CHORAL LITERACY

SELF ASSESSMENT
SCHOOL NAME _____________________________________________

CHOIR NAME _____________________________________________

DIRECTOR _____________________________________________ SELF REPORTED ASSESSMENT SCORE __________________________ LEVEL. _______________

VOCAL TECHNIQUE MUSICIANSHIP

Choral Performance
Assessment Level
Vowels and Resonance:
1 expressive qualities)
(Entry level choirs of all -Choir works to shape
ages)
vowels together,
understands basic vowel
uniformity.
-Resonance introduced as
1.0-1.3 Emerging “tall” vowels, opening up
resonating spaces.
-Resonance is inconsistent,
but often successful with [u,
o, a, i].
-Basic understanding of
heavy and light mechanism
is introduced.
1.4-1.6 At Level
-Resonance inconsistent due
to vowel space and heavy
mechanism or “chest,”
voice.
-Choir sings mostly in light
or “head” voice.
1.7-1.9 Readiness to
Advance
RESONANCE: BREATH: ARTISTRY:
Rhythm: (Precision, clarity, Expression & Artistry: (Style, Form,
Blend and Balance: Vocal Facility and Independence: Intonation: Breath Management: Dynamics: Articulation: Diction:
Expression)
-Choir develops vowel -Singing range determined by -Choir works to sing well in -Choir works to “breathe -Choir works to unify -Choir works toward -Choir’s works to enunciate -Choir works to sing -Choir emphasizes singing
0 uniformity improving blend 0 age, gender, vocal quality, 0 unison. 0 together” and to develop 0 dynamics. 0 enunciating clearly and 0 together. 0 rhythmically together. 0 with energy, body 0
and balance. and speaking voice, -Pitch is most clear in unison good posture. -Dynamic unification grows projecting. -Vowel uniformity reflects -Choir demonstrates physical involvement, and facial
1 -Choir often most successful 1 generally a 6th to a 10th in 1 passages. 1 -Choir learns to breathe 1 with singer’s understanding 1 -Clarity of articulation varies 1 singers’ understanding of 1 sense of pulse when 1 expression to convey mood. 1
with [u, o, a, i]. all voice parts. -Choir learns to listen as choir together at the onset of a of vowel uniformity, and as result of text and volume. Level I vowels and coached. Rhythmic -Expression varies by age,
-Uniformity occurs most - Stepwise melodies and understands vowel song. heavy/light mechanism. -Short and long, heavy and resonance. inconsistencies are common, body awareness, energy, and
2 easily when all singers sing 2 simple intervals sung clearly 2 uniformity. 2 -Low breath is introduced. 2 -Singer’s ability to sing with 2 light enunciation are 2 -Consonant clarity varies by 2 and precision is affected by 2 confidence. 2
together in head register. at a moderate tempo, slower -Singing “in tune” with -Singers demonstrate dynamic contrast varies due introduced. age, dialect, or ethnicity, age, variances of body -Choir can sing with varied
3 -Inconsistency occurs with 3 and faster passages can be a 3 pentatonic and simple 3 consistent breath energy in 3 to age, physical development 3 3 which can result in lack of 3 awareness, dynamic, diction, 3 dynamics from song to song, 3
heavy mechanism singing challenge. melodies is introduced. short, loud passages, soft and confidence. precision. and articulation. or between major sections of
and difficult vowels, [ɛ, ae], -Unison voicing is preferred, singing remains breathy. -Choir can demonstrate forte -Choir can onset and offset -Simple rhythms can be sung a song.
4 etc. 4 but simple counterpoint, 4 4 4 and piano, and can sing with 4 4 with strong consonants when 4 accurately, syncopation and 4 -General mood of the song is 4
such as partner songs or contrasting dynamic between coached, most internal simple multicultural rhythms understood.
5 5 canons, can be sung. 5 5 5 songs or between major 5 5 consonants lack clarity. 5 can be taught by rote. 5 -Form is demonstrated by 5
sections within a song. -Basic count singing is contrasting formal elements,
possible. such as verses and refrains,
6 6 6 6 6 6 6 6 6 with dynamics. 6
-Body movements help
7 7 7 7 7 7 7 7 7 singers connect physicality 7
to the mood and sound they
want to convey.
8 8 8 8 8 8 8 8 8 8

