Choral Literacies and Skills for the Performing Artistic Process

Choral Literacies and Skills Assessment for LEVEL-BASED DEVELOPMENTAL MARKERS Ensembles and Students

VOCAL TECHNIQUE MUSICIANSHIP Tonal Technique Breath Technique Artistry Music Reading

VOCAL FACILITY RESONANCE ENSEMBLE SOUND BREATH MANAGEMENT RHYTHM AND TEMPO EXPRESSION AND ARTISTRY RHYTHM AND MELODY, INTERVALS AND INDEPENDENCE INTONATION DYNAMICS DICTION ARTICULATION AND VOWELS AND BALANCE Effort, Airflow, Efficiency, Onset Precision, Clarity, Expression Style, Form, Expression MUSICAL MARKINGS AND AUDIATION LEVEL OF LITERACY Range, Agility, Clarity, Divisi

• Shaping vowels with space, basic • Ensemble sound develops through • Singing range determined by age, • Clear intonation in unison • Good posture with low, expanded muscles • Singing with contrasting dynamics • Pronouncing words together • Contrasting articulation with text and • Singing rhythmically together • Singing with energy, body involvement, • Meter: 2/4, 3/4, 4/4. • Melodic Reading: Step-wise and vowel uniformity is introduced. vowel uniformity and “matching vowel.” gender, vocal quality, and speaking voice, singing develops. for breathing is introduced and develops. is introduced and develops. is introduced and develops. effort is introduced and develops. is introduced and develops. and facial expression to convey mood • Note Values: Whole, half, quarter. pentatonic melodies, unison. often a 6th to a 10th in all voice parts. introduced and develops. Expression • Resonance introduced as “tall” vowels, • Ensemble sound is most successful • Listening skills develop through • Breathing together and energizing the • Forte and piano develops, • Vowel clarity reflects singers’ body • Quick and sustained, light and heavy • Demonstrates physical sense of pulse • Tempo: Andante – Moderato (72–120). • Intervals: Whole step, minor 3rd, Level varies by age, body awareness, energy, 1 opening up inner resonating spaces. with [i, u, o, a]. • Stepwise melodies and simple intervals understanding how vowel uniformity voice are introduced and develop. contrasting dynamics between songs awareness of LEVEL 1 Resonance enunciation are introduced. when coached. perfect 4th and 5th, major scale • Musical Markings: Adagio, Allegro, sung clearly at a moderate tempo. More affects pitch. or between major sections within a and Vowels. and confidence. introduced. • Body awareness of jaw, lips, tongue • Ensemble sound occurs most easily • Expansive, low breath is reinforced, • Clarity of articulation varies as result • Simple rhythms can be sung accurately, p, mp, mf, f. ENTRY-LEVEL introduced and develops. when all singers sing in light mechanism. challenging passages can be coached. • Singers recognize being “in tune” as clavicular breathing is common. song is introduced. • Consonant clarity varies by age, body of text and volume. syncopation and simple multicultural • Expressing the mood of a song with • Key Signatures: None to two sharps general changes of dynamic and • Resonance is most easily developed • Ensemble sound inconsistent due to • Unison, simple counterpoint introduced with pentatonic and simple melodies. • Singers demonstrate consistent breath • Maintaining ensemble sound in awareness, or primary language. rhythms can be taught by rote. or two flats. SINGERS articulation as determined by text is with [i, u, o, a]. heavy mechanism singing or difficult and develops clarity, e.g., partner songs • Common pitch issues due to effort most often in short, loud passages. contrasting dynamics is introduced. • Enunciating consonants at onset and offset • Rhythmic inconsistencies common, • Chord Tones: Two-part “chords” OF ALL AGES or canons. introduced and develops. • Light and heavy mechanism, or or “head” vowels [ε, æ, etc.] inconsistent vowels, register, • Breathing in appropriate places, such • Inconsistencies in resonance often of phrases at louder dynamics develops. precision is affected by age, body built on pentatonic scale degrees. • Form is demonstrated by contrasting and “chest” resonance is introduced. • Stepwise and pentatonic melodies sung or scooping, can be coached. as ends of words, or with punctuation occur during changes of dynamic. • Internal consonants often lack clarity. awareness, dynamics, diction, and formal elements with dynamics and with clarity at moderate tempi. is introduced. • Crescendo and decrescendo are articulation. • Sings mostly in “head” voice, articulation, e.g., verses, refrains, and • Close parallel harmonies and minor introduced and demonstrated. • Basic count singing is introduced. or light mechanism. major sections. dissonance can be inconsistent. • Resonance often inconsistent due • Body movements help singers to vowel space, or heavy mechanism connect physicality to the mood i.e., “chest” voice. and sound desired.

