Selecting music is in many ways the most creative and rewarding part of leading a choir. It is also among the most challenging. It's
important to know the abilities of your choir and to test and expand those abilities with a range of repertoire. Overloading your choir with
too much difficult music can be just as demoralizing as singing the simplest hymn arrangements week after week. If you have very few
men, don't be afraid to use the vast repertoire available in S-A-B format. But be aware that the baritone line moves around a great deal
and may be somewhat difficult as a result.
The Reformed tradition encompasses a tremendous variety of musical expressionas is evident from the content of several new
hymnals. Acquaint yourself with the choral literature based on the tunes in these new hymnals. Also, watch for ways to vary expressions
of praise. At Calvary we strive to balance selections from the music of Handel and Bach with some of the contemporary anthems of
composers such as Hal Hopson and John Ness Beck. The difference in musical styles is pleasing to members of the choir and the
congregationresulting in more meaningful worship. As long as the lyrics express a world-and-life view consistent with that stated from
the pulpit, your music can explore the full range of expression available.
3 Expect a great deal from your choir.
Challenge your choir both through the repertoire you select and the role you design for them as worship leaders. In September, provide
them with a tentative schedule of what and when they will be singing between mid-September and Christmas. Try to give them a sense
of their ability to contribute to worship in both special and regular services through carefully selected hymns and anthems. With the
cooperation of the pastor, consistently explain to the choir why they are singing, what they are singing, and when.
After a time, the choir will develop a momentum of its own and learn to keep its finger on the pulse of the congregation. For example,
singing an anthem for baptism becomes more meaningful when choir members have been notified several weeks in advance and have
the opportunity to express in a unique way their welcome to the newest member of God's covenant family. Through such experiences
the choir begins to realize more fully its awesome responsibility to God and the congregation.
4 Recognize that your choir members are volunteers.
Service as a choir member involves a major time commitment, so be sure to offer your choir as much encouragement as possible. Pass
on meaningful comments made by members of the congregation, thereby letting the choir know that it is having a positive impact on the
congregation's spiritual life. For our choir, this realization is much more satisfying (and appropriate) than applause from the
congregation or a compliment from the pulpit. It reinforces the efforts of the choir to serve as a conduit through which the congregation
finds a new vocabulary of praise and worship.
Make it as easy as possible for choir members to attend rehearsals. Publish a rehearsal schedule months in advance, provide a
nursery, serve coffee, and ensure that the church is at a comfortable temperature.

Conversely, make it inconvenient for them to stay away: insist on being notified if a member will not be able to attend a rehearsal. Choir
members will soon learn that you consider each one's participation crucial and significant enough to warrant this procedure.
5 Offer choir members time off.
Because so many people are already too busy in today's society, the "seasonal choir" approach with Sunday morning rehearsals may
be the only way some congregations can keep a choir going. Many people who are unable to take part in a year-round choir may be
willing to make a six-week commitment for the Advent-Christmas choir and then perhaps another limited commitment at Easter time.
But even in churches that can sustain a full-time choir, time off for choir members is important. At Calvary, we accomplish this in two
ways. From June through August we do not hold regular rehearsals. Instead we meet briefly before the service to rehearse simple
hymns and anthems or selections that we have learned and rehearsed earlier in the year. During the regular choir season we provide
relief by breaking up the chain of Wednesday rehearsals with an occasional women's chorus or men's chorus rehearsal.
6 Be prepared.
Choir members are apt to give more of themselves in rehearsals if you walk in knowing what you are going to rehearse, what you want
by the end of the rehearsal, and how you're going to get it. If you demand much of your members, demand more of yourself. It should
be obvious that you've carefully considered the choir's schedule, repertoire, and overall role in the life of the church.
In addition, be prepared for unforseen circumstances. At Calvary, it seems our ranks are thinned by illness every March. I always make
sure we have several easy anthems in our folders in reserve so that even with reduced numbers we can take part in the service.
7 Set high standards.
Do all you can to see that the choir consistently sings at its best possible level. If you relax, everyone else will too, and the choir's sense
of accomplishment and contribution will suffer. If necessary, postpone an ill-prepared anthem. Switch from three-part anthems to twopart. The choir will come to appreciate consistent standards for quality, particularly if expectations are clearly defined.
Participation in a vibrant, enthusiastic church choir can be an extraordinarily rewarding and spiritually enriching experience. Through
careful planning and a realistic assessment of the strengths of choir members, the director can lead the choir into a fruitful and
meaningful relationship with the congregation of which it is a part and the God whom it glorifies.

As a church choir director, you are responsible for bringing the word of God to congregants through sacramental music. Some choir
members have no musical training, while others have more musical experience. Your role is to teach music to each choir member so
the words you sing and the music you play beautifully praises God.
1.

Make Prayer Central

o You have become a church choir member because you want to offer prayer and praise to God through your musical
talent. For choir directors, it is important to keep God at the center of the work in this ministry. Because choir
membership or leadership requires a time commitment, you will find yourself frequently praying for assistance and
support. Try to make time to pray--even if it's only for a few minutes--as your choir practices music for an upcoming
service or Mass.
Rehearsals and Preparation

Establish a regular time, day of the week and place for practice. Make sure there is a piano available for your
accompanist so she can play and help keep singers in tune while learning new pieces. If you have other musicians
such as a flutist, violinist, guitarist, drummer or other instrumentalists, make sure they understand how the music is to
be played.
When you choose new music, introduce it to your singers and instrumentalists early enough so everyone can learn it
and become comfortable with it. Uncertainty shows on Sunday morning. The congregation will pick up on hesitation,
ragged starts and vocals that are not strong.

High Expectations

Express your high expectations and certainty that your choir can learn difficult music and perform it well. When you
select music, keep in mind choir members who are still learning, especially those who are in high school or were
never exposed to musical training before they decided to join your choir. When you introduce new music, concentrate
on explaining key and time signatures, pointing out rests, flats and sharps for the musical notes.

Find out if your choir will provide music for special occasions such as Midnight Mass or at baptisms. Choose the
music for these celebrations and devote extra practice time to that music.

