There are several types of small ensembles that can be formed from the membership of the concert choir, including the madrigal, chamber choir, mixed quartets, jazz choir, etc. Each will vary in its makeup and in the repertoire it will perform. Two of these possibilities will be discussed in this chapter—the madrigal group and the chamber and jazz choir.
First, one must ask, "Do I need or want a smaller, more select ensemble?" The answer will ultimately depend on the situation and the people involved. Much of this discussion pertains primarily to school situations but the same principles can be applied to church and community choirs. Most directors and schools find these ensembles to be desirable. They give the most talented singers an opportunity to be involved with repertoire that they would not otherwise be able to sing. It also gives the finest singers a chance to become more musically involved than the large choir experience may allow. The choral director also has a chance to work with the most gifted singers in a unique situation and with a repertoire he would otherwise miss. In either a community or church situation there are usually some singers more talented than others and a small ensemble opportunity can benefit both the singers and the conductor. One could use such an ensemble in a special church service and a small group could have a special place in a community concert, or make special appearances on behalf of the community choir.
In a school the administration can usually see the advantage for the fewer highly gifted and motivated music students. They will also probably view the group as a good public relations vehicle for the school. This attitude is normal and although it may not be culturally idealistic, it does provide an opportunity for this type of ensemble to flourish.
The large performing ensemble such as the concert choir can perform a wide variety of repertoire but there are some works that lend themselves to performance by a smaller number of singers. It is also easier to meet short notice performances with a smaller ensemble. Ten to twenty singers can rearrange schedules easier than the larger group of sixty or more.
The Madrigal
The Chamber Choir and the Jazz Choir
1. Will singers, and particularly student singers, today be enthused about performing music of several centuries ago with some of the appropriate instruments?
2. How can a director know the difference between music that can be successfully performed by a madrigal and that which cannot?
3. How many performances should a special ensemble give during one school year?
4. Must a director lower the selection standards in order to accommodate the inclusion of popular music? Can popular music meet the same criteria as applied to the choice of other repertoire.
5. Under what conditions is it justified to project a tour for high school students that will last several days?
6. If a director cannot meet with either of the ensembles discussed in this chapter during the regular school day, should he postpone organizing them until they can be incorporated in the school schedule?
1. Learn to play a recorder. Play madrigal parts with others. As a class, perform several madrigals with recorders, alternating verses with voices and without the voices, or substituting for several of the voice parts.
2. Where a lecturer on early instruments is available, meet with him to have the use of early instruments discussed and, if possible, demonstrated.
3. Individually, or in small groups, write a script and select music for a madrigal dinner.
Aitken, Gene. "Individual Miking: The Setup and Rehearsal." Jazz Educators Journal
October/November, 1985.
---------. "Rehearsal Techniques." Jazz Educators Journal February/March, 1984.
Catalog of Music for a Madrigal Dinner. Belwin-Mills Publishing Corp. Cosman, Madelaine Pelner. Medieval Holidays and Festivals: A Calendar of Celebrations. New York: Charles Scribner's Sons, 1981. Dwiggins, Rose R. "One Step at a Time for Show Choirs." Music Educators Journal
February, 1984. Fissinger, Edwin. The Madrigal Concert: Choral Music for the Madrigal Dinner, Ren-
Renaisance Fest and Madrigal Concert. Milwaukee: Jensen Publications, Inc., 1981. Fredrickson, Scott. "Vocal Improvisation: A Practical Approach." Pop, Show and Jazz
Choir Magazine. Fall, 1984. Grentzer, Rose Marie. "The Chamber Ensemble." Choral Director's Guide, pp. 55-
A most popular ensemble and one with a ready-made repertoire is the madrigal. Although the madrigal does not have to be limited to the music of the Madrigal period, it should include these pieces as a staple part of its repertoire. A madrigal may also perform chamber vocal music from any period. One must be extremely careful regarding the choice of choral music, however, to be sure that it is adaptable to a small number of voices.
How many voices should there be in a madrigal ensemble? This is a question most often heard and discussed regarding madrigals. The answer to this depends on the talent and on the types of voices that are available.
There are a number of so-called madrigals performing in the United States with sixteen to twenty singers and occasionally more. Ensembles of this size, though they may be well trained, often sound more like a choir than a madrigal group.
Madrigals and other repertoire of a similar nature are best performed with two and, no more than, three to a part. Some of the finest madrigal ensembles number between nine and fourteen. This size is large enough to develop a full tone and small enough to be adaptable, and somewhat soloistic when necessary. In this ensemble, one may have two to a part for up to seven parts.
