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
LEVEL OF LITERACY AND VOWELS AND BALANCE Effort, Airflow, Efficiency, Onset Precision, Clarity, Expression Style, Form, Expression MUSICAL MARKINGS AND AUDIATION
Range, Agility, Clarity, Divisi

Level 1
• S
 haping vowels with space, basic • E
 nsemble sound develops through • Singing range determined by age, • C
 lear intonation in unison • G
 ood posture with low, expanded muscles • S
 inging 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.
• R
 esonance introduced as “tall” vowels, • E
 nsemble sound is most successful often a 6th to a 10th in all voice parts. • L
 istening skills develop through • B
 reathing together and energizing the • F
 orte and piano develops, • Vowel clarity reflects singers’ body • Quick and sustained, light and heavy • Demonstrates physical sense of pulse introduced and develops. Expression • Intervals: Whole step, minor 3rd,
• Tempo: Andante – Moderato (72–120).
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. varies by age, body awareness, energy, perfect 4th and 5th, major scale
and confidence. • Musical Markings: Adagio, Allegro,
• B
 ody awareness of jaw, lips, tongue • E
 nsemble sound occurs most easily sung clearly at a moderate tempo. More affects pitch. • E
 xpansive, low breath is reinforced, or between major sections within a and Vowels. • Clarity of articulation varies as result • Simple rhythms can be sung accurately, introduced.
p, mp, mf, f.
challenging passages can be coached. song is introduced. • Expressing the mood of a song with
ENTRY-LEVEL introduced and develops. when all singers sing in light mechanism. • S
 ingers recognize being “in tune” as clavicular breathing is common. • Consonant clarity varies by age, body of text and volume. syncopation and simple multicultural • Key Signatures: None to two sharps
• Unison, simple counterpoint introduced with pentatonic and simple melodies. • M
 aintaining ensemble sound in awareness, or primary language. rhythms can be taught by rote. general changes of dynamic and or two flats.
SINGERS • R
 esonance is most easily developed • E
 nsemble sound inconsistent due to • S
 ingers demonstrate consistent breath
articulation as determined by text is
with [i, u, o, a]. heavy mechanism singing or difficult and develops clarity, e.g., partner songs • C
 ommon 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.
• L
 ight and heavy mechanism, or or “head” vowels [ε, æ, etc.] inconsistent vowels, register, • B
 reathing 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.
• Stepwise and pentatonic melodies sung or scooping, can be coached. occur during changes of dynamic. awareness, dynamics, diction, and • Form is demonstrated by contrasting
and “chest” resonance is introduced. as ends of words, or with punctuation • Internal consonants often lack clarity.
with clarity at moderate tempi. articulation. formal elements with dynamics and
• S
 ings mostly in “head” voice, is introduced. • C
 rescendo and decrescendo are
articulation, e.g., verses, refrains, and
or light mechanism. • Close parallel harmonies and minor introduced and demonstrated. • Basic count singing is introduced.
major sections.
dissonance can be inconsistent.
• R
 esonance 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.

