There are lots of thoughts and opinions out there on choral seating formations: some swear by sopranos and altos in front with tenors and basses behind, others advocate for stacking sections (front-to-back), and still others say mixed formations are the way to go. The truth is, there's really no right or wrong way to do it, though you may find some formations work better for your group or for particular pieces you're singing.

That's why, in today's post, I'm sharing ten different ways to seat a choir. I'm also mixing things up a little by sharing my first-ever infographic! Before we get into seating formations though, let's talk about one basic principle that applies no matter what: 

The Power of the Curve

Sitting or standing in a curved formation makes a huge difference with listening, tuning, and choral blend (source). In The School Choral Program (2008), Michele and Holt and James Jordan describe two key reasons why sitting or standing in straight rows causes problems:

Choral voicing is a technique with long-standing history used by choral directors to seat singers based on characteristics of the voice - color, tone, timbre, placement, and vibrato. Contrary to popular belief, this technique is not just for college and professional choirs. Try it at home with your church choir, community choir, and even children's choirs! It will be well worth your time.

Each voice has a unique series of overtones, which contributes to timbre (source). The ideal choral sound is based on overtone series that complement each other rather than clashing. Having singers with like, complementary voices stand next to each other creates a natural "blend" that does not require singers to compromise their vocal technique. Did I mention it fosters the best intonation? It's a win-win, really.

Here are some of the best-kept secrets of choral voicing: