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? Kenneth Jennings (St. Olaf College) replied:
(a) Blend is a result of certain factors of good ensemble: accuracy of timing in rhythm, in attack and release, in diction, in nuance of phrase; an agreement of vowel uniformity; a balance of weaker and stronger voices; an agreement of pitch within each section (horizontally)and by interval between sections (vertically). For a fresh, natural choral tone, individual voices must retain their own natural timbre. Choral blend occurs at a point in front of the choir, not necessarily between two individuals standing side by side. Of course it helps blend to have asoprano section in which the women are about the same age and are in the same stage of vocal development!
(b) If the soloist has an adequate technique there is no problem. Voices that are well produced can be allowed a free rein, because they have a quality that absorbs the less developed voices. You hear the voice color but not the individual; you hear a color that seems to emanate from the whole section. I love voices like that. Some conductors place a problem voice in a lower voice category. A strong soprano who cannot control her high, soft singing is often more comfortable singing second soprano, or first alto in extreme cases.
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