Level 2
• Resonance develops by discovering • Ensemble sound develops • Singing range determined by age, • L
 istening skills develop through • Good posture, and low, expansive • Varied dynamics from song to song • Clarity of enunciation, projection, • Basic articulation develops, • R
 hythmic 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 introduced and develops. quick / sustained. text develops. of 3rds, 4ths, and 5ths in melody,
• Intonation consistent in middle voice • Low, expansive breath without downward • Crescendo and decrescendo developed. • Inner pulse introduced. • Note Values: Whole, half, quarter,
• Resonant space is introduced, e.g., tall, dome, age and experience. unison and two-part canon or simple
or lofted, lifting soft palate, inner smile, etc. • Ensemble sound demonstrated with LEVEL 2 vowels. Inconsistencies pressure at the beginning of a song, or • Varied dynamics from phrase to phrase • Vowel clarity reflects LEVEL 2 • Various types of accents introduced, •  Ritardando and Accelerando are • Word stress / un-stress is introduced. eighth, simple dotted notes and
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 • R
 hythms more complex than 8th note demonstrated by varied musical elements. • Tempo: Andante – Allegro (72–132)
with age and experience. • Ensemble sound inconsistent in 5ths sung clearly. • Unison, partner songs, simple phrases is introduced. especially at onset and offset of inconsistent as affected by text, minor 3rd, major 3rd, perfect 4th,
MIDDLE SCHOOL • Treble voices sing mostly in “head voice,”
LEVEL 2 Resonance and Vowels. patterns can be coached. • Form demonstrated by contrasting • Musical Markings: Adagio, Andante,
perfect 5th, major scale sung with
rhythmic or fast-moving sections • U
 nison, partner songs, and simple counterpoint can be sung with clarity • Balanced tone, with light effort and phrases, at louder dynamics. dynamic, and developing LEVEL 2 musical elements, e.g., dynamics Moderato, Allegro, Rit(ardando),
or thin folds. • Dynamic extremes may affect • E
 nsemble sings together but rushing Kodály hand signs.
EMERGING HIGH due to text, register use, or individual counterpoint sung with clarity. Part of pitch. Individual tuning issues due relaxed movement of air is encouraged. resonance and pitch, with piano • Consonants before the beat and Breath Management.
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 or thick folds, introduced. • Imbalanced tone may result in breathy p, breathy and forte pressed. internal consonants introduced. • Articulation affected by text
• C
 ount singing at LEVEL 1 is possible.
a “climactic moment” in each piece and Decresc(endo), Accent mark >.
• Ensemble sound and balance affected close parallel harmonies or minor can be coached. and volume. is introduced. or three flats, minor key introduced.
• Voices in transition sing with a relaxed pressed f, poor intonation, decreased • Breath plan determined by text
CHURCH / COMMUNITY airflow, light effort, and emphasize by personnel, repertoire, register, and dissonance develops. • Tuning homophonic passages legato, et al. and poetry is introduced. • Most of the choir demonstrates facial • Chord Tones: Two- to three-part
“head voice” as low notes appear. tessitura. • S
 ome compositions in three or four or close harmonies is inconsistent, expression and / or appropriate body chords, major and minor root position,
NON-AUDITIONED parts possible, determined by personnel, can be coached.
• Ability to sustain longer phrases, breathe • Non-English language texts
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. • S
 inging in non-Western classical instruments introduced and develops.
of dynamic and range. fermata, is introduced.
styles introduced.

Level 3
• R
 esonating spaces such as tall, dome, • Ensemble sound develops through • Singers work to extend range and • L
 istening skills emphasize listening to • B
 uoyant, expansive breath posture, • M
 usicality through dynamic • Expressive and clear enunciation develops. • G
 reater 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
lofted, lifting soft palate, et al, develop. uniform application of LEVEL 3 address age-related vocal changes. selves, others, and internal audiation. maintained from inhalation through shaping develops. 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,
• Initial onset, and final offset consonants
Resonance and Vowels. phrase, is introduced. fp, sfz, fermata, and clarity of faster-moving simple changing meters. introduction of 6ths in melody, unison
• A
 s inner resonating spaces develop, jaw • Singers demonstrate greater range and • Tuning demonstrated in all ranges with • D
 ynamics from mp–mf consistent consistently clear. • Accelerando and ritardando performed • Poetic and agogic accent introduced,
becomes relaxed and neutral in mid-voice. • L
 ow, expansive breath at beginning passages, develops. to four-part reading depending on
• Ensemble sound develops consistency agility during vocalise than in sustained coaching. Inconsistencies occur with of songs, and at onset of individual with LEVEL 3 Breath Management • Vowel clarity reflects LEVEL 3 Vowels, with accuracy, tempo changes can affect i.e., word and syllabic stress / un-stress • Note Values: Whole, half, quarter,
• O
 pening of resonating spaces in extended throughout middle voice, regardless tessituras. challenges of text, diphthongs, tessitura and Resonance. • A
 rticulation reflecting LEVEL 3 Breath balance of tone or breath effort. to creating poetic meaning. eighth, sixteenth, dotted notes, difficulty, dotted notes, syncopation,
phrases develops. diphthongs and new languages can be
ranges through vowel modification, relaxed of musical demands. and dynamics. Management is introduced and develops. syncopation, eighth note triplets. and triplets.
ADVANCED and flexible jaw, introduced and develop.
• Melodies containing intervals of 3rds, • E
 fficiency of breath effort, i.e., wide, • C
 rescendo and decrescendo within coached. • More challenging rhythms such as • General meaning of poetry is understood,
• Individuals may be heard as ranges 4ths, and 5ths sung clearly at most tempi. • Tuning within sections is consistent, buoyant intercostal engagement, efficient each phrase, “rise and fall,” develops. • L
 egato develops. Forward motion and dotted notes, triplets, meter signatures, communicated through dynamic and • Tempo: Largo – Allegro (56–144). • Intervals: Major and minor scale sung
MIDDLE SCHOOL • C
 onsistent vowel uniformity, space, and abdominal effort without downward
• Clarity of diction in extended ranges
with Kodály hand signs. Non-diatonic
expand or voices develop. • Most intervals can be sung clearly at sections work to tune with others, most • B
 alanced tone in extended dynamics, and dynamics develops. sustained energy during legato most multicultural rhythms are introduced, poetic shape. • Musical Markings: Adagio,
color with basic vowels [i, e, ε, a, o, u]. pressure, efficient air flow, is introduced. intervals with Kodály syllables and
MANY HIGH SCHOOL, • Balance affected by personnel, repertoire, a moderate tempo with coaching. often at cadences.
• B
 alanced breath effort consistent mp–mf, or dynamic changes, develops. • Consonants before the beat and internal
successful at louder dynamics and when can be coached. • Form explored, formal elements lead Andante, Moderato, Allegro, Presto,
• R
 esonance consistent throughout middle efficient breath effort occurs. hand signs introduced.
CHURCH / COMMUNITY voice, extended ranges varied due to age
extended dynamics, and register. • Compositions in two to four parts • Tuning in homophonic sonorities, while piano, forte develops. •  Breathy piano and pressed forte replaced consonants develop. • Rhythmic inconsistencies occur, to a “climactic point” in each piece. Rit(ardando), Accel(erando), pp-ff,
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, • O
 nsets 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 of singers on each part or standing determined by personnel. moving passages, and counterpoint may require “extra” breath effort and air imbalanced breath effort. e.g., movement, facial engagement, fp, fermata, subito, Accent >, marcato or four flats, both major and minor.
TB voices G2–G4. • D
 ynamics affected by tessitura, i.e., syllabic stress / un-stress, introduced
COLLEGIATE arrangements. • Singing with close harmony and
develops. flow.
higher passages may be sung louder, and develops. • Breathing rhythmically for precise “choralography,” standing arrangements, and staccato. • Chord Tones: Three- to four-part
• S
 A develop ‘mix.’ TB develop floating upper • L
 ow, expansive breaths during quick,
• Choir tunes well with the piano. onsets introduced. narration, developed. • Non-Traditional Notation: Introduced chords, major and minor root position
voice and focused lower voice. • Stylistic and repertoire-based balance dissonance develops. or “catch breaths,” introduced. lower tones softer, individuals may • Latin and at least one other language
A cappella singing develops. in jazz or multicultural repertoire. 7th chords, 9ths and inversions
• R
 esonance affected by extended dynamics variation is sometimes desired and • Singing in non-Western classical be heard. introduced. • Count singing at LEVEL 2 is possible.
• S
 haping the vocal tract during breath, such introduced.
and register, text challenges such as introduced. styles develops. as “breathing in the vowel,” is introduced.
diphthongs, and foreign languages.