• Resonance develops by discovering • Ensemble sound develops • Singing range determined by age, • Listening skills develop through • Good posture, and low, expansive • Varied dynamics from song to song • Clarity of enunciation, projection, • Basic articulation develops, • Rhythmic clarity develops through • Creating a unique style for each piece • Meter: 2/4, 3/4, 4/4, cut time • Melodic Reading: Step-wise and inner resonating space, relaxed jaw & through vowel uniformity and gender, vocal quality, and speaking voice. listening to selves and others. breath develops and becomes consistent. develop, p–f. and body awareness of articulators e.g., detached / legato, heavy / light, unified diction. with dynamic, tempo, articulation, and (symbol and 2/2), 6/8. pentatonic melodies, introduction shaping mouth. matching vowel shape. Range often a 6th to a 12th, expands with • Intonation consistent in middle voice • Low, expansive breath without downward • Crescendo and decrescendo developed. introduced and develops. quick / sustained. • Inner pulse introduced. text develops. • Note Values: Whole, half, quarter, of 3rds, 4ths, and 5ths in melody, Level • Resonant space is introduced, e.g., tall, dome, age and experience. unison and two-part canon or simple 2 • Ensemble sound demonstrated with LEVEL 2 vowels. Inconsistencies pressure at the beginning of a song, or • Vowel clarity reflectsLEVEL 2 • Various types of accents introduced, • Word stress / un-stress is introduced. eighth, simple dotted notes and or lofted, lifting soft palate, inner smile, etc. • Varied dynamics from phrase to phrase • Ritardando and Accelerando are in slow passages, cadences, and • Stepwise melodies, slow to moderately occur with challenges of text, diphthongs, a major section of a song develops. Resonance and Vowels. e.g., staccato, marcato. syncopation. counterpoint, dotted notes. • Vowel uniformity is consistent with is introduced and develops. introduced. • General mood of poetry is understood, with vowels [i, e, a, o, u]. fast tempi, and intervals of 3rds, 4ths, range, and dynamics. • Intervals: Whole step, half step, ELEMENTARY & [i, e, a, o, u] in middle register, expands • Low, expansive breath for individual • Dynamics mp–mf demonstrate • Consonant clarity is developed, • Legato singing is introduced, often • Rhythms more complex than 8th note demonstrated by varied musical elements. • Tempo: Andante – Allegro (72–132) with age and experience. 5ths sung clearly. minor 3rd, major 3rd, perfect 4th, MIDDLE SCHOOL • Ensemble sound inconsistent in • Unison, partner songs, simple phrases is introduced. LEVEL 2 Resonance and Vowels. especially at onset and offset of inconsistent as affected by text, patterns can be coached. • Form demonstrated by contrasting • Musical Markings: Adagio, Andante, • Treble voices sing mostly in “head voice,” rhythmic or fast-moving sections • Unison, partner songs, and simple counterpoint can be sung with clarity phrases, at louder dynamics. dynamic, and developing LEVEL 2 perfect 5th, major scale sung with • Balanced tone, with light effort and • Dynamic extremes may affect • Ensemble sings together but rushing musical elements, e.g., dynamics Moderato, Allegro, Rit(ardando), or thin folds. due to text, register use, or individual counterpoint sung with clarity. Part of pitch. Individual tuning issues due Breath Management. Kodály hand signs. EMERGING HIGH relaxed movement of air is encouraged. resonance and pitch, with piano • Consonants before the beat and or dragging is common. of verses or phrases, and finding Accel(erando), pp–ff, Cresc(endo) • Mixing into “chest voice,” heavy mechanism, singer’s volume. independence in passages with register use, volume, or scooping, • Key Signatures: None to three sharps SCHOOL • Imbalanced tone may result in breathy p, breathy and forte pressed. internal consonants introduced. • Articulation affected by text a “climactic moment” in each piece and Decresc(endo), Accent mark >. or thick folds, introduced. close parallel harmonies or minor can be coached. • Count singing at LEVEL 1 is possible. or three flats, minor key introduced. • Ensemble sound and balance affected pressed f, poor intonation, decreased • Breath plan determined by text and volume. is introduced. • Voices in transition sing with a relaxed dissonance develops. CHURCH / COMMUNITY airflow, light effort, and emphasize by personnel, repertoire, register, and • Tuning homophonic passages legato, et al. and poetry is introduced. • Most of the choir demonstrates facial • Chord Tones: Two- to three-part tessitura. • Some compositions in three or four or close harmonies is inconsistent, chords, major and minor root position, “head voice” as low notes appear. • Ability to sustain longer phrases, breathe • Non-English language texts expression and / or appropriate body NON-AUDITIONED parts possible, determined by personnel, can be coached. 