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WARM UP, ENERGIZE - Most choral singers arrive at evening rehearsals exhausted after a long day's work, so it's important to begin
with an overall physical warm up. Stretching, "loosening" exercises and calisthenics "wake up" the body, while "yawning" and relaxed
humming gradually get the voice going before more extensive vocalizing. Warming up should begin in the careing route to the
rehearsal.
THINK POSTURE - A "collapsed" posture limits breathing capacity and puts stress on laryngeal muscles. Most choral singers rehearse
sitting down, with music in hand a position that often becomes inefficient, through "slumping" back in the chair, crossing the legs, etc.
"Sitting up" may seem to require effort, but in fact, an erect, well balanced sitting posture is less tiring in the long run. A good concept is
to imagine the head "floating" directly above the pelvis, and the rib cage expanded. The music should be raised to eye level, however
the shoulders must remain relaxed. Both feet should be "flat on the floor". When standing during a performance, be careful not to "lock"
the legs. Always wear comfortable shoes, no high heels. A rigid stance, combined with nervous tension and inadequate ventilation can
cause choir members to feel faint, and occasionally lose consciousness!
BREATHE - This may seem obvious, but many choral singers simply do not allow themselves an adequate breath, and instead, "gasp"
for air in order to stay with the conductor's beat. Admittedly, breath management can be challenging in group singing. Good choral
directors are aware of this, and endeavor to indicate breathing with their conduction gestures. Ultimately, however, it is the singer's own
responsibility to maintain efficient breath support.
SING THE RIGHT PART - Singers may be incorrectly classified in order to accommodate the needs of the choral group. Tenors are
often scarce, so baritones may be induced to sing the tenor part, which can strain the voice. It is possible to use certain vocal
techniques, such as singing falsetto in the upper register, to render the voice more versatile. If you are uncomfortable singing in the
required range, and suspect that you are "misplaced", request a change of part or help with vocal technique. It is hoped that choral
conductors will guide singers in the best possible use of their voice.
DON'T OVER-SING - Singing loudly in order to hear oneself over other singers usually stresses the voice. "Showing off" one's voice is
inappropriate in group singing -- it doesn't contribute well to a choral "blend," and it is usually resented by fellow singers! If you need to
check the accuracy of your pitch, simply put a finger in one ear. Even when fortissimo singing is required, it is wise not to push the voice
-- always sing on the "interest," not the "principal"!
ARTICULATE WISELY - Discomfort in singing is often caused by tension in the articulation of consonants and vowels. Choral singers
are generally encouraged to enunciate clearly, but care should be taken that the jaw, tongue, and lips remain as relaxed as possible.
Furthermore, it is necessary to modify pronunciation for efficiency and ease of vocal production; for example, sopranos need to "open"
vowels on high notes.
PREPARE YOUR MUSIC - Whenever possible, try to learn your part before coming to the rehearsal. If you are insecure about pitch, it
is unlikely that you will sing well. Hesitation impedes good vocal technique!
AVOID TALKING - Not only is chatting disruptive to others (especially the conductor!), but it tires the voice.
TAKE CARE OF YOURSELF - Being a choir member is the same as being a member of an athletic team, and you have a responsibility
to safeguard your health. Avoid smoke and alcohol, partying should be postponed until after the final performance. Get plenty of sleep
and aerobic exercise. "Hydrate", drink plenty of fluids in order to reduce irritating phlegm. Use common sense when you're sick, if
possible, miss a rehearsal rather then sing over a cold or flu, and avoid exposing other choir members to your germs.
TAKE VOICE LESSONS - If you really want to maximize your enjoyment of choral singing, a few voice lessons can provide valuable
insight. Ideally, your teacher should understand and appreciate both choral and solo singing techniques.
Singing Tips 1 - Take singing lessons but be sure to seek out a qualified teacher. Check their references. Look at their training and/or
schooling as well as their work history.
Singing Tips 2 - If you sing pop, gospel, soul, rock, blues, or even jazz, even the occasional voice lesson from a well qualified
instructor can put you ahead of the competition. Consider a classical instructor. You don't have to use everything you are taught in
performance. If you can transfer some of the techniques, though, you can better maintain your vocal health and prevent nodules or
scarring that will shorten your career.

Singing Tips 3 - Most singers need to have some type of basic warm-up routine, even if very basic. Make sure your routine always
includes the same basic passages or exercises so you'll be able to judge where your voice is in relation to where it normally is.
Singing Tips 4 - Practice singing in front of a mirror. This will help you notice posture, airflow, facial expressions, and overall how you
appear to an audience.
Singing Tips 5 - Consider singing as part of a group, even if your main interest is solo work. It can really open up your ears to singing
better on pitch and blending your voice to match other sounds.
Singing Tips 6 - If you sing in a group, be open to shifting to a different place in the ensemble, even if it is not beside your best friend,
and even if there is someone a bit taller in front of you, or vice versa. Some good choir directors will put people in different places
according to the unique qualities of their voice and tone.
Singing Tips 7 - Open your mouth! Yea, yea, I know... most people are trying to get you to shut up. Well, if you can learn to sing with
your mouth "very" wide open, you will hit clearer notes and sing more strongly and cleanly overall.
Singing Tips 8 - Like any musical discipline, I think that listening to great performers helps you hone your sound and technique. I even
suggest singing along with great recordings, trying to match the vocalist exactly. Then, after you've learned their way, you have some
new techniques and the ability to create your own interpretation of the piece of music.
Singing Tips 9 - Don't forget about listening to recordings of singers from earlier times. For example, recordings of tenor Enrico Caruso
are some of the earliest recordings of classical music.
Singing Tips 10 - While it is fun to copy someone else's singing style, be sure not to do so to the detriment of your physical voice. Very
few people have vocal chords that lend themselves to singing like James Brown, Luciano Pavarotti, or Mariah Carey.
Singing Tips 11 - Just as instrumentalists should listen to singers to emulate the voice in their playing, singers can likewise learn new
musical techniques from listening to and copying the playing of talented instrumentalists. Don't know where to start? Listen to some
famous instrumental works or musicians and find what you like.
Singing Tips 12 - An old joke says that an alto is just a soprano who can read music. While funny, and sometimes true in practice, it is
ideal to be able to sing the voice part that your voice suits the best. For this reason, you will create more depth in your choir if you can
learn to read music and sing harmonies. That way, if you truly are an interior voice such as an alto or tenor, you will be able sing it,
rather than your director having to recruit someone who can read the music but whose voice may not be as well suited to the part.
Singing Tips 13 - The renowned Harry Bulow, a composer and music theory professor once asked his class in earnest why in the
world J.S. Bach used the same melodies in so many chorales, simply reharmonizing the lower parts. He suggested that perhaps Bach
just liked those particular melodies. A quick-witted music student remarked "Either that, or he just had really stupid sopranos!"
Overcome the stereotype, sopranos and basses. Don't let the ability to easily hear your part become a crutch - improve your sightreading skills whenever you are able.
Singing Tips 14 - Keep your vocal chords moisturized. Drink lots of water or liquids at room temperature.
Singing Tips 15 - It is very important to keep hydrated. It is a little known fact, though, that drinking excessive amounts of water just
before singing can remove too much of the natural lubricant your body creates on your vocal chords.
Singing Tips 16 - Avoid strange remedies for your voice. If you train among singers, you will undoubtedly hear strange concoctions of
beverages and even over the counter medications to improve vocal stamina or help a fatigued voice. These will do more harm than
good. Sometimes simple vocal rest is needed.
Singing Tips 17 - Try not to hold your breath when you're singing. You want the air to flow freely through your diaphragm and back out.
Singing Tips 18 - Remember, your vocal chords are an instrument and it must be cared for like an instrument. Be sure to get proper
rest and do not shout or scream for long periods of time before a vocal performance.
Singing Tips 19 - While you don't want to tire yourself out, make sure you can sing a complex passage 5 to 10 times without a mistake
if you are having problems with it and will need to perform it.
Singing Tips 20 - Many female singers have remarked that they have done some of their best singing when pregnant. Others have
said that their baby's excited actions in the womb when singing made it difficult. Stay positive and keep in mind that it could happen
either way.
Singing Tips 21 - A man's vocal prime is much later in life than a womans, many times reaching into the late 50s.