Level 4
• R esonance develops through shaping • Ensemble sound results from • Ease of extended range and increased • L
 istening skills and tuning individually, • Buoyant, expansive breath posture, • Dynamics from p–f consistent with • D
 iction 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. is consistent. phrase, develops. Resonance. expression develops. 9/8, 12/8 and changing meters. minor, unison to four-part reading
• Singers demonstrate ease of tessitura • M
 odification of diction creates consistent LEVEL 4 Breath Management, develop. • Rhythmic energy is present in all styles
resonance, resonant vowels, head / chest mix. depending on difficulty, dotted notes,
• 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. • Legato is consistent, diction creates and dynamics. • Historical and contemporary style and • Note Values: Whole, half, quarter,
• V ibrant, 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 • C
 onsonants before the beat and internal a sense of forward motion, energy, and • Accelerando and Ritardando performed performance practices introduced. eighth, sixteenth, dotted notes,
reflecting LEVEL 4 Breath Management basic meter changes.
development. intervals, or text. Singers able to make abdominal effort and air flow, balanced overall structure. syncopation, eighth and quarter
ADVANCED HIGH develops. • 16th note passages clearly sung consonants are consistent and help create momentum. with balanced tone and breath effort, • Specific meaning of the text is understood,
• Methods to create ensemble sound at moderately fast tempo, chromatic adjustments to fix poor intonation. and smooth onsets, develops in all ranges • Balanced tone and breath effort a sense of forward motion and legato. develops. and communicated by poetic declamation note triplets. • Intervals: All intervals, major scale
SCHOOL • Resonance consistent in all vowels, including
and dynamics.
• Extreme articulation demands can
and minor sung with Kodály hand signs.
diphthongs and many non-English vowels. adjusted as voices develop, e.g., voice intervals when coached. • M
 elodic 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).
EXCELLENT matching, standing arrangements. to harmonic tuning. • Offset breaths and “catch breaths” as LEVEL 4 Breath Management and Articulation, resulting in artistically Non-diatonic intervals, e.g., tritone,
• R esonance consistency develops • Divisi within each section is possible. applied, i.e., word, syllabic, and phrase breath effort develops. rubato, tempo changes, and fermata, with • Musical Markings: Adagio,
re-establish efficient and balanced effort. resonance is learned. shaped singing. major 7th, minor 9th, with Kodály
CHURCH / COMMUNITY and extends throughout vocal ranges. • Unified ensemble develops across Complexity of divisi determined • C
 omplex chords often tune accurately. stress / unstress. • Varied weights of repeated articulations, artistic purpose, introduced and develops. Andante, Moderato, Allegro, Presto,
syllables and hand signs practiced.
• M odification 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 • E
 xpressive 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,
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, • Key Signatures: None to five sharps
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, • S
 ingers 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,
• S A 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 • W
 hen 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.