6ths and 7ths introduced. • Singers recognize breathy, pressed, • Balance achieved by adjusting numbers in appropriate poetic places develops. introduced. movement, especially when coached. COLLEGIATE and balanced tone production. of singers on each part or standing range, or composition style. • Singing in tune with piano or other • “Stagger breathing” for sustained tones, • Resonance affected by text, extremes arrangements. • Singing in non-Western classical instruments introduced and develops. fermata, is introduced. of dynamic and range. styles introduced.

• Resonating spaces such as tall, dome, • Ensemble sound develops through • Singers work to extend range and • Listening skills emphasize listening to • Buoyant, expansive breath posture, • Musicality through dynamic • Expressive and clear enunciation develops. • Greater range of articulations, • Counting together and inner pulse • Expression and style results from • Meter: 2/4, 3/4, 4/4, cut time • Melodic Reading: Step-wise and maintained from inhalation through lofted, lifting soft palate, et al, develop. uniform application of LEVEL 3 address age-related vocal changes. selves, others, and internal audiation. shaping develops. • Initial onset, and final offset consonants e.g., crescendo on dotted or tied notes, develops. specific attention to composer’s markings. (symbol and 2/2), 6/8, 5/4, 6/4, pentatonic melodies, 4ths, and 5ths, phrase, is introduced. • As inner resonating spaces develop, jaw Resonance and Vowels. • Singers demonstrate greater range and • Tuning demonstrated in all ranges with • Dynamics from mp–mf consistent consistently clear. fp, sfz, fermata, and clarity of faster-moving • Accelerando and ritardando performed • Poetic and agogic accent introduced, simple changing meters. introduction of 6ths in melody, unison Level becomes relaxed and neutral in mid-voice. • Low, expansive breath at beginning passages, develops. to four-part reading depending on 3 • Ensemble sound develops consistency agility during vocalise than in sustained coaching. Inconsistencies occur with with LEVEL 3 Breath Management with accuracy, tempo changes can affect i.e., word and syllabic stress / un-stress • Note Values: Whole, half, quarter, of songs, and at onset of individual • Vowel clarity reflectsLEVEL 3 Vowels, difficulty, dotted notes, syncopation, • Opening of resonating spaces in extended throughout middle voice, regardless tessituras. challenges of text, diphthongs, tessitura phrases develops. and Resonance. diphthongs and new languages can be • Articulation reflecting LEVEL 3 Breath balance of tone or breath effort. to creating poetic meaning. eighth, sixteenth, dotted notes, ranges through vowel modification, relaxed and triplets. ADVANCED of musical demands. • Melodies containing intervals of 3rds, and dynamics. • Efficiency of breath effort, i.e., wide, • Crescendo and decrescendo within coached. Management is introduced and develops. • More challenging rhythms such as • General meaning of poetry is understood, syncopation, eighth note triplets. and flexible jaw, introduced and develop. buoyant intercostal engagement, efficient • Intervals : Major and minor scale sung MIDDLE SCHOOL • Individuals may be heard as ranges 4ths, and 5ths sung clearly at most tempi. • Tuning within sections is consistent, each phrase, “rise and fall,” develops. • Clarity of diction in extended ranges • Legato develops. Forward motion and dotted notes, triplets, meter signatures, communicated through dynamic and • Tempo: Largo – Allegro (56–144). • Consistent vowel uniformity, space, and expand or voices develop. sections work to tune with others, most abdominal effort without downward sustained energy during legato most multicultural rhythms are introduced, poetic shape. with Kodály hand signs. Non-diatonic • Most intervals can be sung clearly at pressure, efficient air flow, is introduced. • Balanced tone in extended dynamics, and dynamics develops. • Musical Markings: Adagio, color with basic vowels [i, e, ε, a, o, u]. often at cadences. successful at louder dynamics and when can be coached. intervals with Kodály syllables and MANY HIGH SCHOOL, • Balance affected by personnel, repertoire, a moderate tempo with coaching. • Balanced breath effort consistent mp–mf, or dynamic changes, develops. • Consonants before the