Singing Tips 22 - Sing with a karaoke machine. This is a great tool to allow you to "have the floor". It provides the words and the backup musicians. Just be sure to balance it out later on with real musicians. There is quite a big difference when performing professionally
and you need to get used to the live performance arena.
Singing Tips 23 - Motions of the body and arms can help you to be more expressive and technically able in your singing, especially if
you are a kinesthetic learner - one who learns by feeling.
Singing Tips 24 - Don't just mouth the words with melody. SING!...from the bottom of your heart and soul. Put heart, feeling, and
emotion into every line and sing with conviction. This will translate into an outstanding performance for the listener.
Singing Tips 25 - In classical music, the voice should have a "spinning" quality to the tone. Some of this is created by a natural vibrato.
The rest is done by creating a resonance from the way your mouth is shaped that brings out well-formed overtones. Study with a vocal
instructor can help.
Singing Tips 26 - With vibrato, most vocal instructors agree that it is best not to practice it, but to let it develop and occur naturally. If
you are singing with correct technique and your voice is maturing, it will happen. If it does not, it usually means that there is something
to correct in your technique.
Singing Tips 27 - Don't drink, do drugs, or smoke. These are the worst things ever for your voice.
Singing Tips 28 - Stay away from air-conditioning before a vocal performance.
Singing Tips 29 - You must sing 1 to 3 hours a day so your your voice will be clear and practice in hitting high notes -akaichu
Singing Tips 30 - Don't audition for American Idol. Its a joke and a slap in the face of real musicians who worked hard to get where
they are. Leave the karaoke at the bar. You will learn to appreciate your accomplishments if you actually earn them, rather than winning
a popularity contest.
Singing Tips 31 - Don't ask someone if they are a singer or a musician as singers are offended by this. (Singers are obviously
musicians, too.) Ask instead if they are a singer or an instrumentalist. Or, you can ask whether they are a vocalist or play an instrument.
Singing Tips 32 - It has been said that singing is yelling on pitch. To a degree, it may be.
Singing Tips 33 - A nasal sound is usually thought of as being harsh on the ears. Truth be told, all great singers who really project have
a good deal of nasal resonance. When you sing, does any air at all come from your nose? A little should. Experiment!
Singing Tips 34 - When singing notes that are very high in your vocal range, don't be afraid to modify the vowel sounds a bit of you are
singing solo. For example, the "a" in "far" could be sung where it sounds like it is between an "a" and an "e".
Singing Tips 35 - Here's a cool trick that can be used solo or by an entire choir. If you have a section of music that you are supposed
to hum rather than sing with an open mouth, try this - with your mouth closed, touch the tip of your tongue to the roof of your mouth,
then hum. You'll notice that the hum projects much better due to increased nasal resonance.
Singing Tips 36 - If you have ever sung in a professional choir, you know how important it is that the group be uniform in their vowel
sounds. This promotes blending in tone quality, and can help keep notes better in tune throughout the choir.
Singing Tips 37 - Pavarotti once said that that singing takes lots and lots of memory. Point taken to remain focused in concentration
when you are performing. You will never be added to the list of those who have forgotten the lyrics when singing the national anthem.
Singing Tips 38 - Many singers have beautiful voices and technical ability. The very best also do a superb job of interpreting the lyrics.
Tell a story! Always be thinking of how what you are singing lends expression to the lyrics and artistic thought behind the song.
-------How to increase the volume of your choir.
One thing I am constantly asked is How do you get that choir to sing so loud? Now before we get into some exercises that will
increase the volume of the choir, it needs to be said that there is a difference between singing loud and SCREAMING. You can sing
loud without SCREAMING, but you cannot SCREAM and sing at the same time.
The voice box, or larynx, is a muscle, and as a muscle you should take care of it. Just like a weight lifter can tear a muscle by trying to
lift too much weight, you can tear your larynx by over-singing and screaming. It is also imperative that you warm up. Just as a runner

stretches and loosens and warms up his muscles before running, you need to take the time to warm up before singing, but warm ups is
another tip for another time, lets look at some techniques that will help increase the volume of your choir.
One of the first things that I will do when teaching a Choir Workshop, and this may seem simple, is tell the choir to open their mouth.
When singing, you should be able to take three fingers, your index, middle and ring finger, turn them so they are parallel with the index
finger on the top and the ring finger at the bottom, insert them into your mouth (only the lips not all the way into the teeth). This is how
wide your mouth should be open when you are singing. If you were to take a couple of songbooks and lay them on the speakers of your
car audio system, it would greatly muffle the sound. Your lips are the same way, if you dont open your mouth, they will muffle and
decrease the volume.
Another simple thing to do is smile. I know, that seems overly simple, but if you will smile, raise your eyebrows just a little (as if you
were surprised) you will be amazed at the increase in volume not to mention the fact that it looks much more pleasant to see someone
smile when they sing.
I will also have the choir memorize and quote Ecclesiastes 9:10a Whatsoever thy hand findeth to do, do it with thy might; I will have
them quote this, increasing their volume each time until they reach an acceptable volume level. Again, they are speaking slightly above
speech level, not screaming.
If you have a 30 member choir, and you will do these simple exercises with them, you will increase your volume by at least 50%

I remember Dr. Barbara Doscher at the University of Colorado describing vocal pedagogy as a negative-value
proposition. Above all, don't hurt the voice. In many singers a healthy voice will emerge naturally; stay out of
the way and let that sound emerge. Create a vocal warm-up, especially for younger singers, that will allow this
expressive, free voice to come out.
The techniques and strategies suggested below come from observing Dr. Doscher's teaching of studio voice
lessons, from reading texts on vocal pedagogy (see below for a reading list), and from three decades of teaching
singers in choirs of varying ages and abilities. The primary laboratory for these exercises is the University
Chorale of the University of Southern Maine, a large ensemble of mixed voices, whose membership comprises
experienced singers whose principal instrument is voice, singers who are dedicated amateurs and who seek to
continue their love of choral singing, and students who have been instrumentalists for most of their musical life,
some of whom are singing for the first time in the University Chorale.
The suggested techniques belong to the realm of Group Voice Building (as exemplified in the work of Frauke
Haasemann among others). The best-designed group vocalises in no way supercede studio voice lessons. Oneon-one instruction is the best way to address the unique vocal needs of individual singers. I always ask the
singers in the Chorale who study voice privately to inform me if the exercises that we do in Chorale contradict
the ideas of good vocal development that they have learned in private lessons; furthermore, there is always an
option for experienced singers to do their own private warm-up prior to rehearsal and to sit quietly during vocal
warm-up. I ask them to inform me of their concerns, so that we may both be aware of what the other is doing.
My experience with the exercises below is that they address the dictum stated above: do no harm. The sound
that I hear from this vocal procedure is clear, in tune, free, and pleasing. Singers are encouraged to sing
individually with a sensitivity to the group sound.

WAKE UP THE BODY

First we must prepare the body to sing.
Several exercises can contribute to this readiness:

Stand quietly. Take a "sun breath." As you inhale through the nose (to the count of 4) raise your arms,
keeping shoulders comfortably relaxed. If you are able to do so, touch your hands over your head.

Exhale through your mouth to the count of 4 while gradually lowering your arms. Over time increase the
count to 6 and then 8. As you become comfortable with the exercise, add a 4-count hold at the top of the
inhalation. (This is a wonderful "centering" exercise, which I was at first hesitant to try with rowdy
college students, and I was amazed at how quiet the room got during the exercise. Try it.)
Gently shake your wrists. Flop your wrists in front of you. Shake your hands more vigorously as if
trying to get water off them.
Move your elbows and hands in a circular manner. Wake up the arms.
Roll your shoulders in a circular manner up and back.
Extend one arm in front of your body fingers pointed up. Pull gently to free the wrist. Point the fingers
down. Pull gently to free the wrist. Repeat with the other arm. (Also good for conducting.)
Clasp your hands together behind your head. Gently pull down on your head while exhaling.
(CAUTION: Those with neck injuries, take care with this exercise or avoid it completely.) Lift your
elbows and head while inhaling through the nose. Repeat slowly 3-4 times.
Turn 90 degrees to the right, facing the back of your neighbor singer. Rub the shoulders of the person in
front of you. Turn around and repeat the process.
Finally, stand quietly with arms relaxed at your side. Take a full breath while bringing your arms
overhead. Keep shoulders comfortably down and relaxed. As you exhale, lower your arms, keeping
sternum elevated and shoulders down. Your posture is somewhere between the typical "teen slump" and
the stereotypical "military rigid." The body is now awake and in a position for effective singing.

