ChoralEd: Developing Choral Tone, Part 2

Choral directors have unique opinions about choral tone.  In part 2 of our choral tone discussion, ChoralEd talks with Dr. Merrin Guice Gill and Dr. Sean Pullen about their approaches to choral tone. 

Episode 8: Choral Tone, Part 3 – Dr. Merrin Guice Gill

For Dr. Guice Gill, choral tone changes based on the style, era, and performance practice of the genre.  However, regardless of genre, in general, the choral tone should be supported and free with a forward resonant placement.  Dr. Guice Gill also encourages support and freedom in the body, which can be visually observed in the ensemble’s physical movement during performance. 

To achieve this choral tone, Dr. Guice Gill implements solo vocal exercises that encourage body activation and support.  This solo vocal work is mixed with listening and tuning exercises to develop ensemble cohesiveness.  According to Dr. Guice Gill, tuning is achieved through the development of interval awareness.  Additional vocal activities include the use of kinesthetic movement and dance for energizing the sound and internalizing the beat.  To blend the various vocal tones in the ensemble, Dr. Guice Gill utilizes a standing formation that mixes flute, reed, and brass voices.  (Flute, reed, and brass voices are descriptors used by some directors to describe vocal colors).

Episode 9: Choral Tone, Part 4 – Dr. Sean Pullen

Dr. Pullen’s ideal choral tone is centered around resonance, incorporating what he describes as a lifted tone.  Dr. Pullen avoids asking for senza vibrato, but also doesn’t want vibrato to inhibit intonation or blend.  In terms of tone between voice parts, Dr. Pullen prefers a homogenous sound with all voice parts incorporating a similar tone color.  Similarly, the color between different styles of music can change within reason, but the resonance should remain constant, and over darkening or brightening of the tone should be avoided.

To achieve this choral tone, the warm-ups Dr. Pullen incorporates are often focused on resonance.  Dr. Pullen isolates this resonance through short sounds which require singers to create an initial attack of resonance.  Dr. Pullen adds that he might not even use a long sound during vocal warm-ups.  Additional techniques for achieving resonant sounds include the use of the [i] (“ee”) vowel and “hums.”  During the learning of music, Dr. Pullen will frequently have the ensemble “hum” through the entire work or sing everything staccato.  For Dr. Pullen, staccato singing promotes intonation, as you will quickly discover where all the wrong notes are, as well as initiating the sound with resonance.  For the placement of singers in the ensemble, Dr. Pullen implements differing standing formations for rehearsal and performance.  In performance, Dr. Pullen prefers what is often referred to as the “Radio Technique” where the ideal vocal tones are placed in the front rows.

To watch ChoralEd, Episodes 8-9 on YouTube click here (Episode 8) (Episode 9).