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Repertoire & Resources

ment of tone, in dynamics within the phrases—even Bartle, conducting) perform a beautifully emotional
the breath is taken at different intervals, using incon- and expressive concert. Within the context of this per-
sistent methods! formance was a simple yet stunning unison piece that
How can choirs achieve good intonation, consistent literally reduced the audience to tears. The exquisite
vocal line, good breath management, vowel unifica- musicality demonstrated by this choir through the sim-
tion, and beautiful tone with sensitive nuance? There is plicity of the unison song left everyone in the audience
really only one way, and that is through teaching good speechless.
vocal technique. As stated previously, in training young Over the years, I have purposely programmed selec-
singers, one of the most effective and highly suggested tions such as the aria Ich Folge dir Gleichfalls from J. S.
ways to teach these concepts is through the unison sing- Bach’s St. John’s Passion for my advanced treble choirs
ing experience! Why, then, do choral conductors seem and other treble honor choirs. My high school com-
to look at unison singing with intermediate and more munity treble choir performed this aria at the 2005
advanced choirs with disdain? We seem to feel that ACDA National Conference. This work was not an
unison singing is somehow “beneath” these singers and easy “unison” piece of music for these singers! It was
is, therefore, no longer a valid musical experience for a challenge in every way—from the German words,
them. to the melismatic lines, to the intervallic skips, to the
Often, we think that our advanced choirs should Baroque phrasing and style. This piece was filled with
sing music that is harmonically difficult—and certainly, teaching concepts! There were wonderful learning op-
we should challenge our singers in this and many other portunities for the entire choir as well as for each indi-
ways. However, I think we often forget the pedagogi- vidual singer as they studied and performed this work.
cal opportunities, the simplistic beauty, and the power- In the final analysis, this composition was one of the
ful creative essence of choral music that can be found choir’s favorite selections and yielded a great feeling of
within the framework of unison singing. accomplishment for each singer. The transfer of vocal
As a young conductor years ago, I remember sitting technique from Bach’s aria into the other selections
in the audience at an ACDA National Conference lis- became evident as they continued to polish the entire
tening to the Toronto Children’s Choir (Jean Ashworth program. This transfer is very important to note. The
lessons learned from the unison experience can be car-
ried to new selections and different applications. It was
the simple unison piece that allowed this to happen.
From the Archives: Even now, as my choirs rehearse compositions with
Unison Singing more complex textures, we often go back to the unison
experience of each vocal line as though it were a solo
“Selecting Music to Improve and Inspire Your unison phrase. When all parts once again join together,
Children’s Choir: An Annotated List,” by Marie the end result is more consistent tone, better intona-
Stultz. December 1993, page 35. tion, a deeper sense of ensemble, and musicality that
feels more organic and innate to each individual singer.
“The Importance of Unison Singing in Male As we continue to seek ways to help our singers per-
Chorus Development,” by Jonathan Reed. Sep- form with greater expressivity while improving vocal
tember 2002, page 71. technique, the unison choral experience is one that should
not be forgotten, regardless of the age or level of mu-
“Children’s Choral Repertoire with Highlighted sicianship for the singers. This wonderful pedagogical
Pedagogical Elements,” by Katrina Turman. tool transcends age and ability, always encouraging the
June-July 2021, page 57. singer and the conductor to look perfection “in the eye”
on new and different levels.

54 CHORAL JOURNAL September 2024 Volume 65 Number 2