The last several rehearsals before a concert take on a new meaning for the choral director. The concert, for which the director and the choir have been preparing, is almost upon them. The director will find that there are a number of details that must occupy his time. These details must not interfere with the planning for these last, very important rehearsals.

These final rehearsals will have new rehearsal goals. The director must be working to put the concert together. Note hunting should be a thing of the past. The singers should be ready now to do detailed work for as long as it takes to polish a piece. As much as is possible, the time should be spent in bringing together the various sections of works that have been rehearsed for so long as separate parts. The director should plan to rehearse in large segments, at least as large as the capabilities of the choir will permit. Although the director may have placed the sections together in his mind and be totally aware of how they should sound, the singers have not. In the performance of a number of many smaller works, the singers have probably not thought of the pieces as parts of larger groups of works as they will appear in the concert. The following timetable is an example of how one could utilize the last few rehearsals before the concert.

It is a good idea to choose a rehearsal about five rehearsals before the concert in which to do a straight run-through of the concert program. This rehearsal should be held as much like the actual performance as possible, for example, on choral risers, if used for concerts and in the performance hall, if possible. If this rehearsal cannot be held in the performance hall make the rehearsal as much like a performance as possible. This will not only give the singers an idea of the full program but it will also be a good barometer for the director to judge the state of preparation of the music and better determine how to use the remaining rehearsals.

If possible record the rehearsal. The director may later listen to the rehearsal and pinpoint exactly every trouble spot. It is not usually advantageous to play this recording for the students. Their time can usually be better spent now in rehearsal. There may be one or two instances when the recording can demonstrate a problem without discouraging the singers. A point in the recording that demonstrates success can also be helpful, but one should not spend much time in rehearsal listening to the recording of the previous rehearsal. The director should listen to the recording objectively and mark the score where mistakes, balance problems, intonation problems and other problems occur. From the marked score the director can develop a rehearsal guide for each work for the next several rehearsals. Special attention should be given to some problems that can be solved by instructions to the choir rather than by actual rehearsal.

During this next rehearsal, spend all of the time working on the small points that were noticed on the tape. This rehearsal should take place with music in the rehearsal room. Alert the choir that this is a time for detailed rehearsing. It is important to accomplish this now and, to the extent necessary, in the next rehearsal as well. For example, where a phrase has intonation problems, rehearse that phrase first alone, with special emphasis on the part or parts that have the greatest problems. Then add the other parts. Work to solve the problem in its smallest environment (the phrase), and then place the phrase in context with the preceding phrase and then with the phrase that follows. One can place the area rehearsed into context with more of the piece but do not waste time singing the music they know. All directors are faced with the temptation to have their choir sing the work they know best because it is the most enjoyable to listen to and to conduct. This is not good use of rehearsal time and particularly not at this point in the preparations. This rehearsal and the one that follows are important rehearsals in preparation for the concert. Make it clear to the ensemble that you have a distinct plan to correct the mistakes that still exist and to have the music ready for performance in three more rehearsals.

It is sometimes advantageous to edit a few items from the tape of the previous rehearsal that can serve as brief demonstration models for work in this rehearsal. If one section of a piece, for example, is being flatted but the choir does not seem to be aware of it, play just this section for them. Then work it out and tune the section properly. Use the tape sparingly though.

The director should continue to spot rehearse, checking the areas that were worked on in the previous rehearsal and any that were not able to be rehearsed then. As one proceeds through this rehearsal more time will likely be spent rehearsing larger portions of each piece, bringing the portion rehearsed into the larger framework of the piece.

At this point the director should return to rehearsing as much of the music as possible. After spot rehearsing in the previous rehearsals, one should attempt to put these places back into the musical scope of the work or works. The singers need to be more conscious of the entire musical effort of the concert rather than the trouble spots in each piece. This rehearsal should be as much like the concert situation as possible although there is yet a final rehearsal. Depending on the performing maturity of the ensemble any opportunity to depict the concert situation should be used. The acoustics of the performance area are contributing factors to the success of the performance and the conductor should take advantage of every opportunity to rehearse in that environment. Still, there is time to rehearse trouble spots again, and then put them into the larger context of the piece. If several pieces, or several parts of a large score, yet need rehearsing the conductor should not hesitate to spend the necessary time on those places. Other pieces or other parts of the larger score that are at performance level can be left until the final rehearsal. In other words, still at this point, rehearse what needs rehearsing. But, let the rehearsal end on a successful singing of some part of the music.

