14.6 Small ensemble: contest preparation and music selection  (Page 8/2)

Small ensembles

Many states hold contests for small ensembles such as quartets, madrigals, octets, and others. The selection of small ensembles is somewhat different than the original audition procedure used to establish the concert choir. Usually the students in the small groups are chosen from the concert choir. In fact, it is a good rule to establish—that no one can be in any small ensemble unless he is also a member of one of the larger choral ensembles. Many state contest rules also require this.

A director may not need to audition as many voices to select small ensembles. He should know the voices well at this point and can screen them without extensive auditioning. It is good to mention at this point that all students in the choir should understand that they may audition for any of the small ensembles. The director can also invite students individually that he knows he wants to hear. Allowing all students to audition often takes more time than a director will want to spend, but it is good for morale. Occasionally a student will improve considerably, for one reason or another, from the first audition for the choir without the director being aware of the extent of the improvement. This student would otherwise not be noticed.

Whenever possible, have the final auditions for each ensemble at a time when all those you would like to hear can come together. If you are selecting students for a mixed octet from eleven or twelve finalists, you can alternate voices until you find the combination that achieves the best blend and has the best tone quality. You may be able to use one of the works that the students know from the choir's repertoire for an audition piece.

Some voices will work very well in a large ensemble but have some quality (heaviness, a wide vibrato that is not controllable in a small group, an edge that shows up in a small ensemble) that may not lend those voices to good madrigal singing, for instance. This should be carefully explained to the students who will otherwise become discouraged. When possible, it is a good idea to have many people from the choir involved in small ensembles. Use as many different voices as you can without allowing the quality to drop. It is important that these ensembles be of consistently high quality though. If this means that one must use the same voices in every ensemble for the first year or two, this is better than having poor ensembles represent the department publicly and in contest. An image of excellence cannot be built by poor ensembles.

As is the case with the contest rules themselves, states vary regarding the number of small ensembles that can be entered as well as the type of ensembles. Regardless of the number of groups allowed, it is best to enter only those groups that can be well prepared. This is the best way to begin a tradition of excellence for a department. Enter only those groups you can personally rehearse. It is admirable to encourage student leadership but at this point you will not have sufficiently mature students to provide such leadership. You have been trained for the position you hold, your students have not. It does not follow logically that one would leave the supervision of ensembles that will represent the director, the music department, and the school, to untrained high school students.