These exercises are several from the many effective exercises that singers can do to ready the body for singing.
They generally work well in close quarters and are designed to bring a state of readiness to the body with
special attention to relaxing muscles in the neck which attach to the laryngeal cartilages. Freedom and readiness
are the issues: free the voice and ready the body.
OBSERVATIONS: I have used all of these exercises with varying degrees of success. The first time many
years ago that I used back rubs, the students looked at me with disbelief and genial mocking, "What is this, a
phys ed class?" Now if I forget to do back rubs, they ask for them.
You cannot use any vocal technique that you do not believe in. If you have confidence in the exercise and can
convince the students that you are working in their interests to make them better singers, then keep at it. These
exercises are not magic; they do not work overnight. Over time, however, they do work. When you notice a
difference in their singing, tell them so and let them know that it is because of the exercises that we have been
doing regularly. We are all working together for a better ensemble.

WAKE UP THE BREATH

The Process of Breathing: A singer's breath involves the coordination of muscles of the ribs together with
muscles of the abdomen, a process called muscular antagonism. The muscles of inspirationthe external
intercostals and diaphragmwork to create a partial vacuum in the lungs. Natural air pressure moves air into the
lungs. The muscles of expirationthe internal intercostals and several muscular layers of the abdomenpull the
ribs down and in and the belly inward, which moves air out of the lungs across the vocal folds. (See also below:
appoggio)
The Process of Phonation: The vocal folds are brought into vibration through a principle of physics called the
Bernoulli Principle. (It is the same principle that gives lift to an airplane or forward motion to a sailboat.) The
vocal folds are "sucked" into vibration through the partial vacuum created by the air rushing out of the lungs
through the trachea. In an ideally phonated pitch, the movement of breath is met precisely by the approximation
(adduction) of the vocal folds, which are brought together with the right amount of muscular energy that is

neither too tense (producing a glottal plosive) nor too relaxed (producing a breathy vocal quality). Voice and
breath are precisely coordinated resulting in "singing on the breath."
Exercises: Once the body is alert and energized through a physical warm-up,
it is time to wake up the breath. These exercises are effective:

Place your palms on the bottom of the rib cage, fingers crossing the abdomen and touching in front.
Breathe low and deep, observing that the fingers separate as the result of an effective inhalation. Hiss,
long and sustained, keeping the rib cage and sternum elevated.
Inhale and hiss, five times staccato.
Inhale and hiss, twice staccato and then sustained.
Inhale and sing on a comfortable pitch in mid-voice, "Sah-sah-saaaaaaaaaaaah." (Sing twice short and
then sustained.)
Inhale and sing on a comfortable pitch in mid-voice two staccato pitches, "Sah-sah" followed by a
sustained five-pitch scalar passage (5-4-3-2-1) on "Saaaaaaaaaaaaah." Repeat several times, each time a
half step lower, remaining generally in mid-voice range.

Other exercises
Hold your hand up in front of your face fingers spread. Imagine that each finger has a candle lit at the
end. Blow out the candles one by one with five staccato breaths
Toss an imaginary ball to someone across the room. As you throw, exhale with a hiss.
Toll an imaginary bell. As you inhale through the nose, reach up. As you exhale audibly through the
mouth, pull down on the imaginary bell rope.
(These exercises are from the Ehmann/Haasemann book listed below.)
The intent of these vocalises is "vocal-ease." Breath flow needs to be uninhibited and immediately connected to
the sound. "To sing is to breathe." The flow of breath may be imagined as water pouring forth freely from a
garden hose. The sound on the breath is as a leaf on the stream of water, carried effortlessly and completely
connected to the stream of water.
Observations about breathing

Never plan to use all of your breath. The singer who sings to the last milliliter of breath may well have
done so at the expense of introducing tension into the voice or body, not to mention a likely sacrifice of
expressive singing. The "last gasp" of breath is rarely connected to easily produced sound, and it is
generally unmusical.
The issue with breathing is not who can sing the longest phrase, although it certainly is a goal of vocal
pedagogy to increase the length of phrase that can be sung. The primary issue with breathing is to keep a
smooth, consistent stream of sound always connected to breath.
Young voices may be naturally breathy. Don't be overly concerned about breathiness in young singers.
Listen to the sound that is produced "under" the breathiness. Vocal maturity may solve the problem.
Avoid holding back the breath. Give the breath into the phrase. Holding back the breath to "save it" for
the end of the phrase may lead to vocal tension and erratic voice-breath connection. Ironically, the more
breath you give to the phrase, the more breath you have to give.
Coordinate the breath with vocal onset, so that the sound is neither breathy nor tight.
If the sound is too breathy, try "narrowing" the vowel concept, singing a very rounded [u] for example.
(Rememberpoint #3 abovethat young voices may be naturally breathy
If the vocal onset is tight, use an aspirated consonant [h] to assist vocal production. Rather than [a] sing
[ha]. Gradually reduce the intensity of [h] in the sound until the [h] is only imagined, not audible.

Maintain the body in its upright and ready posture. (See below: appoggio)
Oversupport can cause as many vocal problems as undersupport.
For posture: "Sing in the position of breathingbreathe in the position of singing."
Take an easy, silent breath.
Breath holding may increase lung capacity, but will not enhance breath management.
If the vocal onset or release is jagged or erratic, move the hand in an upward sweeping motion to
encourage a smooth onset or release of sound.
If the vocal release is tight or constricted, keep the throat open after phonation; imagine that you are
continuing to sing, even after you have released the sound.

The Italian concept of appoggio (support) is amply illuminated by Miller (pp. 23-29). Though it is roughly
translated as "support," appoggio is much more: a dynamic balance of abdominal and thoracic muscle
movement, coordinated with vocal onset (phonation), which allows cooperative (antagonistic) coordination
among the muscles. Its features are

an elevated sternum, never slumped

ribs expanded and maintained, as much as possible, in the "expanded" position during exhalation
shoulders, neck, and head relaxed
torso stable in the epigastric and umbilical regions
relaxed glottis

WAKE UP THE NOSE

Once the body is ready and energized for singing and the breath vitalized,
it is time to "wake up the nose."
The Italian maxim goes something like this: "Put some nose in the sound without the sound being in the nose."
Virtually everyone agrees that, in the bel canto style, nasal singing is avoided. The converse is also true: "cut-off
nasality" is to be avoided. Nasal sound has a twang that is generally out of place in classical singing. On the
other hand, the sound of "cut-off nasality" is dull and monochromatic, flat (not in pitch but in resonance). In a
balanced voice there is some nose in the sound, but the sound is not nasal. A good test is to sing and pinch the
nostrils. If the sound doesn't change at all, there is no nasality in the sound: it has "cut-off" nasality. If the sound
changes a lot, there is a nasal twang: it has too much nasality. If the sound changes slightly, then the balance is
probably right. This is a tricky concept to teach. Studio voice teachers use a variety of techniques to get the right
mix of nasality in the voice.
In a choral setting I have found that the best way to "wake up the nose" is through a humming vocalise. Ask the
singers to bring the lips gently together as if humming [m]. Place the tip of the tongue easily behind the upper
teeth as if singing [n]. Hum using this combination of [m] and [n]. Experiment in mid-range with random
humming sounds, single pitches and gentle glissandos. Use the humming "puppy whine" in upper register as a
means of developing nasal placement and as a technique to connect with head register.
Once singers are comfortable with humming, introduce this vocalise: 5-3-4-2-1 (sol-mi-fa-re-do) in major mode
and in a comfortable mid-voice range. Hum the first four pitches and sustain the final pitch on the vowel [a].
Repeat several times a half step lower each time, but remaining in a comfortable range.
Another useful vocalise on the same pitch pattern (sol-mi-fa-re-do) or a more extended pattern
(sol/mi fa/re mi/do re/ti do) is [ni-ne-na-no-nu] sung while doing gentle circular gestures with your in
front of the body as if lovingly stroking a cat.
Observations about Resonance

