The use of regularly scheduled sectionals is one of the most valuable rehearsal techniques at the choral conductor’s disposal. Some conductors employ sectional rehearsals on an occasional basis, particularly in learning new and difficult works. Sectionals can, however, be used profitably at all points along’ the rehearsal continuum: from initial “learning-the-notes” to final polishing. They can shorten the amount of time needed to prepare a concert and benefit most types of choirs.
Recent experiments in auditory perception suggest that only one or two musical lines can be perceived simultaneously. If this is true, rehearsal of one or two voice parts alone may be needed to make a comprehensive evaluation of the progress of each part.
Authorities who advocate the use of sectionals are in the minority. Out of fourteen well-known books on choral conducting and techniques only five mention sectional rehearsals. 1 In each case, they were recommended only for early rehearsals of difficult music. In his study of nine English writers, Robert Henry discovered that four discussed sectional rehearsals. Furthermore, Henry observed twelve English choirs (representing a cross section of church, school, college, community, and symphonic choirs) in a total of sixty rehearsals and found that only one made use of the technique. The present author’s experience as a regular singer in twenty-five North American choirs (representing all the types studied by Henry, as well as professional ensembles) under twenty-one choral conductors has been similar. Four conductors rehearsed voice sections separately and of the four two did so on a regular basis. In both instances, however, the use of sectionals was limited to initial rehearsals.
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