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Views from the Choir Loft

Precious Rehearsal Time

Andrew R. Motyka · October 23, 2013

F YOU ARE ANYTHING LIKE ME, you are loath to spend any of your choir rehearsal time doing anything but rehearsing. Next Sunday is always approaching and the liturgical calendar waits for no one. Sometimes, though, spending a little time with organization within rehearsal can same immeasurable amounts of time otherwise spent correcting tonal issues. Intentional seating of your choir members is one such technique.

James Jordan outlines this technique in his invaluable text, Evoking Sound: The Choral Rehearsal. Its goal is to create a choral blend of your singers using the complementary natural overtones of each voice.

Start with “principle” in each section (if you sing divisi, do it with the divisions individually). The principle is the voice type in the section that you would most like to represent the whole section’s sound. Next, seat one singer from the section next to the principle and have them sing the first phrase of “My Country ’tis of Thee” together, making no attempt to blend. Try this with each singer in the section coupled with the principle, and choose one that sounds the best naturally with him or her. Repeat this process, having all the seated singers sing together, and seating whomever sounds best in the next position. When all the singers of a section have been seated, shift the last singer in line to the other end, next to the principle. Repeat this process for all sections of the choir.

The first time I tried this technique, I was skeptical. I was going to forfeit a solid 20 minutes of rehearsal. What I found, however, was a natural, choral sound with many of our previous intonation problems ironed out. Furthermore, the strong singers of the choir were fairly well spaced out in each section, giving everyone a bit more confidence.

One other arrangement Jordan encourages in his book is a different arrangement of sections in the choir. I was used to a fairly standard setup: Sopranos to my far left, Basses next to them, then Tenors, and Altos on my right. What Jordan recommends, though, is a 4-row setup, with the sections seated by row from back to front: Basses, Tenors, Sopranos, then Altos. Again, this setup gave an outstanding choral blend, since everyone benefits from hearing the Basses, and the Altos benefit from hearing everyone.

As hesitant as I was to spend my precious rehearsal time on something as mundane as seating the singers, the time was well spent, and the time was easily made up since there was much less time needed correcting pitch and intonation problems. Setting up your choir in an acoustically advantageous position is just one basic way to maximize your rehearsal time and improve your sound.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’

Recent Posts

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  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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