Level 5
• V
 ibrant, 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 • B
 alanced breath effort creates a natural • Enunciates text clearly in a variety of • Articulation reflects LEVEL 5 Breath • Inner pulse consistent. Knowledge of • Mature artistry develops, with consistently • Meter: Any can be coached. • Melodic Reading: Melodies utilizing
develops, reflects LEVEL 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 • Chromatic intervals and passages, effort and air flow, balanced onsets, • D
 ynamics vary within phrases, phrases languages, with appropriate dialect • Articulation determined by language rhythm in all styles. rhythmic artistry, and informed reading unison to eight-part reading
• C
 omplex harmonies of varied styles tune • Tempo: Any can be coached.
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. • B
 alanced 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,
• R
 esonance 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 • S
 ubtle 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. to reflect text, rhythmic patterns, and • Modification of consonants and enunciation extremes of articulation, dynamics, • R
 hythm as an expressive element is artistic elements, e.g., LEVEL 5 Diction, • Intervals: All intervals, major scale and
COLLEGIATE, a flexible tonal approach. of resonance desired.
technique, breath management and
Vowels and Resonance, Articulation, et al.
coached and understood easily.
minor sung with Kodály hand signs.
• Any divisi possible as determined vibrato, solutions can be coached. • Intentional breaths develop, style is consistently demonstrated. for musical reasons develops, e.g., rubato, and tessitura. consistent, e.g., rubato, varied weight,
CHURCH / COMMUNITY • R
 esonance 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
• Traditional Notation: Developing with Non-diatonic intervals with Kodály
• S
 ingers maintain correct pitch center • T
 echnically 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
through application to chromatic
or languages, can be coached. through various methods, e.g., varied approach in non-Western and • “Catch breaths” that are intentional, mesa di voce, fp, sfz. artistically sung text and musical line, • P
 recision develops, and reflects musical elements.
SEMI-PROFESSIONAL standing arrangements, moving singers
melodic, harmonic tuning. repertoire.
• S
 A lower register is a functional mix historic styles. artistically and rhythmically placed, • D
 ynamic distortions of vocal quality, rather than absolutes. LEVEL 5 Breath Management, in all • Form results from musical elements and
of “head” and “chest” voice; upper voice from part to part, adjustments of develop. rhythms and styles. composer’s markings creating an artistic • Key Signatures: Any key major or minor.
vowel, vibrato, can be coached.
balanced, agile, vibrant. resonance, vowel and dynamic. and structural whole. • Chord Tones: All positions and
• N
 on-Western classical breathing • D
 ynamic markings are treated as guides • C
 ount singing at LEVEL 4 is possible.
• T
 B consistently vibrant and expansive styles can be coached. • Extra-musical expression, e.g., inversions of chords; rootless chords,
through which an artistically shaped musical
in mid to lower voice; upper register programming, movement, and staging, and “stacked” chords; six-part and
line is sung, as opposed to absolutes.
is clear, forward. is thoughtful and creative. more chord tones.

Level 6
• S
 ingers produce a vibrant, overtone-rich, • Ensemble sound results from a uniform • Resonance is clear and consistent • Intonation is flawless. • B
 alanced breath effort creates an • T
 he 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.
dynamics or tessitura. • Balance handled through varied standing • Complex rhythms and harmonies • V
 ariations of air flow and effort allow • D
 ynamics 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
• A
 pproach 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
stylistically informed, remaining consistent personnel, e.g., moving of voices from of resonance and pitch. remaining vocally healthy. musical line within the musical texture, dialectic approach, appropriate for regards to needs for balance, dynamic, combines with insightful artistry to create
TOP PROFESSIONAL & purposes or instrumental demands. • Rhythm or “feel,” is precise, accurate,
with healthy vocal technique regardless section to section, adjustment of numbers • Any divisi is possible. • Intentional breaths for onsets and “catch informed by stylistic or historical musical style. tessitura, vocal considerations. and informed by style and performance meaningful performances.
SEMI-PROFESSIONAL of vocal demands. of singers.
• Singing non-Western styles and with
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. • N
 on-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.

© Geoffrey Boers, 2018