Before the final rehearsal is discussed it would be good to bring up several points that are relative to the last several rehearsals.

If the ensemble's wearing apparel is easily available, it is often a good idea to use it for one of these last rehearsals, but not necessarily the last one. This is particularly true with younger singers and if choir robes are to be worn. The director can use this as a means of checking to see that each robe is the correct length and that each is clean and free of wrinkles. It also gives the students an opportunity to learn how warm it may get on the stage in full concert dress. This is an important factor when the choir is robed, since the robe is worn over some type of normal street wear, adding another layer of clothing. If there is a time to do this outside rehearsal time that is a better time to do it.

The emphasis to be on risers, or on whatever performance stage on which the choir will sing, is made because the singers will have a slightly different sound on the risers. If the rehearsal room acoustics are not better than average, or do not match the performing hall, the director will note a change in the sound on risers. Often, the rehearsal room does not adequately raise the back rows so the sound of these singers can carry well over the rest of the choir. When the students are placed on the risers, the director will often hear more of the back rows than he did in the rehearsal room. He may also notice a rough edge on their tone, a result of the singers continually singing louder than the rest to provide the director with the balance he desired. Use these opportunities to stabilize the sound and the balance. Obviously, if one can do this earlier in the rehearsal sequence it is excellent to do so.

The singers also should become accustomed to standing on the risers for extended periods of time. Instruct the students not to let their knees become locked, as they stand, but to keep their legs free and be able to flex the knees occasionally. This will help prevent fainting. There are often one or two people who have a history of fainting and who must be watched closely. It is usually apparent who these people are. Tell the singers to sit down on the risers if they begin to feel dizzy. Do not talk too much about fainting because there are people who are subject to that suggestion.

This alone will cause some students to become slightly ill. Be sure to give the choir a break during the rehearsal and get them off the risers for a short time. There are several areas of concern about which a director should be very conscious in these last rehearsals. This does not imply that they have not been important up to this point, but that now they carry a special significance.

The dress rehearsal is the name most often given to the final rehearsal. Some directors like to use it for a nonstop run-through, with everything as it will be in the concert itself. The overall idea is good except that it really is not necessary to adhere completely to that plan. This rehearsal should include all instruments, if there are to be any, and should take place in the hall where the performance will be held.

When possible, sing through the pieces in their entirety, but do not hesitate to work on a section that causes difficulty. It is often advisable to begin this rehearsal with the piece that will probably need the most work, although, if this is the first time for the choir in the performance hall, it may be best to sing a piece, or a part of the larger work, that is at the best performance level. Do not let this rehearsal become too long. The singers will become unduly fatigued and it can reduce their effectiveness in the concert. It is always best to end the rehearsal with the best choral sound in a piece that will be performed. The singers should leave with a positive impression that the concert will be a success and they should feel good about the rehearsal and their contribution to it.

At this, and the other culminating rehearsals, be careful not to be overly critical of the ensemble. Sharp criticism and cutting comments will not help to improve the group's performance. Usually they will prompt just the opposite response. The singers will also become intimidated and their performance will lack the spark and spontaneity desired. Come conductors believe that a physical expression of displeasure will urge the choir to sing better. Displays of rage and temper will create insecurity among the singers. Approaching a concert is a time when the closest bond between the singers and the conductor should be felt. The ensemble has arrived at its present state of preparedness as a direct result of your teaching. If you wish to be mad at somebody, wait until after the rehearsal and be mad at yourself. It is important to be able to recognize those things that can be resolved and those that cannot. Nothing will be gained, and much lost, by attempting to solve a problem for which there is no solution at this point. For example, if one section still has intonation problems ina part of a work, call attention to it, remind the section of your combined, continued work on this problem, instill in them the urge of performance to coerrect it but do not dwell on it at the detriment of the rest of the rehearsal.

At the last rehearsal a director should do all he can to bolster the confidence of the choir. Urge them toward better singing, but do so by leading them toward a higher goal of excellence, not by berating them because they do not sing as well as you want them to. Compliment the choir when it sings well. Encourage the choir. Point out areas that have improved and others for which the choir will have to be very alert in performance.

Before the rehearsal ends, give the choir all last minute instructions, reminding them of preconcert warm-up times, etc. Instruct them to get to bed early and conserve their energy on the concert day to ensure maximum concert effectiveness.