A resonator is a secondary vibrator, not capable of initiating pitch, but capable of altering the amplitude
and timbre of the pitch for better or worse. If the voice doesn't sound good or if it is not projecting well,
it may be because the resonators are not well adjusted.
Resonance adjustment (the tuning of the cavities of the mouth and throat) is often most effectively done
through vowel modification. For example, if the [ah] vowel is too bright, modify it to [aw].
If the resonating cavities (primarily mouth and throat) are not tuned to the pitch from the vocal folds,
then the vocal folds must "force" the air cavity to vibrate, rather than vibrating in sympathetic resonance
with the voice. Forced resonance is inefficient for singers; sympathetic resonance is the goal.

WAKE UP THE VOICE

Once you have animated the body, initiated consistent breath flow,
easily connected breath to sound, and energized the nasal placement,
it is time to extend the range of the vocalises to awaken the full range of the voice.
There are numerous vocalises that effectively achieve the goal of vocal extension. The two that I use most
frequently with choirs are these:

This arpeggio: do-mi-sol-do-ti-sol-fa-re-so sung on these syllables: [u - - - a - - - -].

The ascending arpeggio is on [u] and the descending arpeggio on [a]. At the same time move your hands
in a big "rainbow" arch, beginning in the middle of your body and radiating outward.
The scalar passage: 1-2-3-4-5---1-2-3-4-5---1-2-3-4-5-6-7-8-9-8-7-6-5-4-3-2-1 on these syllables: [si - - o], [si - - - o], [si - - - o - - - - - - - - - - - -].
On the first five pitches, each time make a small circle with the hands in front of the body; on the 9notes scalar passage make a big circle with the hands, again radiating outward. NOTE: this exercise may
not be as effective if sung too quickly.

Observations

There is something about movement of the body that exerts a positive influence over the sound that is
produced, energizing it with freedom and connection to the breath.
When the voice is "cold," it is best to begin the vocal warm-up with descending vocalises in mid-range.
This procedure, especially with inexperienced singers, will more consistently deliver vocal sounds that
are free of tension and on pitch.

MAKE THE SOUND BEAUTIFUL

Once you have animated the body, initiated consistent breath flow easily connected to sound, energized the
nasal placement, and extended the range of the vocalises to awaken the full voice, it is time to focus on vocal
beauty.
NOTICE THE ORDER: vocal beauty is the last important vocal component to be addressed.
The exercise that I use most often for beauty of sustained singing is a single pitch in mid-voice, first hummed
pianissimo and then sung with gradual crescendo on a succession of vowels that grows increasingly brighter: [u
- o - a]. If the vowel is truly unified, somewhere in the [a] an overtone (or sometimes two) emerges as a result of
the vowel unification. When this happens, the choir is truly singing in tune.
For optimum sound, think in this order:

Breathe
Sing

Sustain
Release

For optimum resonance, encourage the following:

A comfortably low larynx

A high velum
Balanced nasal placement
Relaxed lips
Relaxed tongue

For beautiful sound and optimum resonance, use the following:

the look of pleasant surprise on your face

the look of hopeful anticipation
the beginning of a smile
the appearance of inhaling a pleasant aroma, such as a rose

To do all of these exercises every day will probably require 10-15 minutes, and you may not have that much
time in rehearsal. I generally use a 20-25% rule of thumb for vocal warm-up and sightsinging exercises. If your
rehearsal is 50 minutes, take no less than 10 minutes for vocal and musical exercises. Find a plan that works for
you and stick with it. Slight variations from day to day are good, but in general keep the routine the same; in the
long run that will produce the most consistent results.
Research has demonstrated the value of singing every day. The vocal exercise does not have to be complex:
easy humming in the shower or simple scalar passages in the car on the way to work are effective; certainly
more extensive vocalizing is needed for more rigorous singing. The benefit of humming is holistic: somehow
we feel more integrated, grounded.
If students resist vocal or musical exercises, tell them that we are merely "sharpening our axes." The story is
told of two woodsmen, one of whom wanted to get the jump on the other by going immediately into the woods
to chop trees. The other stopped first to sharpen his axe. Woodsman #1 felled his tree first, but Woodsman #2
felled many more trees by day's end.

CHARACTERISTICS OF A GOOD VOICE

PITCH-CENTERED. Singers can and should sing to the center of the pitch.
FREE. Good singing feels and sounds effortless; unnecessary vocal tension is released.
BEAUTIFUL AND RESONANT. Exercises that encourage a comfortably low larynx, a high velum,
"forward" placement, relaxed lips, and relaxed tongue will contribute to a naturally beautiful sound.
A PLEASING VIBRATO. In Seashore's classic definition, "A good vibrato is a pulsation of pitch,
usually accompanied with synchronous pulsation of loudness and timbre, of such extent and rate as to
give pleasing flexibility, tenderness, and richness to the tone." Pitch fluctuation in a healthy vibrato is
about a semitone with about six undulations per second. A vibrato that is too rapid is called tremolo; one
that is too slow is a wobble. Vibrato is a result rather than a technique. When the voice is free, breathcentered, pitch-centered and resonant, vibrato emerges; it is not taught. Vibrato is a sign of a healthy
voice. In Miller's view it is acceptable to call attention to unhealthy vibrato, so that a singer may correct
it.

Much debate among singers, singing teachers, and choral conductors has centered on the topic of vibrato. I
believe it is possible for good choral union and vibrato to peacefully coexist. (Consult recordings of The Robert
Shaw Chorale or the Swedish Radio Choir with Eric Ericson conducting as examples.) Straight-tone singing to
the point of "laser-like" vocal production (as I have heard in some choirs) is unhealthy and unpleasant.
Likewise, a vocal free-for-all in which singers are allowed to do anything and everything with vibrato does not
yield the most satisfactory choral sound.
A NOTE ABOUT AUDITIONS: Choral conductors who have a great variety of singers interested in choral
ensembles have the joy as well as the responsibility of choosing the singers that best match their concept of
choral sound. For example, in a select chamber choir of 30-40 voices that sings primarily a cappella repertoire, I
prefer the lyric soprano sound, and (if I have the choice) will seek sopranos who can sing high and soft and who
can produce a sweet timbre which is still energized and musical (much like the voice of Emma Kirkby). If
during the audition you can choose voices that match one another, then you can use rehearsal time to attend to
musical matters rather than matter of vocal unification. The larger ensembles that sing with piano or orchestra
can more easily accommodate more vibrant, ringing voices.
A NOTE ABOUT BLEND: A chorus learns to sing together to the extent that members of the chorus have
developed unified concepts of pitch, vowel, diction, rhythm, articulation, dynamics, balance, and timbre. In
rehearsal I encourage all singers to

Sing precisely the same pitch.

Sing precisely the same vowel.
Sing exactly the same rhythm (with special attention to consonants).
Sing a unified articulation: staccato, legato, marcato, or tenuto
Sing a unified dynamic level.
Be sensitive to the need to balance all voice parts.
Sing with a unified timbre, bright or dark.
If we do these things, then I rarely find the need to say,
"Sing with straight tone." OR "Blend the sound."

