chorus seating arrangments

Connexions module: m33991 1

Chorus Seating Arrangements∗

Gordon Lamb

This work is produced by The Connexions Project and licensed under the

Creative Commons Attribution License †

Abstract

This module represents several successful seating arrangements for choirs that are helpful for various

levels of choirs.

1 SEATING ARRANGEMENTS

Several seating arrangements are shown and the reasons for using each are given. During the �rst part of theacademic year or rehearsal season it is best to establish a speci�c seating arrangement and use it for sometime before adding another one. This does not mean that individual changes cannot be made within eachsection. These changes may be necessary because of a discipline problem, inability to see the conductor, oran error in judgment when the person was originally assigned. After a month or so of rehearsals, an alternateseating arrangement is a good idea. This will provide some variety to the regular rehearsal, allow singers tohear new voices and perhaps new parts of the choir better, and adapt to certain repertoire more easily.

Figure 1

In the arrangement shown in �gure 1, the second bass and �rst soprano, as outside parts, are lined uptogether emphasizing the polarity of the two parts, often an aid to good intonation. The baritone and secondtenor parts are next to each other so you can assign help to and from either part. The low tenor parts can be

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bolstered by baritones, who, in turn, can receive help on high baritone passages. The same thing is true ofthe second soprano and �rst alto parts. The second alto is also directly in front of the �rst tenor so severalvoices may be added when high tenor parts need assistance. A choral work in eight parts will work with thisarrangement as will four-part music. This arrangement is highly recommended for advanced, well-balancedchoirs.

Figure 2

Another good arrangement for advanced choirs is diagramed in �gure 2. It is similar to the previousarrangement, having many of the same advantages. It does not have the proximity of second alto and �rsttenor as the �rst grouping but all the other advantages are present. An additional feature, however, is thatthe entire second soprano section, for instance, is heard completely across the soprano side of the choir. Thesame is true of the other parts when it is necessary for them to divide. Another asset is the placement ofthe second tenors and baritones, and the second sopranos and �rst altos. When the choir is divided foreight parts a director will have made certain voice assignments to balance that particular choir. When musicdivides into three women's parts and three men's parts the eight-part division will not provide a satisfyingbalance. When this happens, a new assignment of voices is necessary and the second arrangement workswell for this. The middle parts of both the women's and men's voices are next to each other allowing for anatural grouping into six parts.



Figure 3

Placing the men's voices in the middle and front of the choir is a good idea when there is a weaknessin the tenor and bass parts, or when there simply are not enough of them (see �g. 3). There is no need toworry about divided parts because this arrangement is best for a young choir doing two-, three-, or four-partmusic. Advanced choirs often do not blend as well in this arrangement as when the men's voices are placedbehind the women. If the tenors are few in number and weak, it may be necessary to place them across thefront row, in front of the basses. If there are many more women than men, the women can continue a rowbehind, and even in front of, the men, thus placing the men in a pocket in the front center of the choir (see�g. 4).

Figure 4

The mixed or scrambled arrangement is now being used extensively (see �g. 5). This grouping hasthe advantage of producing a homogeneous sound and sometimes certain choirs will have a better balance.Intermediate and advanced choirs will bene�t from this scrambling as a method of encouraging the choir



members to be independently secure on their part and allowing them to hear each of the other parts easier.The intonation of a choir usually improves noticeably when a choir is �rst shifted to this arrangement.The next proximity to all the other parts will stimulate each singer contribute toward a better ensembleintonation. This arrangement, however, will not cure intonation problems caused by poor vocal technique.Young or inexperienced choirs will rarely bene�t from this grouping, since it demands more than the singersare capable of producing.

Figure 5

The mixed or scrambled arrangement is best used for homophonic music, particularly that of the eigh-teenth, nineteenth and some of the twentieth century, (particularly twentieth-century music in which con-siderable individual singing is required). Polyphonic repertoire may su�er from this grouping because theclarity of each part line demanded in the music can be lost in the scrambling of the sections.

Two variants of the scrambled arrangement are appropriate in some instances. Figure 6 shows a modi�edscrambled arrangement retaining some advantages of section placement, particularly part security and partde�nition. This arrangement is often most successful with intermediate level choirs.



Figure 6

The second variant is to follow less strictly the arrangement shown in �gure 5 by carefully placingindividual voices where desired until the proper balance and tone are achieved, regardless of the orderof parts. Although all arrangements rely on the ability of the director to decide by listening in whicharrangement the music and the choir sound the best, this arrangement is even more dependent upon the earof the director. Obviously, the �nal decision is a personal one and will vary somewhat from one director toanother. A director will learn best from experience. Nothing can substitute for the experience of rearranginga choir and hearing the change in the sound of the ensemble.


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