In response to the questions, (a) Do you have any preferences in terms of blend? and (b) In terms of blend, how do you handle an outstanding solo singer in a choral situation? Harold Decker (University of Illinois) replied:
(a) I think blend is as much a psychological thing as a physical thing. A person must be chorally alert and aware in a section so that he does not stand out. Blend is also a physical phenomenon in that a person must produce the voice freely; he must be able to produce sounds which are pleasing and coordinated. When everybody releases the sound freely and with a concept of similar pronunciation and enunciation, then I think there is a blend. I don’t believe in creating blend for blend’s sake; it must be a result rather than a cause. I think there was a period of time in this country when conductors were primarily interested in blend. Then we heard a false sound.I think that today there is more variety in a choral program, and that there is more blend in certain things than there is in others. If everything sounds the same, then you have nothing. We should encourage differences sometimes to get a wide palette of sounds. The answer to this question is not rigid; the’ kind of blend is dictated by the score. Blend should be a combination of clear thinking, physical response, and aesthetic response.
(b) Every person in the choir should be able to sing a solo. The ideal choir would be composed of soloists who have a desire to sing as a group. I’ve always been impressed with the singers in Europe who sing solos beautifully and also have an ear for singing in a group. I think this is an ideal toward which everybody should strive. There is a quality of sound or an attitude which enters in when a person sings with another. It doesn’t enter in when he sings alone. I think it’s a matter of caring.
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