Choir directors must determine the seating arrangements of their students while taking into account many factors. One cannot simply rank the students according to vocal talent, as many ensemble directors do with instrumentalists. The placement of singers within a choir can drastically alter the sound of the group.

To ensure the best blend within each section, the choir director should place voices according to the compatibility of their voices, often determined by tone color. This can be accomplished in advanced groups without taking into account other factors, such as personality and musicianship skills. Placing two singers next to each other without regard for these factors can be disastrous. For example, two strong singers with similar voice types may be placed next to each other with differing results. If both singers are concerned with the blend of the group more than the sound of their own voices, the seating should allow their voices to complement each other. However, if one or both singers is concerned with their personal sound, they may try to “out sing” each other, resulting in a lack of blend and a clash of personalities.

It is also generally smart to avoid placing students where they are likely to be distracted and detract from the focus of the group as a whole. When confronted with a new group, a choir director should not be afraid to change seating arrangements after they have been established.

A choir director is also given the option of seating students in block sectional or mixed formation. Mixing like this would not be possible within an instrumental ensemble because the instruments must be close to each other in order to tune to one another. However, a choir director must determine what will accomplish the best sound for the group in a rehearsal and concert setting.

While there is often no audible difference between mixed and block sectional formation, many stronger singers prefer mixed formation because it enables them to better hear other voice parts. Weaker singers often prefer block sectional formation because they are able to hear those within their voice part easily (Daugherty, 1999).