Selecting Voices for Harmony: A Guide to Composing and Arranging for Choral Groups
Composing or arranging a new piece for a choral group allows a composer / arranger to explore the rich tapestry of human voices. Choosing the right vocal parts is a crucial aspect of this creative process, as it can determine the overall sound and emotional impact of the piece. Here are the considerations and strategies for selecting voices when composing or arranging for a choral ensemble.
Choral Voicings:
Before embarking on the composition journey, it's essential to familiarize yourself with the different voicings that can make up a choral ensemble. Each basic voice type (soprano, alto, tenor, and bass) contributes unique qualities to the choral blend. So, too, different combinations each bring their own sonic qualities. Let’s explore a few:
> The most common combination of voices is SATB (Soprano, Alto, Tenor and Bass). This provides the widest range of notes, over three octaves from the basses’ lowest note to the sopranos’ highest. It also provides the widest assortment of possible musical expressions – warm to cool, dark to bright.
> There may be a situation that necessitates using all female voices. Then, a piece that was voiced for SATB can now be arranged for SSAA. This requires more skill than arranging for SATB since the range of the average lowest female voice to the highest is about two octaves. The harmonies in this kind of arrangement tend to be closer, and it can be a challenge to get as warm or dark a sound as from an SATB arrangement.
> An all-male group could use the same piece, arranged for TTBB, where the first B could stand for Baritone instead of Bass. As with an all-female ensemble, the arranging is more tricky than SATB and the harmonies tend to be closer. The added challenge is the fact that if lower parts are too close together, the warm sound degenerates to a muddy sound. This has to do with the Overtone Series, a phenomenon that occurs when a note is sung played. In very simple terms, a single note creates a series of other notes above it. It adds brightness and color to the original note. If the notes are higher than the F or G below Middle C, the overtones don’t clash. But, much below that the overtones clash and the brightnesses cancel each other out. Here is a good example of the different ways needed to treat male and female voices. It's a Salt Cellar arrangement of Christina Perri’s “A Thousand Years”. Notice that the female voices in the first verse sing a very close harmony in the first few words. The corresponding melody in the male voices doesn’t do that. It starts just high enough so as not to create a muddy sound, but it jumps to a third instead of the minor second that occurs in the female parts earlier.
> If a group is small and has a disproportionate number of male or female voices, arrangements can be done for ensembles consisting of SSA, SAB, STB, etc. They also each have their respective challenges.
Consider the Text and Theme:
The lyrics of your composition play a significant role in dictating the emotional and thematic elements of the piece. Consider the text's mood, meaning, and overall message when selecting voices. For example, if the lyrics express a sense of triumph or celebration, you might choose to highlight the bright and soaring qualities of sopranos and tenors. Conversely, introspective or somber themes may benefit from the warmth and resonance of altos and basses.
A Personal Note – Although I write for both Christian and non-Christian groups, any lyrics that I write or the lyrics of any arrangements that I do of songs by others always have a Biblical foundation. Most secular writers don’t realize that some of the truths they embody in their songs are from God’s mind. Real truth is truth and God is the author of truth.
Explore Vocal Ranges:
Analyze the vocal ranges of each voice type to ensure that your composition encompasses a wide spectrum of pitches. This not only adds depth and richness to the overall sound but also provides variety and interest for both the performers and the audience. Experiment with the range of each voice part, finding opportunities for melodic expression and harmonic exploration within the confines of each vocal line.
If the piece is being written or arranged for a particular group, it might help to find out their particular ranges. It seems that what were once average ranges for high school age people have lowered and shrunken. Whereas the average high note for sopranos used to be the A above the staff, for many it’s the E or F at the top of the staff.
Create Vocal Textures:
Consider the desired texture of your composition – whether you want a homophonic, where all voices move together rhythmically, or a polyphonic texture, where different voices sing independent melodies. Sopranos and altos may combine for a lush and harmonious texture, while tenors and basses provide a sturdy foundation. Experiment with layering voices to achieve the desired emotional impact and complexity in your choral arrangement.
The best example of layering in Salt Cellar’s catalog is “He Who Would Valiant Be” by John Bunyan. The layering isn’t extensive, but there is just enough of it to make the piece have some vertical as well as horizontal motion.
Contrast can also be achieved by having sopranos and altos, or tenors and basses, echo each other. One part or set of parts could sing an organum-type part while the other part(s) sing a melody and harmony. A good example of both the use of organum and an echo part is an arrangement by Salt Cellar called How Sweet the Sound, a variation of Amazing Grace. The organum-type parts are in the first verse and the echo section is in the second. Click the link to hear and see this arrangement.
Balance and Blend:
Achieving a balanced and cohesive choral blend is vital. Pay attention to the volume and strength of each voice part to prevent one section from overpowering another. Aim for a harmonious balance that allows each voice to contribute to the overall sonic tapestry. This balance ensures that the nuances of your composition are conveyed effectively and that no voice is overshadowed.
This is most often achieved by using dynamic markings, but it’s not very easy to sing very quietly at the top of one’s range, nor to sing loudly at the bottom. Some dynamics are inferred by the notes being sung.
Different voice types possess distinct strengths and characteristics. Sopranos often excel in agility and high, soaring lines, while altos contribute warmth and richness. Tenors bring brightness and clarity to the upper register, while basses provide a solid foundation with their resonant low notes. Tailor your vocal writing to showcase the unique qualities of each voice type, allowing the singers to express themselves fully.
Utilize Vocal Divisi:
Vocal divisi, or dividing a vocal section into multiple parts, adds complexity and depth to your composition. This device is often used for jazz, barbershop or certain types of gospel singing. Experiment with divisi to create intricate harmonies and expand the sonic palette of your choral arrangement. Be mindful of the difficulty level, ensuring that vocal parts remain accessible to the performers while enhancing the overall complexity of the piece. Too much layering or other complex devices can not only be difficult to sing, but also too convoluted to listen to.
Collaborate with Choral Directors and Singers:
Engage in open communication with choral directors and singers to gather insights into the capabilities and preferences of the ensemble. Collaborating with those who will bring your composition to life allows you to tailor the piece to the strengths of the group. Choral directors can provide valuable input on vocal ranges, skill levels, and the overall feasibility of the arrangement.
Conclusion:
Choosing voices for a choral composition is a multifaceted process that requires a thoughtful blend of musical knowledge and creative intuition. By understanding choral voice types, considering the text and theme, exploring vocal ranges, creating varied vocal textures, achieving balance and blend, considering vocal agility and expression, utilizing vocal divisi, and collaborating with choral directors and singers, you can craft a piece that resonates with both performers and audiences alike. Embrace the diversity of human voices and allow them to weave a captivating narrative through your choral composition or arrangement.
Salt Cellar Creations understands the beauty and power that choral singing can convey and has a growing library of original works and arrangements. Find out more about what Salt Cellar Creations has to offer for Choral Groups HERE. Explore the available music HERE.
SCC can also compose an original piece for you or do a custom arrangement for you. There are two ways that this can be done; one is much more affordable than the other. And SCC is always looking for ideas of pieces to arrange or suggestions for original pieces.
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