9 9 9 9 9 9 9 9 9 9

VOCAL TECHNIQUE MUSICIANSHIP

Choral Performance
Assessment Level
Vowels and Resonance:
2 expressive qualities)
(Elementary and MS choirs, - Choir develops basic vowel
emerging HS, church, and uniformity and space.
community choirs,
beginning non-auditioned -Resonance develops by
collegiate choirs) creating space in mouth.
“Tall” or “dome” space,
2.0-2.3 Emerging lifting soft palate introduced.
-Resonance consistent in
vowels [i, e, a, o, u] within
range of a 6th to a tenth,
expands with age and
experience.
-Resonance affected by text
and range: distortion caused
2.4-2.6 At Level
by range extremes, or some
consonants and diphthongs.
-Treble voices sing mostly in
light mechanism, mixing into
heavy mechanism
introduced; changing male
voices handled individually
2.7-2.9 Readiness to and pedagogically.
Advance
RESONANCE:
Blend and Balance: Vocal Facility and Independence:
-Choir develops basic vowel -Singing range determined by
0 uniformity and matching 0 age, gender, vocal quality,
vowel shape. and speaking voice. Range
1 -Blend most successful in 1 begins as 6th to a 12th,
slow moving passages, expands with age and
cadences and with vowels [u, experience.
2 o, a. i]. 2 -Stepwise melodies, slow to
-Blend affected in rhythmic moderately fast tempi, and
3 or fast-moving sections due 3 intervals of 3rds, 4ths, 5ths
to text or individual singer’s sung clearly.
volume. -Unison, partner songs, and
4 -Balance affected by 4 simple counterpoint sung
personnel and voicing of with clarity. Inconsistencies
5 repertoire. 5 with part independence
-Balance achieved by occurs with parallel
adjusting numbers of singers harmonies in thirds, or minor
6 on each part and standing 6 dissonance.
arrangements. -Some compositions in three
7 7 or four parts possible,
determined by personnel,
range, or composition style.
8 8 -Singing in non-Western
classical styles introduced.
9 9
Intonation:
-Choir develops basic
0 understanding of intonation
both listening to others and
1 audiation.
-Intonation consistent in
middle voice with basic
2 vowels.
-Inconsistencies occur with
3 challenges of text,
diphthongs, range, and
dynamics.
4 -Tuning during unison
passages and within sections
5 more consistent, while
tuning between sections may
be a challenge.
6 -Partner songs, simple
counterpoint can be sung
7 with clarity of pitch. Tuning
homophonic passages or
close harmonies can be
8 inconsistent.
9 9
Breath Management:
-Choir develops good posture
0 and consistent low breath, is
successful when coached.
1 -Clavicular breathing occurs
much of the time.
-Onset breath for individual
2 phrases is introduced.
- Onset breath at the
3 beginning of a song or a
major section of a song
consistently demonstrated.
4 -“Stagger breathing” for
sustained tones, e.g. ritards,
5 fermatas, is introduced.
-Breath energy sustained at
louder dynamics; breath
6 energy inconsistent in softer
dynamics, may result in in
7 poor intonation, decreased
legato, et al.
8 8
BREATH: ARTISTRY:
Rhythm: (Precision, clarity, Expression & Artistry: (Style, Form,
Dynamics: Articulation: Diction:
Expression)
-Choir works to sing with Choir develops basic types of Choir works to sing with -Choir works toward unified -Choir works to create a style
0 varied dynamics. 0 articulation: accent and 0 clarity of text and projecting. 0 diction, consistent vowels 0 for each piece with dynamic, 0
-Choir demonstrates legato, heavy and light, long -Vowel uniformity reflects and energized consonants for tempo, general articulation,
1 awareness of dynamics, 1 and short. 1 Level II techniques of 1 rhythmic clarity. 1 and text. 1
variance of dynamic f, mf, -Articulation most often text vowels and resonance. -Inner pulse introduced. -Varied dynamics p, mp, mf, f
mp, p heard between songs. and volume based, variation - Consonant clarity is heard, -Choir sings together but present from phrase to
2 -Dynamics varies from phrase 2 of articulation can be 2 especially at onsets of 2 rushing or dragging is 2 phrase. 2
to phrase. “Rise and fall,” or coached. phrases and louder common. -Word stress/unstress is
3 crescendo and decrescendo 3 -Various types of accents 3 dynamics. 3 -Rhythms more complex than 3 introduced. 3
are present when coached. (staccato, marcato) -Inconsistencies occur due to eighth note patterns can be -General mood of poetry is
-Dynamics often affect introduced. jaw tension, vocal range coached. Count singing is understood.
4 quality of resonance and 4 -Legato singing is introduced, 4 extremes and dynamics. 4 possible with eighth notes. 4 -Form is demonstrated by 4
pitch. is often inconsistent as -Consonants before the beat contrasting dynamics of
5 5 affected by text, musical 5 and internal consonants 5 5 verses or phrases, finding a 5
setting, and developing introduced. “high point” in each piece is
breath management. - Non-English language texts introduced.
6 6 6 introduced. 6 6 -Most of the choir 6
demonstrates facial
7 7 7 7 7 expression and/or 7
appropriate movement
during singing, especially
8 8 8 8 when coached. 8
9 9 9 9 9 9

© Geoffrey Boers/ David Wimett 2018