beat and internal • Form explored, formal elements lead Andante, Moderato, Allegro, Presto, • Resonance consistent throughout middle efficient breath effort occurs. hand signs introduced. extended dynamics, and register. • Tuning in homophonic sonorities, while piano, forte develops. • Rhythmic inconsistencies occur, to a “climactic point” in each piece. Rit(ardando), Accel(erando), pp-ff, CHURCH / COMMUNITY voice, extended ranges varied due to age • Compositions in two to four parts • Breathy piano and pressed forte replaced consonants develop. dissonances, basic modulations, fast affected by dynamics, tempo, or Cresc(endo) and Decresc(endo), sfz, • Key Signatures: None to four sharps and experience, SA voices A3 to G5, • Balance achieved by adjusting numbers common, greater divisi possible, • Onsets to initiate phrase and crescendo as balanced breath effort develops. • Poetic and agogic accent, i.e., word and • Extra-musical means of expression, ENTRY-LEVEL moving passages, and counterpoint may require “extra” breath effort and air imbalanced breath effort. fp, fermata, subito, Accent >, marcato or four flats, both major and minor. TB voices G2–G4. of singers on each part or standing determined by personnel. • Dynamics affected by tessitura, i.e., syllabic stress / un-stress, introduced e.g., movement, facial engagement, COLLEGIATE develops. flow. and staccato. • Chord Tones: Three- to four-part • SA develop ‘mix.’ TB develop floating upper arrangements. • Singing with close harmony and higher passages may be sung louder, and develops. • Breathing rhythmically for precise “choralography,” standing arrangements, • Low, expansive breaths during quick, chords, major and minor root position voice and focused lower voice. • Stylistic and repertoire-based balance dissonance develops. • Choir tunes well with the piano. lower tones softer, individuals may onsets introduced. narration, developed. • Non-Traditional Notation: Introduced or “catch breaths,” introduced. • Latin and at least one other language 7th chords, 9ths and inversions variation is sometimes desired and A cappella singing develops. be heard. • Count singing at LEVEL 2 is possible. in jazz or multicultural repertoire. • Resonance affected by extended dynamics • Singing in non-Western classical • Shaping the vocal tract during breath, such introduced. introduced. and register, text challenges such as introduced. styles develops. as “breathing in the vowel,” is introduced. diphthongs, and foreign languages.

• Resonance develops through shaping • Ensemble sound results from • Ease of extended range and increased • Listening skills and tuning individually, • Buoyant, expansive breath posture, • Dynamics from p–f consistent with • Diction develops as poetic declamation, • Artistic use of articulations develops. • Precision and accuracy through • Musical decisions based both on the • Meter: 2/4, 3/4, 4/4, cut time (symbol • Melodic Reading: Melodies with and tuning inner resonating spaces, healthy consistent resonance, precise rhythm, agility develops. within sections, between sections, maintained from inhalation through LEVEL 4 Breath Management and in addition to pronunciation and enunciation. • Articulations that are varied and reflect subdivision is introduced and develops. composer’s markings as well as personal and 2/2), 6/8, 5/4, 6/4, 3/8, 5/8, 7/8, all diatonic intervals, major and alignment, body awareness of pharyngeal and dynamic shape. • Singers demonstrate ease of tessitura is consistent. phrase, develops. Resonance. • Modification of diction creates consistent LEVEL 4 Breath Management, develop. • Rhythmic energy is present in all styles expression develops. 9/8, 12/8 and changing meters. minor, unison to four-part reading Level resonance, resonant vowels, head / chest mix. depending on difficulty, dotted notes, 4 • Ensemble sound results from a unified in upper voice: SA voices C5 – F5, • Intonation consistent throughout vocal • Efficiency of breath effort, i.e., buoyant • Dynamics varied within phrases, enunciation in range and dynamic extremes. and dynamics. • Historical and contemporary style and • Note Values: Whole, half, quarter, • Legato is consistent, diction creates • Vibrant, overtone rich, balanced-tone, syncopation, triplets, compound meter, vocal approach, encourages individual TB C4 – F4 ranges, at faster tempi, more challenging intercostal engagement, efficient phrases contrast to build an • Consonants before the beat and internal a sense of forward motion, energy, and • Accelerando and Ritardando performed performance practices introduced. eighth, sixteenth, dotted