SUGGESTIONS FOR GENERAL HEALTH

Aerobic conditioning assists vocal conditioning. When you exercise, you oxygenate the capillaries
throughout the body, including the larynx, and singing is enhanced. CAUTION: Consult a health-care
professional before beginning a program of aerobic exercise.
Hydration assists good singing. A water bottle is a good companion.
Avoid dehydrating substances: antihistamines, alcohol, and caffeine.
Eat foods that focus on the dietary pyramid: high on fibrous fruits, whole grains, and vegetables; low on
"bad" carbohydrates and "bad" fat.
Take a good multi-vitamin supplement.
Avoid foods that produce mucous, milk products especially.
Speak at an optimum pitch for your vocal health. The voice can be damaged if speaking pitch is too low
or too throaty.
Warm-up the voice daily. A few descending vocalises, humming and singing (perhaps in the car on the
way to work) will help ready the voice for a day of teaching.
Whispering is hard on the voice.
Avoid clearing your throat, a very rough experience for the vocal folds.
If you are not well, stay home and rest. Don't teach while ill or vocally impaired.

Avoid getting a cold, an annoyance to the general population, deadly for a singer. Avoid touching your
eyes and nose as these are good conduits for infection. Wash hands frequently, especially during cold
season.

SOME PRINCIPLES OF VOCAL TRAINING

Don't badger the sopranos about vowel color in high range. Because of the fixed formant principle, all
vowels in women's voices tend toward [a] in upper range.
The most difficult singing is piano or pianissimo. The next most difficult singing is fortissimo. Most
singing, especially in developing voices, is best at mezzo forte.
Ideally singers desire to coordinate the voice from top to bottom in one seamless passage. All singers
have two basic registers: heavy and light, often called chest voice and head voice. Training the voice to
produce this seamless passage generally requires bringing the lighter production or head voice down into
the lower voice and, conversely, taking weight out of the sound as you move from heavier production, or
chest voice, into the upper voice. Generally, descending vocalises work best to achieve this balance of
vocal registers.
Generally men need to be encouraged to use the falsetto range. They shy away from it because the sound
is not manly.
Generally women need to be encouraged to use the chest mechanism. They are reluctant to sing in chest
voice because the sound is not sweet enough.
Avoid the terms "break" or "lift" to describe the shift in vocal registers. Use instead "vocal passage" or
passaggio. According to Miller, the primo passaggio is at the top of the natural speaking voice; the
secondo passaggio is at the top of the "yell" register, where the voice passes to falsetto. (His text on
pp.115-126 contains a very thorough chart of vocal classifications and passaggi.)
The word "cover" is often used to describe the passage of the male voice into the upper range.
Characteristics of cover include vowel modification (toward more closed vowel formations); a spacious
pharynx, high velum, and low tongue (described above under "optimum resonance"); a lowered larynx,
and greater air & air pressure. Avoid a forced lowered larynx (as in a deep yawn). The concept of
"cover" almost defies description and is best explored in the hands of an experienced teacher of voice.
See below (Suggestions for Rehearsal) for a description of a technique for unifying registers in the male
voice through descending falsetto exercises. This is a safer technique to use in group situations.
These consonants are most favorable for developing vocal resonance: [m] and [n]
These consonants are most favorable for assisting vocal onset: [h], [s] and [f]
To sing "problem" consonants[l] and [r]think of [l] as a light [d], substituting, for example,
"addeduia" for "alleluia." Produce [r] with the flip of the tongue or with a substituted [d], singing "vedy"
in place of "very," for example.
"Tongue trills" will bring freedom in the tongue. "Lip trills" simulate the action of the vocal folds and
assist with vocal onset and vocal freedom.
Resonance adjustment may be managed through vowel modification. I watched Barbara Doscher teach
many voice lessons at the University of Colorado, and with her more advanced singers, she talked very
little about changing the tone quality of the voice. However, she talked ALL THE TIME about
modifying the vowel.

SUGGESTIONS FOR REHEARSAL

Sing the phrase from end to beginning. This will build your confidence to finish the phrase without
losing breath.
Sing the piece from end to beginning to build confidence in the conclusion of the piece.
At the first rehearsal of a piece, start with that section of the piece that you find most beautiful, most
expressive, or most exciting.

At concert time the focus must be on expression, not technique. Rehearsal builds vocal (and choral)
technique. The singer in concert who focuses on technique risks boring the audience.
In developing agility, begin with simple exercises and proceed to more complex.
Of the many techniques that I have encountered for singing passagework (the melismas in Handel's
Messiah, for example) the one that I like best is a lightly produced [nah]. The ideal, of course, is to sing
the passages clearly and on the breath, "like pearls on a string." Amateur singers are often challenged to
do so. In my experience rehearsing such passages on [nah] produces clarity without sacrificing vocal
health. The [nah] must not be audible to the audience. It is the responsibility of the conductor to coach
the chorus as to what is too much and what is not enough. Some singers may be encouraged to sing the
passages with [nah] while others may sing the pure vowel.
One technique for blending the male voices in a choral setting is to ask the men to sing a descending
major scale beginning in falsetto. FIRST ask the women to sing a descending A Major scale, beginning
on A=440. THEN ask the men to sing with the women at pitch (men in falsetto). FINALLY ask the men
to sing alone. Beginning with the support of the women may encourage the inexperienced tenors and
basses to experiment in a vocal range that is unfamiliar to them. Blend and pitch will be mutually
supported with this exercise. At the point of vocal passage from falsetto to head voice, add an extra
measure of breath, not breath pressure, to ease the transition.
If the head voice is the underdeveloped register in males, the chest voice is in females either
underdeveloped or used exclusively. For those women who use chest voice exclusively, some commit
the Cardinal Choral Sin: singing tenor. Most every choral conductor who has conducted inexperienced
or developing choirs has at some point asked women to assist the tenors in singing their part. That is not
a crime, because much of the tenor line lies comfortably in the alto range some of the time. The crime is
asking, or allowing, women to sing tenor exclusively, developing only the chest voice to the exclusion of
the head voice. However, the converse is also true: Some women never use the chest voice and thus lose
a powerful vocally expressive part of the voice. Chest voice is a legitimate register, and as long as the
voice is not pushed high using exclusively the chest register, it is safe and effective to use this register.
All women, sopranos included, should be encouraged to develop ALL of the voice: head and chest
registers. The only danger is when chest voice is pushed too high in the range, generally agreed to be a
pitch around f'.
The technique of "choral roving," assigning singers to move to a different vocal line, has been used
effectively to create balance in a choral ensemble. Allowing baritones to sing tenor occasionally, altos to
sing tenor occasionally, and sopranos to sing alto occasionally is not only good musical training, it
makes for a better choral sound, as long as the voice continues to be used in a healthy manner. I have
upon rare occasion moved tenors to baritone and tenors to alto, and, even rarer, altos to soprano. I have
never asked basses to sing soprano. J
Conducting gesture affects the sound that you get: legato, tenuto, staccato, marcato. If you ask the choir
to sing legato, determine that your gesture is not marcato.
Train in this order:

Tune a single pitch.

Tune a brief descending scale, sol-do.
Tune an extended, faster scale.
Tune a sustained chord.
Tune a series of chord changes.
Tune a phrase.
Tune a song.
You can't sing a song in tune until you sing a phrase in tune. You can't sing a phrase in tune until you can sing a
scale in tune. You can't sing a scale in tune until you can sing a pitch in tune. If you feel that the choir is singing
with a generally healthy sound and intonation is still a problem, try simplifying the musical demands according
to the suggested order above.

