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R ehe arsal Br e ak
Rehearsal Break

Placing the choir in an “acoustical cup” with sing- intensity. When the choir attains “ideal” ensemble unity,
ers an arm-length apart with or without acoustical it clarifies the form, the function, and the design of the
shells considerably aids choral resonance in most sound continuum of the music. It reveals the music’s
concert halls. total structure, reinforcing meaning and enhancing its
capacity to communicate. And, finally, it is through
9. Sit and stand in positions that allow each singer meaningful communication that we realize music’s pro-
to take responsibility for their own pitch, rhythm, found capacity to inspire. Following this rehearsal phi-
and balance without interference from another losophy results in what this author considers a mastery of
singer of the same vocal part. In rehearsals and choral ensemble. Each rehearsal is an opportunity to ex-
concerts, try singing in mixed quartets, for exam- pand (and improve) the ear’s capacity for focusing our
ple STAB or BATS. These positions help the ac- “dial.” As we concentrate on single elements discussed
quisition of good individual intonation and inde- in this article such as dynamics, phrasing, texture, and
pendent rhythmic security. balance, we practice building auditory concentration,
which, in turn, expands our ability to achieve good in-
tonation.
Summary of the It is important to point out that all of the principles
Rehearsal Philosophies upon which effective rehearsals are based require two
Rehearsing at the highest levels of the choral art essential ingredients: energy and desire. The quality of
is a vastly complex and rewarding process. There is the energy that the conductor gives to the singers will
something uncanny about the essence of the rehearsal be the primary motivator that stimulates them to im-
process, the ability to develop in choral singers a tech- plement the conductor’s ideas. The conductor who is
nical and musical concept of the score that matches motivated by the quality of the music, by the concep-
that of the conductor’s mental-aural image. Develop- tual vision of it, and by the joy received in realizing the
ing matching conceptualizations is inevitably inspiring, conception cannot help but project positive energy. En-
perhaps fundamentally spiritual. How does the con- thusiasm, encouragement, patience, humor, and posi-
ductor draw the choral singers toward the compelling tive reinforcement will serve the conductor well, as cho-
image they envision? Through creating a unanimous ral singers are engaged in the rehearsal process. The
vision of it: a unity of ensemble. joy that students experience in singing with inspired
This unity is evident when a choir sings in tune. It conductors is transformed into a collective energy that
is relatively easy to learn notes on a page, but singing creates a unanimous desire for a unity of ensemble.
in tune requires responsibility and dedication on the
part of the conductor and the singers working together.
While disagreement concerning details of interpreta- Jameson Marvin was director of choral activities
tion and differences of opinion regarding sound ideals and is a senior lecturer emeritus at Harvard University
are as common as conductors are different, few mu- where he taught from 1978 to 2010. In 2010 he formed
sicians or knowledgeable listeners fail to recognize an the Jameson Singers, an eighty-voice community choir.
outstanding performance when they hear one.
An outstanding performance communicates. It en-
riches lives and rejuvenates spirits. Good rehearsals do
the same thing. How can rehearsals best serve music’s
ultimate value? By focusing the energy of singers on
the inherent elements of music that, when revealed,
give meaning to its structure and order as it develops in
time. In the process of unifying the elements of music,
we create ensemble unity in duration, pitch, timbre, and

54 CHORAL JOURNAL May 2026 Volume 66 Number 8