Best of luckHi, I have a peculiar question. If you go to musicroom.com, you’ll find scores for 2 or 3 part songs. Interestingly, the research also identified that listeners to the choir significantly preferred female singers to be more spaced out (pardon the pun) than male singers.The overall message is, I think, that choir formation is something that’s well worth experimenting with. I can imagine that it is a challenge to rehearse with the choir in two blocks either side of the piano. It’s always best to experiment if you can. I’m very happy to stand corrected though – I don’t know much about children’s choirs except that I was once a child and sang in a few!This article has been helpful to a lot of choirs. The advantage of these formations for the conductor is that he can direct specific sections of the choir easily. Singers from a single part sing together in one block or section. I disagree. Should I stand the tallest students on the ground and the shortest at the top?Hi Sarah.

It might take longer than teaching a choir who can read music, but there’s no reason it can’t be done, plus you’ll have the pleasure of performing with a choir who are all looking at you instead of their scores!My upcoming high school student choir will have 22 female voices and 3 male voices. This helps balance the treble/bass in the ensemble. I can’t think of any solo exercises that people can do at home to build what you call ‘hearing independence’. (Plus, get this 8x10" hymn art print for free when you sign up!
Mixed Formations Mixed formations tend to help with listening and tuning across the ensemble. I guess you can using 50/50 as a starting point, but most mixed choirs don’t have that and can still achieve a good balance of voices.I was wondering if you had input on SSA formations.Currently, I have inherited a choir and they sing S-S-A.

There are so many different variables involved that it’s impossible to create reliable guidelines. how did it go?thanks vic, i have head that sopranos should be on the right side of the choir director, is that trueHi Lionorah. C.. Thank you for your kind words. I haven’t paid any attention so far to the effect on intonation. Best wishes, VictoriaI lead a church choir here in New Zealand split into 8 voices (2 S1, 5 S2, 3 A1, 3 A2, 3 T1, 3 T2, 2 B1, 2 B2). Develop the skills you need to lead and teach creatively and confidently with mini online training courses designed specifically for church musicians and directors.Creative ideas and helpful resources sent straight to your inbox each month. In theory I believe it would be similar to a STBA arrangement, in that you have the lowest voice in the middle with higher voices on each side.We also recently were in a situation where we had a small stage and only 9 singers – 2 S1 and 2 S2, 5 altos! Ideally, you’d have roughly equal parts across the board, but you can definitely get away with greater numbers in the sops and altos, as many mixed choirs do.Many thanks for sharing your expertise – very interesting to read.One small related point that often seems to be overlooked in chors and also with seating arrangements is that singers often stand ‘behind’ the person in front, rather than ‘between’ 2 people – as is the case with your diagram.Hi Raymond. Separating them gave a more balanced sound.Hi Geo. You can have an ideal formation in mind, but you then have to adapt to circumstances.What if you want a circular formation? Apart from the difficulty for you, the choir members might struggle to hear each other. I probably wouldn’t use SBAT because it could make a bit of a weird balance having the basses next to the sops, but if it works for you, go for it!Hi Victoria, I find your article very useful. I am generally the only “conductor” and I find it difficult to give directions on two sides and understand the balance.

Do you have any suggestions for learning and performing SATB with being able to read notes.Hi Thomas. Getting the balance right often takes some trial and error so trying out different formations in rehearsal is a great way to see what works best for your singers and for the overall sound and balance of the music.This is the article that appeared when I googled “choir formation” yesterday. It will help you to become a confident singer and a good musician.There are all sorts of reasons why choir leaders place their choirs in a particular formation, so I can’t tell you why your teacher has chosen your placement. This did seem to have a beneficial effect on intonation.Although I do occasionally use the “scrambled” arrangement, I haven’t yet tried using the “lots of quartets” approach that you outlined in your podcast on this subject, and I’m looking forward to trying that and the STBA formation in coming rehearsals.Thanks for the comment Daniel.
Music is not written in notations. I’d probably try both ways in rehearsal and see which looks and sounds better.I use S – B (back) – T (front) – A so all of the guys are in the middle.


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