This size of ensemble (and many other groups) should contain several floating voices; that is, voices that are capable of singing two parts. A first alto that can sing lower soprano parts or a baritone that can sing some of the tenor parts will be valuable in a madrigal. The repertoire for madrigal ensembles contains many different scorings. If a director has several people who can switch parts at almost any time he will find it much easier to properly balance the ensemble.
A most important requirement for voices in a madrigal group is that they should be flexible. One often hears that light voices are best for madrigal singing. This is not as important as flexibility. Madrigal voices need to be able to sing a ringing forte as well as an intense piano. A small ensemble that does not have a wide dynamic range can be at least as boring as a choir with the same deficiency. An entire ensemble of light voices will not have dramatic capabilities.
Large voices tend to be less flexible and, for this reason, are often undesirable for madrigal singing. That a voice is large is, in itself, insufficient reason to eliminate it. It is difficult to gain a unity of qualities, however, if one voice is of much greater size or more mature than the rest. If the larger voices are flexible, though, they will be an asset to the ensemble. And, every effort should be made to include outstanding voices. If only one or two voices are so much larger than the rest look for solo opportunities for them with or without the ensembles. Find imaginative ways to include the best singers.
Another important consideration is intonation. This is always important to a choral ensemble, but its importance is magnified in a small ensemble. This is one of the most crucial points in the selection of members. If the person has a poor ear or lacks the vocal technique to sing in tune, it is best to leave them out of a madrigal. It may be difficult to omit what may seem to be an outstanding voice quality, but if the person cannot sing in tune, he or she will be a constant problem in rehearsals and performances. Conductors should make intonation one of the most important parts of the selection process.
This characteristic of good choral singing is also important, but in a different way for a madrigal ensemble than for a choir. Originally, much of the repertoire was performed with one person on a part, singing or perhaps even playing the part on an instrument. If your definition of blend means a "complete merging of all voices," you will probably develop a boring madrigal and may not even like to hear small ensembles. The blend of a madrigal is one of matching qualities rather than the "complete merging of the voices." In a small ensemble it will be possible to hear individual voices. There is nothing wrong with this. An individual flair is important to the success of the ensemble. Yet,
there will be moments when all of the voices will merge as one. Do not be afraid to allow individuality in a madrigal. Be sure that "blend" does not become "bland."
All directors would like to have only good music readers in their ensembles. Unfortunately, this is rarely the case at the amateur level. A director can be only as strict in this regard as the level of the singers allows. It would be useless to require that all students in the madrigal be able to read all of the music at sight if, by doing so, one eliminates all singers from consideration. The ability to learn the music will determine the complexity and amount of repertoire the ensemble will be able to perform. The ability to learn is of more importance than the ability to sight-read. If the singer is so motivated that he takes the music home and learns the part quickly, that person is very close to being as valuable as the one who can accomplish the same thing within the rehearsal. Often, the former will be a more valuable member because of his eagerness to contribute to the ensemble. In any event, be as strict as the situation will allow. If there is a choice between two otherwise equal candidates, choose the one who is motivated to learn the music the quickest.
Members of a madrigal ensemble need to be able to project the music to an audience. They should be personable people who are able to reflect the drama of the music in their faces and with their gestures.
It is also desirable to have singers who can move gracefully. You may not wish to have them dance but the members will occasionally need to move about in front of an audience. They must be able to do this with confidence.
Each member must be willing to make some sacrifice for the ensemble. People must want to be chosen for the madrigal. The infectious enthusiasm of a few singers, selected for a group that has prestige, is a major factor not only to the success of that group, but to the success of the choral department. In a school situation students selected for the madrigal should be secure academically because the rehearsal and performance demands can become rigorous at times.
Instruments can lend variety to a concert of vocal chamber music. Several instruments are particularly suited to the madrigal ensemble.
The recorder, forerunner of the modern flute, has enjoyed a return to popularity. It has a pleasant tone that is complimentary to voices, particularly to young voices, but also to mature voices. It is relatively easy to learn to play; a good student should be able to learn to play most madrigal part lines within a week. If some members have had training on other instruments, it would be advantageous to use them on recorders. They will probably learn to play the instrument quicker than non-instrumentalists. It is easiest to begin using soprano and alto recorders and add the tenor and bass as desired.
Experiment with recorders and voices. Use the recorders on the voice parts doubling the voices; use them instead of voices on one or two parts; use them alone for a section or verse of a piece. Recorders can add an enjoyable dimension to the madrigal ensemble.
