The purpose of this is to warm up the singer while determining their high and low vocal range.
Singers should be flexible and ready to sing a different voice part in the future than they have in the past. Voices develop and change!
Singers will perform a portion of a song performed during the year that will be selected in advance by the director.
As there are many singers competing for limited places in the upper choirs, performers should do their best to exhibit strong vocal technique, musicality, crisp consonants, and accuracy of pitch and rhythm.
Practice recordings are posted on the website under “downloads” as well as on Canvas
There will be three levels of sightreading labeled “easy” “medium” and “hard”. The singer will choose which level they would like to attempt (you may only choose one).
If the level chosen proves to be much too hard, you may be asked to take a step back to an easier level.
If the singer reads the example flawlessly without difficulty and with minimal practice, they may be asked to read the next harder level.
Pitch and rhythm accuracy are very important!
Tonic triad will be giving with time (as needed) to practice the example before performing.
Singers will be expected to determine the correct key shown as well as the solfege pitch that they begin on.
Easy (Appx SRF levels 2-4)
All singers who have completed a full year of choir are expected to be able to read this level with minimal mistakes.
Failure to read this level with at least moderate success may result in a repeat of Cantabile or Choros so that the singer can continue to strengthen their basic sightreading skills.
Medium (Appx SRF level 4-5)
Singers that hope to be considered for section leader positions in the Bel Canto or Schola Cantorum should attempt this level at minimum.
This level will include a more challenging key, and more difficult leaps than the Easy example
There will be no accidentals outside of the key signature
Hard (Appx SRF level 6-7)
Singers striving to move into Kantorei should attempt this level. Not being able to do it 100% successfully does NOT imply that a singer will not advance.
Leaps are more challenging than the Medium level and accidentals will be included.
A. There are a multitude of factors that affect the placements of singers into choirs. Some aspects are within the control of the singer such as vocal skill, sightreading ability, vocal volume and tone, work ethic and participation in competitions such as Region/State and Solo & Ensemble, and attitude during class. Other factors are entirely outside of the control of the singer including choir balance (for example: a mixed choir cannot have 7 tenors and 29 sopranos), choir size limit (we cannot have a choir of 65 and a choir of 14), and the skill of singers auditioning against them.
A. Occasionally accommodations will be made on an individual student basis for special circumstances at the director’s discretion, however these are only in extreme situations. In most cases the progression of choirs is as follows:
· For boys
o Choros
o Schola Cantorum*
o Kantorei*
· For Girls
o Cantabile
o Bel Canto or Schola Cantorum
o Kantorei
· * - Schola Cantorum & Kantorei are sometimes set as women’s choirs depending on the number of high level male singers in the program at the time
It is important to understand that there is no guarantee that a student will advance to the next choir if they have not achieved the necessary level of skill. Limitations are also set based on choir balance (equal numbers on voice parts) and size. Failures or excessive absences can also cause a singer to remain in the same choir. It is not abnormal for singers to not advance beyond Bel Canto or Campus Singers during their four years in choir.
A. Participating in the Region/State process is one of the very best ways to improve in skill at a rapid pace due to the high level of difficulty of the music. While singers are not required to compete, we do expect that most of the singers in our top ensembles will do so. In your audition we will ask if you intend to compete.
A. Solo & Ensemble competition is a great opportunity to gain experience in performing solo in front of a judge. It improves confidence, and can often be a great experience. Because the judge ratings are often erratic and confusing, we do not generally take this into account when placing singers into choirs.
A. Absolutely!! The best singers in our upper choirs are often strong because they participated annually in these events. While success or lack thereof may not necessarily affect choir placement, a student’s work ethic, preparation, attitude, and overall participation as a representative of the FHS Choir Program can help!
A. They most definitely do. During auditions, and while planning the final choir placement, the directors will have a spreadsheet listing the failures and ineligibility of all singers from the past school year. Students that are ineligible, particularly during UIL Competition season, may not advance due to questions of reliability.
A. Private Lessons, offered daily in the choir room throughout the year, are one of the very best ways to improve vocal technique. Any student wishing to advance to the varsity choirs should consider taking private lessons. Please be aware that taking private lessons does not guarantee advancement.
A. While the choir directors and many choir singers are involved in the annual FHS Musical, that production is not considered to be a choir activity. Placement in the Musical is HIGHLY selective, and being in choir does not guarantee that a student will be chosen. On the other hand, being able to sing is certainly expected of a Musical participant and being in choir can help.