High school concerts usually involve more than one ensemble because many high school choirs do not have the rehearsal time available to adequately learn a full program of choral music. This can also be an issue with church choirs and community choirs where more than one ensemble is involved. Even if a single ensemble were the only one performing, it is extremely difficult for one ensemble of high school students, and often other amateur groups, to maintain the concentration necessary to present a lengthy, musical performance. The problem that results from combining groups is more of a logistical problem than a musical one, although the logistics affect the musical result. We shall deal with the musical considerations first since they should be the most important.

One of the most usual combinations of ensembles is a select concert choir, a less select mixed chorus, a girls' chorus, a boys' chorus, and one or two small groups such as a madrigal or chamber choir.

The largest musical problems involved are the quality gaps between the groups and the variety of repertoire they will perform. There will undoubtedly be a marked difference in the sound of the most select choir as compared to the second choir. In order to minimize this contrast in quality, the director should try to separate these ensembles on the concert program. This can be done by placing another ensemble of contrasting membership between them.

It would be better to hear the select choir followed by the girls' chorus, for example. Then the second mixed choir can follow the girls' ensemble. The difference in the types of voices will create a clear distinction for the audience and avoid comparison of the two mixed ensembles.

One possible ordering of the groups would be:

Concert Choir--Girls' Chorus--Mixed Chorus--Madrigal--Boys' Chorus--Mixed Quartet--Concert Choir

The logistical problem of putting several ensembles on the same concert program is not difficult if the ensembles never have to perform together. If the concert is given on a stage with curtains, the curtains can be drawn after each ensemble while the groups change on the stage. If the students are very quiet, part of them can move onto the stage while a smaller ensemble performs on the apron in front of a closed curtain. Other students can move on and off just before and just after the small ensemble's performance. The desired effect is to keep a concert moving and avoid the track meet effect that often occurs as a result of poor planning. At the same time, an audience prefers to have a few moments between groups to adjust to the next type of repertoire.

If the performance must take place in a gym or all-purpose room, and there is no room convenient to use as an offstage room, the students can remain

in the gymnasium in seats reserved for them. If the risers are placed in the center of the floor, choirs can be seated on both sides and one choir can move to the risers as the other leaves.

Often, choral directors wish to combine the various ensembles into one large chorus to perform a final number on the concert or to sing an extended work. When this is the case, the individual groups must have been well rehearsed. Because the quality of the groups is usually sharply contrasted, the combining of the groups will often be less effective than anticipated. If such a project is undertaken, the groups must rehearse several times together.

The selection of the combined work must be carefully made so it does not overchallenge the less select ensemble(s). Unfortunately, too many directors believe that these students will be raised to a higher level of performance. The opposite is true, however. The quality of the top ensemble is lowered somewhat by the addition of the less select students. That more students are involved does not raise the caliber of the lower students. It is true, though, that the students in a less select ensemble may be given an opportunity to sing a piece that would be too difficult for their group alone, and that the performance can be successful.

On the occasions when instruments are added to a program the director should meet with the instrumentalists several times before they rehearse with the choir. The exact number of rehearsals will depend on the quality of the instrumentalists. Semiprofessional or professional players, playing parts of medium difficulty, will not require more than one rehearsal to establish tempos, etc., but average-to-good high school or college players will require several rehearsals in order to understand their role with the chorus.

When the instrumentalists are placed with the choir for the first time neither group should have to endure prolonged rehearsing of the other as a single unit. This kind of rehearsing should have taken place before the combined rehearsal. A conductor must keep dynamic levels carefully in mind as instrumentalists are rehearsed. Instruments, particularly wind instruments, can easily overbalance a choir. One should pay particular attention to instances when the choir and instruments are scored together in a homophonic passage. It is here that instruments most often overbalance. When instruments play the same pitches at the same time and for the same duration as the choral parts, the voices, and especially the words, are often obliterated. The sharp tonguing of a trumpet will cover the soprano articulation of a vowel sound and of most consonants. The director should not hesitate to scale down instrumental dynamic levels so the choral parts are placed in proper balance. These combined rehearsals should start on time and end on time. Allow time for tuning and warm-ups, as well as for assembling the groups in the proper order on the stage. If it is necessary to bring several groups of varying sizes together, plan the rehearsal to use the largest grou