Other instruments can also be used with considerable success. A harpsichord is not as easy to acquire as the recorder but, when available, is a worthy addition. A small, single manual harpsichord will serve nicely as a continuo instrument in support of a small vocal ensemble and for larger ensembles as well. In addition, woodwind instruments are worthy of consideration. The
modern flute as well as the clarinet, oboe, bassoon, bass clarinet, and contrabass clarinet are useful both as supporting and contrasting instruments. The tone quality and volume of these instruments are delightfully compatible with voices. They do not overbalance voices and they work well with small ensembles. Woodwind instruments are also generally available, and this author recommends that directors investigate and experiment with this combination of instruments and voices.
Several percussion instruments can easily be used—finger cymbals, tabor, tambourine, etc. Be sure to keep the use of percussion to small instruments and their playing time at a minimum. They can be effective if used tastefully, but are ruinous when used without discretion.
Above all, be imaginative regarding the use of instruments. The capella madrigal is a myth. When the madrigal was at its peak of popularity there was no hesitancy to use instruments with the voices or in place of part or all of the voices. Many beginning madrigal ensembles would be aided by the addition of supporting instruments.
An event that has become very popular is the madrigal dinner, often called the madrigal Christmas dinner, and sometimes a Renaissance dinner. It is popular with both performers and audiences because the dinner and the attendant activities enhance the well-selected music for any audience. People who might never attend a formal concert will be drawn to the madrigal dinner and will probably be quite excited about its success. In addition to the enthusiasm it can create for a choral department, the madrigal dinner has the following advantages as well: an opportunity to perform madrigals in a setting that is very appropriate, around a table during or after a pleasant dinner much in the tradition of the first playing and singing of madrigals; repertoire can be chosen to fit the ensemble and to enhance the specific event from a body of quality literature suited for the purpose; high school, college, church, or community choirs can present a madrigal dinner adjusting the script, difficulty, and amount of repertoire to fit the particular group; it allows for a variety of repertoire and performing combinations, such as, quartets, duets, solos, recorder consorts, brass ensembles, chamber groups of instruments, harpsichord, dancers, and even gymnasts and jugglers.
The mechanics of presenting a madrigal dinner are quite similar to those of a stage show with the additional problem of serving food. One can be simple in an approach to the dinner or very elaborate, depending on the circumstances. For example, one simplified approach would have the madrigal enter, sing several selections, have a meal served, and then have the madrigal perform another group of selections and exit. Although possible, it would be difficult for any director to ignore the few modest touches that could enhance such an approach. Whereas it is easy to imagine how any madrigal dinner can be elaborated, it is important to attempt to fit the entire scheme to the period itself. The most successful dinners are those that remain true to the period setting. Avoid adding current dances or songs that only make the dinner a hodgepodge of local talent. The following script outline is but one of many possibilities.
Recorder consort or brass ensemble play (or alternate) while guests are being seated
Brass fanfare
Madrigal entrance
Lord and Lady of manor entrance
Welcome and wassail toast
Group of madrigals
Recorder consort (also may play during dinner)
First course of dinner
Group of madrigals
One dance of the period
Second course of dinner
Solos and duets
Brass fanfare and presentation of the boar's head and singing of the Boar's
Head Carol Main course of dinner Dance of the period Group of madrigals
Brass fanfare and flaming plum pudding Final group of madrigals Madrigal exit
Interspersed may be brief toasts, welcomes, and introductions of events by the madrigal members (all carefully written and memorized). The quantity of selections by the madrigal itself can be increased or decreased as desired. One can use solos and other musical combinations to complement the amount of repertoire the madrigal is able to bring to a performance level. Of course, in addition to the madrigal selections, solos and a variety of chamber music add to the event. Directors can write their own scripts and will probably produce excellent and imaginative dinners. For those who have never attended a madrigal dinner, it is best to attend one before presenting one. Those who wish more detailed information regarding this event, including a published script and format with music and directions, should consult the bibliography at the end of this chapter.
There are many small, but nice, touches that can be brought to this event such as spreading of flower petals as the ladies of the madrigal enter, ballad singers going table to table, well-trained and costumed servers, herald trumpets, English-style hall banners, homemade candles, a well-designed souvenir program, and many others that make the madrigal dinner an unusual and enjoyable musical event.
Both a chamber and jazz show or "pop" choir can be desirable smaller ensembles with a choral program either in a school situation or in a community program. In many programs a jazz choir will be formed from the chamber choir, or the chamber and jazz groups are one and the same; in the latter case the ensemble performs a variety of repertoire, including vocal jazz.