QUOTABLE
"Technique and expression must be the supporting pillars of vocal artTechnique is of no value except as it
makes communication possibleUnless the emotional experiences and sentiments of a performer can be
externalized, they have no value beyond personal therapeutic ones."
Richard Miller
Vocalism for its own sake is boring.
Expressive singing is virtually impossible with faulty technique.
"The vocal instrument does not need to be constructed; it is available for immediate use. Lodged in a physical
machine, it receives its impetus from mental and spiritual parameters of human personality. Its adaptability in
channeling communication is the foundation on which human civilizations are built."
Richard Miller in RT Sataloff Vocal Health and Pedagogy p. 301
"Singers should not produce musical tones with a voice gaping wide in a distorted fashion or with an absurdly
powerful bellowing, especially when singing at the divine mysteries; moreover they should avoid tones having a
wide and ringing vibrato, since these tones do not maintain a true pitch and because their continuous wobble
cannot form a balanced concord with other voices."
Franchinus Gaffurius in Practica musicae (1496)
"The tremolo should be slight and pleasing; for if it is exaggerated and forced, it tires and annoys; its nature is
such that, if used at all, it should always be used, since use converts it into habitit facilitates the undertaking
of passaggi; this movementsshould not be undertake if it cannot be done with just rapidity, vigorously and
vehemently."
Ludovico Zacconi in Prattica di musica (1592)

A Few Tips And Vocal Exercises For Choirs

Need vocal exercises for choirs? Read on and discover some tips and tricks to get a beautiful, angelic tone
quality...
To sing perfectly in a choir
You need a pure angelic tone. You need tone control. You may even need a large vocal range.
In this style of singing you need particularly good control over the way you sing through your vocal registers.
You need to be able to sing smoothly from your lower ranges to your highest note. You also need to be able to
sing in a light, but connected tone up the top of your range.

Whoa! Back up a little! How can you do all of this?

There are vocal exercises for choirs that will condition your voice so it functions in this way.
Before I tell you which exercises will cause this result for you though, lets first have a look at how your voice
works when you are singing choir songs.

Firstly how can you get that pure angelic tone that sounds completely heavenly?
Lets shine some light on this. The answer lies in the way that you color your tone with your resonance.
When you sing, your sound moves up through your throat your mouth and your nasal cavity.
The way in which this happens, causes the tone quality that you hear. You can think of these three cavities like
tone controls. Your throat and mouth contain the power and depth. While your head resonance controls the
sweetness and rich quality in your tone.
To sing in a choir situation, you must learn to sing with more head resonance which will give you that sweet,
angelic tone that youre after.
Heres a tip for doing this: To see what it feels like to use more head resonance, try this little exercise. Take a
CD out of your song collection, and sing a song all the way through. But instead of singing the words, use an
Ooooouuuuu sound.
What does this do?
It automatically redirects your tone so more sound resonates in your head cavity. This will cause your voice to
have a sweet, angelic tone quality vital to singing in a choir situation!

Another vocal exercise for choirs

Another vocal exercises for choirs is to use a cry like tone. Sing a song that you enjoy, and for every new
note, add a cry like quality. Really milk it! Sing it almost as if you were crying and singing at the same time.
You will find that this vocal exercise for choirs will add an extra sweetness to your voice. It will also remove
tension and make singing feel much easier.
It may sound a little ridiculous singing in this way! Once you have mastered it though, you can back off the
cry like quality, bringing it back to a more subtle level. You will find that even though youve backed off, you
still get the bonus of a sweeter, easier tone production.

If you want to really master your singing...

To really master your singing, be sure to investigate the exercises in this home study singing course Before
using these exercises, my voice was in tatters. I suffered from terrible technique, singing was a massive
struggle, and my tone sounded utterly awful!
These vocal exercises for choirs really changed it around for me though. They imprinted new, correct vocal
technique into my voice. And as I continued to practice these highly effective exercises, things sounded better
and better. After a year of practicing, I had completely dropped all signs of bad technique, and had developed a
voice that has my peers both amazed and even a little jealous!
The teacher of this program, Brett Manning is a guy who really lives his method. These exercises and
methodology have been hard earned and we are fortunate that we can just step in and inherit the fruits of all his
effort and experimentation!
This is a guy who works with singers 12 hours a day. Many of these singers are pros at the top of their game.
And they trust Brett and only Brett to take them through their paces and develop their voices further. When you
get to his website, watch some of the videos to meet some of these singers.

If you want to truly master your choir voice, I highly recommend investigating the vocal exercises for choirs at
this website.

es, I was trained as a choral conductor and taught public school music for several years
before moving to New York. Now, I am fortunate indeed to have an international
studio of singers who travel from all over the globe to study this technique. One
major question that comes up over and over again is, "How do I take these well
paying and enjoyable choral jobs and keep my voice healthy?" This is a major
question and it has taken me several years to come up with ideas that actually
serve the singer in a choral setting. I have friends who are conductors and I am
often asked how to vocalize a choir in order to keep vocal health a top priority.
This has led to seminars with choirs on vocal technique in a choral musical
environment. This is the subject that I wish to address in this article. Hopefully I
can offer some good vocal guidelines to both singers who sing in choruses and
choral conductors who are looking for new and inventive ways to inspire healthy
vocal technique in their choir.
Addressing Problems in the Upper Tessitura:
Vocal health in choral repertoire is not always an easy task to accomplish. Much of the
reason for this is the aspect of tessitura: the range where singers must produce the
majority of their pitches within a given piece of music. Certainly most singers do
not know how to accomplish an open throat in the upper tessitura. Their concept of
sound is by 'over listening' to themselves for tonal quality. The excellent choral
singer must learn to listen only for pitch and to 'feel the open throat' in his/her
voice. My teacher, Alan Lindquest loved choral music. He once said to me that one
of the most thrilling musical experiences is to sing in an excellent choral setting. I
think he had an excellent point. Again the problem of tessitura must be addressed
with intelligence and diligence if choral vocal health is to be accomplished.
Special problems of tenors and sopranos:
Tenors and Sopranos have quite a difficult time because most of the singing is in the upper
passaggio area: this is the range from approximately C to F at the upper end of the
staff. The difficulty is the position of the larynx. Many choral singers are highlarynxed singers and have no idea of how to accomplish an open throated
pharyngeal vowel. This space in the back of the throat that is produced when a
singer learns pharyngeal vowels is what I call the 'shock absorber' for the vocal
cords. The open acoustical space is affected directly by the singer's concept of
vowels. This is where the intelligent choral conductor comes into the picture with a
commitment to vocal health for his or her choir. How does one vocalize a group of
people in the upper range with a lower larynx position? There are several ideas
that can help. Remember to keep your concepts simple. I keep in mind that
simplicity creates more positive results in the private studio. In a choral setting,
this conscious simplicity is even more important.
Questions and Solutions:

