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groups, this strategy can help foster connection and impact when each singer can vocally express themselves
collaboration. more immediately, efficiently, and most of all, artistically.
As William Sauerland pointed out, however, voice
Offer Group-Voice Lessons in Your Choral Program professionals need “training that is specific to group
Offering small or large group-voice lessons works voice class instruction.” Impactful group-voice teach-
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well in various choral contexts, including religious, ing requires additional knowledge and skills beyond
community, and educational settings. Some schools those typically found in one-to-one voice pedagogy and
may already provide students with an opportunity to choral pedagogy. Simply applying one-to-one methods
have one-to-one voice lessons during the school day with multiple singers or having the whole ensemble sing
with the choral director or other instructors; however, together for the entire rehearsal may not be the most
this model can pose challenges with scheduling and efficient or effective approach when incorporating tech-
accommodating all interested students. It may also be nical voice training with choirs.
exclusionary to those who cannot afford private in- University voice pedagogy courses may primarily fo-
struction. As an alternative, offering small group-voice cus on one-to-one voice instruction. Furthermore, some
lessons (3–4 students) or a voice class (10–15 students) choral directors might not be required to take a class ful-
can be a more accessible option and allow students to ly dedicated to voice pedagogy or the course(s) required
receive more personalized voice instruction while also may not offer in-depth coverage of group-voice pedago-
experiencing the educational and social benefits of gy. For example, in the current NATS science-informed
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learning in groups. Small group-voice lessons with stu- voice pedagogy resources, the proposed one-semester
dents of similar voice types can be especially beneficial voice pedagogy syllabus includes a course outcome that
when preparing for competitions or festivals. students should be able to “teach voice lessons in one-
During these sessions, avoid master class format or on-one and/or group settings.” However, due to limit-
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having students observe. Instead, allow participants to ed time and all of the important topics that must be cov-
sing most of the time as you alternate between indi- ered, the proposed course schedule only dedicates one
viduals and the group. As Richard Rosewall described class to a practicum focused on group-voice teaching.
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in 1984, “In class sessions we deal not with a set of Based on our knowledge of the current and variable
miniature voice lessons given to individual students state of this type of training in college and university
while others patiently watch, but a dynamic situation programs, it is possible that some readers may not have
in which all persons present are participating all of fully experienced group-voice teaching as described in
the time.” Just like at the gym, watching others train the context of this article. For those seeking more in-
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will not be as productive–—active participation drives formation and professional development opportunities
progress. related to group-voice pedagogy, I encourage you to ex-
plore the resources referenced in this article and con-
sider joining the NATS Group-Voice Pedagogy Affini-
Future Directions ty Group. Examine how this approach, including the
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In his 2016 call to reclaim group-voice instruction in practical steps detailed in this article, might inform your
music education, Patrick Freer emphasized the impor- own professional practice.
tance of educative singing that can “transfer across vo-
cal platforms, genres, and activities.” Freer comment-
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ed, “We encounter problems when we focus on the Conclusion
performance of choral music without emphasizing the Integrating group-voice strategies can enhance sing-
underlying need to nurture the singing skills of all stu- ing instruction in the choral setting by effectively balanc-
dents.” Incorporating group-voice pedagogy into the ing both individual and ensemble vocal outcomes. As we
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choral setting can greatly improve both individual and continue to explore the intersections of voice, choral,
ensemble vocal outcomes for all students. Imagine the and group-voice pedagogies, sharing insights and in-

CHORAL JOURNAL August 2025 Volume 66 Number 1 41