These ensembles range from eight or nine singers to as many as twenty-five or thirty. Both ensembles provide the opportunity for the department to be flexible regarding performance invitations. A varied repertoire is important to meet the needs of different performance situations. Being able to perform some jazz with eight or nine singers, "pop" tunes with the same or more singers, and folk and other representative, entertaining pieces with even more singers is certainly an advantage to a growing or strong department. Once a basic repertoire is established the performance emphasis can be shifted to meet the particular audience need—service clubs, exchange concerts, civic celebrations, tours, and the short-notice-but-good-opportunity performance. After the basic repertoire is learned, additional pieces can be added, such as, solos, new "pop" pieces as arrangements come out, a medley of nostalgic pieces for the entire chorus, and others.
The jazz choir, swing choir by itself has become a popular ensemble in recent years performing music of the popular idiom. These groups may often have elaborate sound systems and costumes. They range from those who parrot the popular vocal groups to more versatile ensembles who perform vocal jazz and songs of the popular idiom in a musically and vocally acceptable, and often outstanding manner. This author would caution against attempting to imitate one or two popular "name" vocal groups. Without the rehearsal time, money, and show business technique and approach it is impossible to be anything but a much cheaper imitation. Instead, the group that seems to be most successful is one that incorporates the best attributes of a number of popular "name" groups, uses fresh arrangements with solid accompaniment, and makes no attempt to hide the unsophisticated freshness of the young high school student. Community based jazz choirs can also be effective with or without the young singer approach. Older adults may tend toward the nostalgic and perform for specific audiences. Not only should one not hide the freshness of younger singers but one should capitalize on it. Directors should also be cautioned against reliance on sound systems to project the voices. When sound systems are used to balance the singers with the accompaniment, be certain the system is a good one and that the singers are balanced with one another. While sound systems are much of the image and the core of the sound of popular groups, singers in a choral program must also understand how to project a singing voice in a natural environment. Another element for consideration is the movement of the singers while singing. For example, many groups require some level of dance with the music. This needs to be carefully done to allow the singers to sing while trying to dance or move on the stage. Too much motion detracts from the music and may also detract from the singer's capability to produce a good sound.
Although a swing, jazz, or "pop" choir can be a very popular ensemble, this author encourages directors to develop this ensemble to perform other music as well so a variety of repertoire is available to the singers and an audience. Audiences are extremely receptive to a variety of programming, and are impressed with the versatility of the ensemble as well as the educational philosophy of the choral department.
There is always difficulty in choosing popular music arrangements. Sometimes the piece doesn't lend itself well at all to an arrangement for mixed voices. And, sometimes by the time the piece is published in an arrangement, the piece's popularity has declined. When a director purchases the music and takes the rehearsal time to prepare it for performance both the director and the ensemble are committed to performing it even when the piece is no longer "on the charts." Often a piece may have a listener's aura even when it has been replaced by the next hit; people remember how they felt when the piece was "on top" and it gives them a good feeling to hear it again.
The concert dress of this ensemble can be appropriate to the fashions of the year and to the school or community. Some groups tie their attire in with the traditions of the school, for example, the Vikings, the Indians, the Irish, etc. When this seems undesirable, a concert dress that relates to the particular area of the state or country is often worthwhile. When either is not wanted, a costume can be designed that is specific only to the group. Students can be quite imaginative in the designing of their costumes and, with a little guidance, often create outstanding ones.
The name of the group can also be suggested by the students. Again, it can be an outgrowth of the school traditions, reflect the area, or be entirely original with the group. In a community setting the apparel might reflect the traditions of the community. When a group of this type is formed, it is best to invite the members to participate in the selection of apparel, names, and later in decisions that affect the group, such as trips, number of performances per semester, etc. All musical matters, of course, are clearly the responsibility of only one person, the director. In other areas singers, including student singers can be found to resourceful, imaginative, levelheaded. One must guide the younger singers allowing them to err inconspicuously, and encourage them as they recover from any mistakes.
If a group is quite active, officers can be helpful, not only from the student's standpoint of developing leadership capabilities, but from the director's standpoint as well, relieving him of some management problems. In an adult environment it can relieve the conductor from tedious logistical details. However, for every group that is successful with officers, there is another that is equally as successful, and happy, without. Let such things happen as natural succession of events. They will be more meaningful and more successful.
A word of caution must be made regarding the number and type of performances that an ensemble of this nature should give. Students may learn as much about music and the stimulation of performance from fifteen performances as they can from forty-five performances. Adult ensembles can be schedule too often as well and will result in the loss of members from the group. Some maximum performance level should be determined and be placed on the number of performances the group will present in one year; and, in the school situation the number of times the students will be released from school for performances; the number of weekend performances; and the number of out-of-town trips. When an invitation to perform occurs that is in excess of the established performing guidelines, the school administration and students should be consulted before any decision is made. It is best to set the gu