notes, reflectingLEVEL 4 Breath Management basic meter changes. ADVANCED HIGH develops. development. • 16th note passages clearly sung intervals, or text. Singers able to make abdominal effort and air flow, balanced overall structure. consonants are consistent and help create momentum. with balanced tone and breath effort, • Specific meaning of the text is understood, syncopation, eighth and quarter adjustments to fix poor intonation. and smooth onsets, develops in all ranges note triplets. • Intervals: All intervals, major scale • Resonance consistent in all vowels, including • Methods to create ensemble sound at moderately fast tempo, chromatic • Balanced tone and breath effort a sense of forward motion and legato. • Extreme articulation demands can develops. and communicated by poetic declamation SCHOOL and dynamics. and minor sung with Kodály hand signs. diphthongs and many non-English vowels. adjusted as voices develop, e.g., voice intervals when coached. • Melodic tuning develops in addition in extreme dynamic ranges develops • Poetic and agogic accent consistently affect resonance and pitch. Balanced • Rhythm as an expressive element, e.g, of text, LEVEL 4 Dynamic, Diction, and • Tempo: Largo – Presto (56–168). Non-diatonic intervals, e.g., tritone, EXCELLENT • Resonance consistency develops matching, standing arrangements. • Divisi within each section is possible. to harmonic tuning. • Offset breaths and “catch breaths” as LEVEL 4 Breath Management and applied, i.e., word, syllabic, and phrase breath effort develops. rubato, tempo changes, and fermata, with Articulation, resulting in artistically • Musical Markings: Adagio, major 7th, minor 9th, with Kodály and extends throughout vocal ranges. • Unified ensemble develops across Complexity of divisi determined • Complex chords often tune accurately. re-establish efficient and balanced effort. resonance is learned. stress / unstress. artistic purpose, introduced and develops. shaped singing. Andante, Moderato, Allegro, Presto, CHURCH / COMMUNITY • Varied weights of repeated articulations, syllables and hand signs practiced. • Modification of vocal tract in extended varied vocal styles, e.g., vibrato or non, by personnel. Inconsistencies occur due to individual • Intentional breaths develop, e.g., rhythmic • Accuracy of dynamics in extremes • Expressive treatment of text, e.g., duration or articulation resulting from artistic poetic • Rhythmic weight, style, or “feel,” e.g., jazz, • Form demonstrated by intentional Rit(ardando), Accel(erando), ppp-fff, • Key Signatures: None to five sharps MANY COLLEGIATE registers is introduced and develops, world music. • Vocalization of non-Western classical development of LEVEL 4 technique, breaths, shaping the vocal tract, other of range and tessitura develops. or placement of consonants and color of declamation and agogic accent introduced. multicultural styles, develops in addition shaping of structural elements, LEVEL 4 Cresc(endo) and Decresc(endo), sfz, fp, e.g., specific resonant vowels, tall or lofted, can be coached. musical elements. Rhythm elements, and musical details. fermata, subito, piu, meno, Accent >, or five flats, both major and minor. • Balance addressed by varied standing styles developed. • Subtle or quick shaping of dynamics vowels for style, dialect, develops. • Ornaments, non-Western classical styles, to metric precision. primal sounds, with relaxed and flexible jaw. plus marcato, staccato, tenuto. • Chord Tones: Three- to eight-part arrangements, flexible personnel use, • Singers adjust intonation when singing • Breath and effort technique for to reflect text, rhythmic patterns, and • A more difficult language to English- and other subtle expressions develop. • Rhythmic breathing resulting in precise • Extra-musical means of expression, • SA develop functional mix of “head” chords, major and minor root position dynamic adjustment. with piano vs. a cappella. non-Western classical styles introduced. style develops. speaking singers may be introduced, and artistic onsets develops. e.g., programming, movement, • Non-Traditional Notation: Developed and “chest” voice. TB develop a vibrant, 7th chords and inversions, altered expansive mid to lower tones and a lyric, • Stylistic and repertoire-based balance • When singing a cappella, choir tunes well, e.g., French, Russian, or less familiar staging, develop. with opportunities to sing jazz, • Count singing at LEVEL 3 is possible. chord tones introduced. clear upper voice. variations develop. even if overall pitch may flat or sharp. world languages. aleatoric, multicultural, or early music.

