Choral singing differs in important pedagogical ways from solo singing. For the undergraduate voice performance major with developed upper partials in his/her resonance signature, the goals of solo singing technique and those of choral singing technique may be in conflict. This document delineates clearly the interrelationship of these techniques and clarifies the extent to which these different modes of singing edify and/or impede the technical goals of the other. It is concerned primarily with the individual student as he or she alternates between the many solo and choral requirements of an undergraduate performance degree and illuminates the pedagogical conflict from an objective voice science perspective.
Research has shown that untrained singers (those with undeveloped upper partials) sing with greater phonatory efficiency in a choral environment versus a solo environment. For singers in this stage of development, the choral arena helps them to build phonatory efficiency. However, for the trained singer (those with developed upper partials), the choral environment requires that the singer diminish efficiency in order to blend with surrounding voices. Most students of vocal performance will experience both extremes during their undergraduate studies.
Whether trained or untrained, members of a chorus gain much in terms of musicianship, repertoire and artistry. Singers who are unable to negotiate the differences between choral mode and solo mode fail to benefit from the advantages that choral singing offers. However, it is clear that choral singing is not one-size-fits-all. While the difference in phonation for trained singers is modest, it is not non-existent, and some undergraduate singers may not be able to sing well in both modes. For most undergraduate students, however, choral singing mode and solo singing mode are similar enough to warrant the pursuit of both.
This document reviews pertinent research in the areas of vocal pedagogy, choral pedagogy and voice science. It outlines a clear methodology based upon this research for voice teachers, choral directors and, most importantly, for the student who endeavors to achieve excellence both as a soloist and as a choral singer.