# Choir singing flat



## Anselm (Feb 24, 2011)

I'm presently rehearsing a choir for a performance of Faure's Requiem. In the Offertoire (the second movement) the altos and tenors twice have an extended slow unaccompanied passage, after which the orchestra reenters. Guess what happens? Yup, you got it - the orchestra (in our case, organ) comes in sharp 

I'm just looking for some tips on how to avoid this. I have worked on the problem before, as a result of which I've become convinced that this problem has nothing to do with "choral singing" as such - I think there's too much precious talk of particular "choral problems" as such. As far as singing goes, you either make proper use of your physical vocal apparatus or you don't. Flat singing can be ameliorated by telling the choir to think individually about "yawning", which lifts the soft palate at the back of the throat, and by making them produce Italianate vowels, forward in the mouth, rather than the "plummy", throaty production favoured by some. This has helped enormously in past concerts, but it doesn't seem fully to tackle the problem in this case. 

Does anyone have any further hints as to how to lift the choir's intonation?


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## Krummhorn (Feb 18, 2007)

One choral director I worked with for many years would suggest that the singers stand on their tippy-toes, or raise their eyebrows ... anything to think "high". It worked miraculously every time.


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## the_emptier (Jan 27, 2011)

YES raising the eyebrows is perfect every time, i wouldn't suggest tippy-toes, at least not for a performance setting, in rehearsal that would probably be ok. with slow exposed passages like that it's tough to keep up the pitch, we're working on faures madrigal and it's very exposed like that and the same thing happens.


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## Aksel (Dec 3, 2010)

Although I'm not a singer, I try when I play flat to stabilize the tone more. I also try to "think" it higher.


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## Delicious Manager (Jul 16, 2008)

I concur with Krummhorn. Somehow, the raised-eyebrow technique works well. Also, some basic coaching from a professional singer about 'supporting' the voice works wonders too.


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## Jeremy Marchant (Mar 11, 2010)

Having sung in a choir which unfortunately did this spectacularly live on Polish tv, my feeling is that there are leaders amongst the singers whom the other singers subconsciously follow. If the chorus master can identify these people and work with them, fixing their problem is likely to raise everyone's game.


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## Orange Soda King (Sep 14, 2010)

Hmm... Maybe have the singers be aware of certain notes in each phrase that are sort of the "base" or "key" notes of whatever the tonality the phrase/passage is in, like the local scale degree 1, 3, 5, leading tone, or whatever else, or a note that seems to be repeated or emphasized a few times. Maybe have them mark those notes in their music with a pencil. And in rehearsal, have them make sure they listen very hard and hit ALL those notes at the same (if you try to listen to just those notes, you can notice exactly where they are sagging in pitch).

My choir had a problem with this in Mendelssohn's "Richte Mich Gott" but by thinking this way, we fixed the problem of pitch sagging/rising.

Sorry if what I said is irrelevant or incorrect... I want to be a choir director someday, although I don't have much experience at all in anything in that area yet...


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## ArtsongLind (Jul 12, 2011)

Hi, I know there are thousands of opinions on how to sing, but here's mine:
From a vocal coach's viewpoint I would say raising the eyebrows it's a dangerous way to go. It creates tension that will work as a "energy-lifter" for a short while but then lives on as a cramped style without effect after that. Singer who want to sing soft difficult passages often tense up terribly, especially when they desperately want to keep "in tune". I would suggest raising the overal energy levels by making pauses and MOVING a lot between singing moments when rehearsing (it might seem silly but jumping up and down etc really helps, as does any stretching). Then there is a physical memory of energized singing which can be accessed in a concert situation. Important is also to always breathe BIG and use a lot of flow in the breath, which of course has to be practiced so it can be done without producing a more forte sound. Standing on the toes can work, but also standing firm on your heels. And try telling the voices with "high" notes to imagine themselves above the tone, looking down, never "looking up" in their minds eye.


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## Bgroovy2 (Mar 27, 2009)

[ Flat singing can be ameliorated by telling the choir to think individually about "yawning", which lifts the soft palate at the back of the throat, and by making them produce Italianate vowels, forward in the mouth, rather than the "plummy", throaty production favoured by some.

Does anyone have any further hints as to how to lift the choir's intonation?[/QUOTE]

You are correct when you say you make proper use of physical vocal apparatus or you don't. In this case the key word is "forward". Forward singing will always strain the cords and make them go flat. It is a dreadfull cycle. The singer will hear their voice go flat so they will push forward straing the voice further by swelling the cords with yet more blood. I dealt with this exact problem for years. It is most common with tenors and sopranos that have not been properly trained and are stianing in the upper part of their range. This idea of "forward" singing has always been a scourge to the choral and operatic community. All this "tippy toe" And "raised eyebrow stuff" are gimicks that are employed by directors who have no earthly idea how voices actually work! If the upper and lower registers are not properly bended, the lower register will be continually strained because the vocalist will be trying to sing in a way and mannor that the voice is incapable of doing for a sustained period of time without serious damage. The most common damage is nods or even more common is vocal fatigue.
Here is a link to some of the best documented info on proper vocal technique. http://www.amazon.com/Free-Voice-Gu...93J0/ref=sr_1_1?ie=UTF8&qid=1312617046&sr=8-1

This is the first in a series that Cornilus Reid wrote on proper vocal technique. A little pricey but worth every penny.

Good luck!


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