Which is best for choirs containing early adolescent voices — unison, two, three, or four parts?
The answer to this question is elusive. The number of boys enrolled in the choir provides the answer. If there are numerous girls and only two boys, it is very difficult to perform four-part music. On the other hand, if there are numerous girls and at least four boys, directors may be surprised at how successfully the choir can sing four parts. Some directors are inclined to place all the boys (if there are as few as four) on one part and divide the girls into two groups (Soprano I and II), thinking that four boys can balance ten girls on each part better than two boys. If all four boys are cambiatas or if they are all baritones, that is sound logic; but if there are at least two cambiatas and two baritones, consider this reasoning. Contemplate the comfortable singing tessitura of both cambiatas (which is A below middle C to A above middle C) and baritones (which is D, middle line, bass clef up to D above middle C). Notice that if they sing together comfortably, they must sing a part t
