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choose which criteria is more pertinent. These are the tech- Could it ever be appropriate for a director to pair SAB
nical and aesthetic criteria. music with their out-of-balance ensemble? Of course, the
Some directors will frequently choose repertoire primar- answer is yes, but it usually only works in very specific situa-
ily along aesthetic lines; however, in an effort to be inclusive tions. As stated above, directors should check off the techni-
of all singing abilities, directors are urged by experts to rely cal criteria first. Can the singers physically sing the music?
more on the technical criteria when selecting repertoire for The only way for the director to know this is by having a
this particular type of ensemble. Quite simply, although clear understanding of the individual vocal development
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it is important to sing music that is aesthetically pleasing, that is happening in the room. The director must also know
it does no benefit to the unbalanced choir if the technical exactly what pitches the males in the room can sing beauti-
aspects of the music or singing ranges are too far outside fully. If those pitches align with the SAB arrangement, then
of the students’ comfort zone. By choosing repertoire that yes, this music could work. Keep in mind two things: (1) vo-
challenges the singers, but not so much that their self-effica- cal ranges during this time change frequently, and (2) even
cy suffers, the director gives the ensemble the best possible though the music works for the ensemble based upon techni-
opportunity to have a successful and enriching experience. cal criteria, Emily Crocker warns that this music could still
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What if the director doesn’t feel they have enough ten- sound empty and unblended due to a wide pitch gap.
ors and basses to sing SATB literature? What if they are There are alternatives to SAB literature for the out-of-
concerned with major balance issues? Shouldn’t these un- balance ensemble, and that often includes males with chang-
balanced choirs simply program SAB literature? Choosing ing voices. For example, the Cambiata Press is one such pub-
SAB literature solely based on the number of singers may lisher whose mission includes providing “quality music for
seem like a logical choice, but developmentally and musi- early adolescent choirs with changing voices,” and music
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cally, the vocal needs of developing voices may not be met. that “fits choirs with fewer males than females.” Included
John Cooksey cites that SAB music contains poor voice in their various choral offerings are selections specifically ar-
leading, and the baritone part frequently becomes more of ranged and crafted to accommodate the males undergoing
a compromise between the three voice parts. In addition, voice change. Instead of SATB, you’d see SACB. The C
it’s frequently observed that the baritone part is too high designation represents cambiata voices: the males under-
for new baritones and too low for new tenors or unchanged going voice change. As with any other potential repertoire
voices. Finally, males undergoing voice change often have a selection, these pieces must also undergo the same level of
gap between their chest voice and their head voices—notes scrutiny. Publishers and music providers that offer this type
they physically cannot sing yet. Unfortunately, many of the of specialized repertoire are certainly helpful, but in the end,
baritone parts found in SAB literature are placed within or an out-of-balance ensemble may require still other options
very near to these gaps in vocal ranges. 17 for their repertoire needs.
If the arranger tries to correct the issue of singing too In the case of an ensemble that is too out of balance to
often in the break by making the baritone part lower in the support independent tenor and bass sections, a good option
bass clef, it then becomes too low for the changing and un- would be to seek out two- and three-part treble literature.
changed male voices. Assigning these males to a voice part This option allows the director the freedom to arrange the
that is frequently too low for them can have detrimental ef- piece to best fit the individual needs of the singers. As com-
fect on their self-efficacy. pared to SAB literature, the director must ask themselves,
What makes the common SAB arrangement even more what would be easier and more rewarding for the males in
difficult to rehearse, is that the sopranos are usually given an out-of-balance ensemble, of which some may still be un-
the melody, which is most often times the easiest part to dergoing voice change? Is it singing the melody or simple
hear. The altos are frequently given a harmony, with which harmony in their individual workable range, or a designated
they likely have ample experience singing. The few males in harmony a sixth or more below the melody that may also be
this ensemble, the ones singing a less familiar harmony with outside their range? By seeking two- and three-part litera-
voices that are likely undergoing voice change, could con- ture with the understanding that the director can be flexible
sequently drift away from their part in favor of the melody in adapting the parts, the males can sing any combination
within their comfortable range or worse yet, to sing mono- of the following: the melody down an octave, a simple ar-
tone within this comfortable range. ranged ostinato designed to fit the limited range of a chang-

ChorTeach Volume 15 • Issue 2 13 Winter 2023