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concentration must be directed toward ensuring the 2. At the initial rehearsal, centrally placing the piano
accuracy of ensemble rhythm when text is sung. Con- might facilitate quicker note learning; however,
sonants take time. They affect vertical and horizontal as soon as possible, wean singers from piano de-
alignment. Be alert to the fact that ensemble rhythm pendence. The sound of the piano greatly affects
may slow down when singing with text. the ability of singers and conductors to accurate-
ly hear intonation, rhythm, balance, and diction.
Tuning Relationship to Tempo When a piano doubles all parts, singers tend not
to listen to each other’s parts.
1. Do not allow singers to “mix functions” between
pitch and tempo. For example, the functions of 3. The piano is tuned to equal temperament to ac-
slowing down or singing a diminuendo contains an commodate the “Pythagorean flaw.” The Pythag-
associative tendency: flatting. Counteract these ten- orean flaw is a term this author uses for a natural
dencies by separating those functions. For exam- acoustical phenomenon: an irreconcilable “flaw”
ple: sing a diminuendo while sharping the pitch in acoustics. It is measured by the audible pitch
or speed up the tempo during a diminuendo. Re- difference between an “E” (for example), the over-
mind singers of these associative tendencies in re- tone produced by the fundamental pitch “C” at
hearsal. the frequency ratio of 5:4, that produces a pure
major 3rd in the air. Listen for that pure E!
2. Avoid singing at extreme dynamic ranges until
notes and rhythms are secure. Very soft dynam- 4. Singers often tire or lose concentration in rehears-
ics require focused breath control and often invite als, and energy is the key to good pitch production.
flat pitch; loud dynamics sung for considerable Stand up, move around, exercise, be humorous,
time invite vocal forcing and fatigue. Rehearse at offer consistent positive support and enthusiasm;
a comfortable level; I prefer mf. Later, incorporate take a break!
the proper dynamics.
5. Rehearse in rooms that have clear, non-rever-
3. After the notes and gestures are well learned, if pitch berant acoustics yet reasonable room ambience.
problems persist, transpose the key a half-step up Avoid low ceilings, acoustical tiles, rugs, curtains,
or down. This procedure modifies the physiological and low-roofed acoustical shells.
association of how the notes felt in the voice when
sung in the original key. This technique counteracts 6. Singers often hear best when placed facing each
many of the “associative pitch” problems that have other. They especially hear well in horseshoe
accrued over time. standing positions that create an “acoustical cup”
to resonate the choral sound. This is particularly
Tuning Relationship to Key and Acoustics important when singing in difficult acoustical sit-
uations (such as outdoors or in heavily carpeted
1. F major frequently goes flat when continuously rooms).
used. After the fundamental stages of learning are
complete, in a cappella compositions change the 7. To attain a high degree of clarity when standing
key to F or E depending upon vocal balance and or sitting in horseshoe positions, it will be very
color considerations. The key of C major often important to have considerable space, about one
flats; change to C or B; compositions in B can flat. arm-length, between singers.
Change the key to B or A. The associative minor
keys of d, a, and g often goes flat. Change to the 8. Acoustical shells are especially helpful in project-
minor keys of c , a , f . ing the sound of large choirs in large concert halls.
CHORAL JOURNAL May 2026 Volume 66 Number 8 53
