E HAVE BEEN ENCOURAGING choirmasters to use Solfège when training their choirs, but many readers are confused about why Solfège would help. The following piece demonstrates very well why Solfège is the best way to train amateurs in polyphony. During rehearsal, if your singers are missing a phrase, you can easily correct it when it’s done in Solfège. Isolating the incorrect pitches is much more difficult without Solfège:
For the record, my choir absolutely loves singing this Agnus Dei. It took us a while to learn, but has become one of our favorites now that it’s “clicked.”
The lowest voices must sing very, very softly when they ascend to the high notes—in falsetto if possible—otherwise the balance will be wrecked.