• Vibrant, overtone-rich, balanced tone • Ensemble sound results from vibrant, • Singers maintain balanced tone and • Intonation accurate in all registers. • Efficiency of breath effort, i.e., buoyant • Balanced breath effort creates a natural • Enunciates text clearly in a variety of • Articulation reflectsLEVEL 5 Breath • Inner pulse consistent. Knowledge of • Mature artistry develops, with consistently • Meter: Any can be coached. • Melodic Reading: Melodies utilizing develops, reflectsLEVEL 5 Breath overtone-rich, and balanced tone, is effort in sustained tessitura in all registers. • Intonation accurate in all styles and tempi. intercostal engagement, efficient abdominal rise and fall of dynamics in all registers. languages, including more challenging Management, develops artistic subtlety. subdivision is demonstrated by precise shaped phrases, poetic declamation, • Note Values: Any. all intervals, all keys and modes, Management, and is consistent in all consistent in all vowels, registers, as effort and air flow, balanced onsets, languages, with appropriate dialect rhythm in all styles. rhythmic artistry, and informed reading unison to eight-part reading • Chromatic intervals and passages, • Complex harmonies of varied styles tune • Dynamics vary within phrases, phrases • Articulation determined by language • Tempo: Any can be coached. Level 5 registers and voice parts, regardless well as unified musical elements. complex rhythms, dissonant intervals and develops consistency in all ranges contrast to build an overall form to each determined by language, region, or history. and style develops. • Balanced tone and effort maintained of composer’s indications. depending on difficulty, challenging easily. Singing in varied temperaments • Musical Markings: All common of dynamics, style, or language. • Ensemble sound occurs while individuals harmonies sung clearly, inconsistencies and dynamics. piece. • Intentional tonal difference resulting from throughout tempo variations and • Historical, contemporary, or world-music syncopation, triplets, compound meter, and non-Western tuning can be coached. • Balanced tone and effort consistent markings, descriptive phrases, • Resonance develops through a naturally maintain a relaxed and healthy sound, of resonance and clarity occur, can • Use of appoggio develops, e.g., messa dialect may be desired and coached. challenging rhythms. style and performance practice informs challenging meter changes. HIGH-LEVEL • Inconsistencies occur due to developing • Subtle or quick shaping of dynamics through long articulated passages, e.g., con bocca chiusa, can be and artistically shaped text, resulting in regardless of style, language, or type be coached. di voce, ease of extended registers. artistic elements, e.g., LEVEL 5 Diction, • Intervals: All intervals, major scale and COLLEGIATE, technique, breath management and to reflect text, rhythmic patterns, and • Modification of consonants and enunciation extremes of articulation, dynamics, • Rhythm as an expressive element is coached and understood easily. a flexible tonal approach. of resonance desired. • Any divisi possible as determined • Intentional breaths develop, style is consistently demonstrated. for musical reasons develops, e.g., rubato, and tessitura. consistent, e.g., rubato, varied weight, Vowels and Resonance, Articulation, et al. minor sung with Kodály hand signs. vibrato, solutions can be coached. • Traditional Notation: Developing with CHURCH / COMMUNITY • Resonance can be inconsistent in • Balance is determined by musical and by personnel. e.g., prepare onsets for vowel, pitch, delaying onset, legato, tessitura, balance momentum, and “feel”, in addition to • Specific meaning of the text is Non-diatonic intervals with Kodály • Singers maintain correct pitch center • Technically demanding dynamics are • Composer’s articulation markings opportunities to sing modern styles. the most demanding of passages stylistic demands of repertoire, created register, articulation, and rhythmic shape. with instruments. precision. communicated and conveyed through syllables and hand signs developed MANY • Singers demonstrate flexible tonal in a cappella singing in addition to introduced and develop, e.g., sotto voce, interpreted as a reflection of an or languages, can be coached. through various methods, e.g., varied musical elements. through application to chromatic approach in non-Western and melodic, harmonic tuning. • “Catch breaths” that are intentional, mesa di voce, fp, sfz. artistically sung text and musical line, • Precision develops, and reflects SEMI-PROFESSIONAL standing