To be realistic, few choral singers know much about singing in the upper register with a
lower larynx position. There are several questions to consider while 'warming up' a
choir before going to music.
(1) Are the singers using a 'spread mouth position'? Solution: Have the singers inhale with
the fingertips over the mouth. This should be done with the mental image of
'vacuuming in the air'. The result will be the proper mouth position for
pronouncing within text. This can be accomplished by teaching the singers to
pronounce with Italian consonant function, i.e. the tongue working separate from
the jaw.
(2) Are the tenors and sopranos opening their mouths 'too early in the scale'? (This causes
a gag reflex in the root of the tongue that cuts off the upper range and creates
'shrill tone'.) Tenors and sopranos should have only about a 'forefinger's width
between the teeth' until about high D or E-flat on the upper end of the staff.
Solution: Have the singers vocalize all 5 vowels while placing the forefinger
between the teeth. This will give the singer a sense of pronouncing with the tongue
MORE than the jaw. It will also encourage the singers to make the space 'inside
the pharyngeal cavity'.
(3) Are the singers producing their sound with the 'jaw slightly down AND back'? The
'back position' of the jaw encourages the larynx to 'float' in a slightly lower
position. (This is not to be confused with a 'depressed larynx'.) Solution: Have the
singer place the forefinger tip slightly behind the upper teeth in a vertically
straight position. The jaw will find a 'relaxed back position' which creates more
acoustical space in the throat.
(4) Is the posture of the back open or curved? Solution: Have singers vocalize against a
wall with the feet slightly away from the wall. Have them breathe a small amount
of air into the 'lower back'. Then as they vocalize, have them press the back into
the wall further; this creates the proper 'support of tone'. The back should press
further into the wall as the singers go higher and keep the support of the high note
on while descending. As a standing posture, singers need to keep a slight 'bend' at
the hip sockets as though they are about to snow ski.
(5) Does each singer know the concept of really dropping a low breath at inhalation?
Solution: While sitting on a straight chair, have the singers lean slightly forward
from the hips. Then have them 'relax the abdominal wall completely' so the new
breath will drop low in the body. The sensation will be that the breath comes into
the body 'all around the waist' as well creating the feeling of 'filling an inner tube'
around the waist. Then have the singers make a 'hissing' sound to learn the proper
sense of support of tone. The 'hissing' creates the antagonistic pull in the lower
body muscles which creates support of tone. Standing posture needs to have a
'slight bend at the hip sockets'.
Special Problems of Altos and Basses

I have often found that choral directors find their choir 'out of
balance' in regard to upper and lower voice parts. Since
upper overtones produce a larger sound by the laws of
acoustics, it is easier for higher parts to be heard. However, in
many choral settings the altos and basses find it difficult to
create 'enough sound' to balance the choir. Here we must fly
in the face of convention to a point. Many choral directors are
afraid of resonance in the voice. They attempt to accomplish
'choral blend' by using a somewhat 'hooty' or 'boy choir' production. This really
makes adult singers throaty in their vocal production. Every voice is made to
resonate naturally. 'Choking' this resonance out of the voice is not only unhealthy,
but also counterproductive. If voices are allowed to resonate properly, then a
choral blend will occur from the natural 'ring' that is common in adult voices. The
'ng' sound, such as in the word 'singing', is an extremely effective tool to use while
vocalizing a choir. The more that a voice is produced on 'ring' the more the choral
blend will result. When resonance is taken out of the voice, i.e. in the 'hooty' or
'boy choir' approach, throatiness is the result. Any throatiness cuts through the
blend much more than a healthy resonant sound. The most difficult problem of the
'hooty' production is that the lower voices suffer terribly in attempting to balance
with the tenors and sopranos. Keeping the 'ng' ring in the lower voices is the only
way to achieve a good choral balance. Every choral conductor is challenged to
address the major problem of the lower voices offering enough sound.
Questions and Solutions:
Many choral singers wish to know more about resonance in the voice, especially if their
background is mainly instrumental. In the lower voices, the problem of 'hootyness'
comes into play much more because of the lower tessitura. Also lower voices tend to
try to 'color their voices artificially' with the back of the tongue. They try to listen
for vocal quality TOO MUCH. This results in incorrect throaty sound.
(1) Are the lower voices over-dark and hooty? Solutions: Vocalize the lower voices on the
'ng' sound as in the word 'singing'. As with the tenors and sopranos, make sure the
jaw is slightly back. Have them image that the vowels are produced behind the
tongue with the tongue achieving a 'forward' position in the mouth. Also, make
sure the singers are not 'over-opening' their mouths in the middle register; this also
creates an overly-dark and hooty sound. The tongue goes into a 'gag reflex' when
the mouth is too open too early in the scale.
(2) Do the lower voices 'cut out' in volume as they sing low? Solutions: Lower tones MUST
be sung on resonance in order to have presence and 'sound' in the concert hall or
theatre. Again vocalize the singers in the lower extremities on the 'ng' sound along
with the small Italian 'u' vowel. Be sure their heads are not 'depressing the larynx'
as they sing low. The 'depressed larynx' (chin buried into the neck) makes more
sound inside the singer's ear, but 'cuts out the volume' to the audience.

(3) Are the singers 'blowing too much air pressure'. This will 'cut out' the overtones in the
voice and create a smaller sound, even though the singers get a bigger sound in
their inner hearing. Teach them to 'feel the sensations of the ng' rather than
'listening for a big sound'. The result will be a larger choral sound. Use the idea of
having them vocalize against a wall while breathing into the lower back and then
supporting into the wall further.
(4) Again, are their mouth openings too spread?
Solutions: Have the singers pronounce through the shape of an 'o' vowel. This will
encourage the tongue to do most of the pronouncing as in the Italian language.
Pronouncing this way also creates much more legato line. Also use the previous
idea of having the singers pronounce the 5 vowels with the forefinger tip between
the teeth. Also use the Italian 'u' as a reference point in alignment of vowels. Use a
sequence of vowels starting on the Italian 'u'. Have the singers keep the 'feel of the
u' as they go to the other vowels. This will also help choral blend.
Exercises that Create a Healthy Vocal Sound:
(1) 1, 3, 5, 3, 1.
a, o, u, o, a.

(This simple exercise will begin to allow the singer to assimilate the idea of 'narrowing' the
vowels as they go up instead of spreading. This is good for volunteer choirs because
it involves less range.)
(2) 1, 2, 3, 4, 5, 4, 3, 2, 1.
a....le....lu..........ia.

(Creates similar results as the number 1. Be sure the singers keep the jaw somewhat down
and 'flip' the l's. The tongue should function separate from the jaw.)
(3) 1, 2, 3, 4, 5, 6, 7, 8, 9, 8, 7, 6, 5, 4, 3, 2, 1
a.....o...........u..............o........a......
(4) 5......5, 5, 5, 5, 5, 4, 3, 2, 1
u..... i..e..a..o..u............

(This exercise shapes the pharynx in a healthy acoustical space for all vowels. Use the idea
the all the vowels keep some of the 'u' feel in the throat.)
(5) 1.......(oct. up), 7, 6, 5, 4, 3, 2, 1
a.......u.............................

(Exercise is intended to help singers discover more head voice in their quality and to blend
the registers more smoothly.)
(6) 1..3..1
o..u..o

(Have the singer feel as though the larynx drops slightly as they sing the 'u' vowel. This
will begin to help them discover a 'lower larynx' position. Vennard calls this the
laryngeal pivot or 'rocking' of the larynx. Use this exercise only in the middle
range.)
(7) 1..3..5..oct..3rd above...oct..5..3..1
a..e..i..o....u...........o....a..e..i

(This exercise is designed to allow a lower larynx while going into the upper range. The 'o'
and 'u' vowels are lower larynxed vowels and performing this exercise will help the
singers not to create a 'spread and shrill sound in the higher register. The jaw
should be somewhat stable encouraging the singer to pronounce with the tongue
separate from the jaw.)
(8) 5....5..4..3..2..1
ng...a............

(Exercise allows for the 'ng' ring to thread into the form of the vowel. Use the vowel
modification of 'aw' for the 'a' if it is too spread.)
All of the above exercises I have used with both semi-professional choirs and volunteer
choirs in master class settings. I hope you find them helpful to you and your
organization.