arrangements, moving singers repertoire. • SA lower register is a functional mix historic styles. artistically and rhythmically placed, • Dynamic distortions of vocal quality, rather than absolutes. LEVEL 5 Breath Management, in all • Form results from musical elements and from part to part, adjustments of • Key Signatures: Any key major or minor. of “head” and “chest” voice; upper voice develop. vowel, vibrato, can be coached. rhythms and styles. composer’s markings creating an artistic balanced, agile, vibrant. resonance, vowel and dynamic. and structural whole. • Chord Tones: All positions and • Non-Western classical breathing • Dynamic markings are treated as guides • Count singing at LEVEL 4 is possible. inversions of chords; rootless chords, • TB consistently vibrant and expansive styles can be coached. through which an artistically shaped musical • Extra-musical expression, e.g., and “stacked” chords; six-part and in mid to lower voice; upper register line is sung, as opposed to absolutes. programming, movement, and staging, is clear, forward. is thoughtful and creative. more chord tones.

• Singers produce a vibrant, overtone-rich, • Ensemble sound results from a uniform • Resonance is clear and consistent • Intonation is flawless. • Balanced breath effort creates an • The entire range of dynamics is sung • Vowels vary in color and resonance • Articulation is uniform throughout, • Inner pulse and subdivision in all singers • Superb individual artistry mixes with other • All elements mastered. • All elements mastered. balanced sound, consistent in all registers approach to resonance, diction, and artistic in all singers, regardless of dynamic, • Accurate within dissonant passages or efficient and intentional energy and flow with consistent LEVEL 6 Resonance, as determined by language, dialect, consistently a function of LEVEL 6 leads to a vibrant and unified rhythmic artists across the ensemble, to create a and all voice parts, regardless of language, elements, regardless of tone desired. range or tessitura. works, as well as dissonant accompaniment. throughout all registers and dynamics. Intonation and efficient breath effort. and stylistic approach, yet maintain Breath Management. approach. powerful, expressive performance. Level 6 dynamics or tessitura. • Balance handled through varied standing • Complex rhythms and harmonies • Variations of air flow and effort allow • Dynamics are the result of a natural mix uniformity throughout the choir. • Articulation is determined by style and • Rhythms, sung with intention, are a • Historically-informed performance practice, • Singers adjust fluently to varied • Approach to tone is varied and arrangements, flexible handling of can be sung with absolute clarity temperaments as needed for historical singers to create an array of sounds, while of composer’s markings, an artistically sung • All languages have a consistent and poetic declamation, and varied with foundation of all other musical elements. deep awareness of style and culture TOP PROFESSIONAL & stylistically informed, remaining consistent personnel, e.g., moving of voices from of resonance and pitch. purposes or instrumental demands. remaining vocally healthy. musical line within the musical texture, dialectic approach, appropriate for regards to needs for balance, dynamic, • Rhythm or “feel,” is precise, accurate, combines with insightful artistry to create with healthy vocal technique regardless section to section, adjustment of numbers informed by stylistic or historical musical style. tessitura, vocal considerations. meaningful performances. • Any divisi is possible. • Singing non-Western styles and with • Intentional breaths for onsets and “catch and informed by style and performance SEMI-PROFESSIONAL of vocal demands. of singers. performance practice. • Singers demonstrate technique to non-Western instruments, microtones breaths” are an important expressive • Subtleties of enunciation, as well practice. • Text is sung in a poetic and meaningful way, RARE COLLEGIATE • Balance is determined by performance create any non-Western classical sound or non-Western tuning can be coached. component in a musically sung phrase. as unusual linguistic demands can and is expressed with insightful attention to practice, musical and stylistic demands with healthy vocalism when coached. • Non-Western classical use of breath easily be coached. musical detail. of repertoire. and body easily coached. • Formal and musical elements combine to create a structural, dramatic, and / or personal artistic statement. • Choir utilizes creative means to effectively communicate with audience.