The Boy’s Changing Expanding Voice: Take The High Road

by

Henry H. Leck

Author’s Note: I came to the results boy sings from his high voice to his low Broad Overview Of Attempts of this article somewhat by accident. range consistently and continues to sing At Classifi cation I knew that the vocal classifi cations so in the old voice while developing the commonly referred to did not fi t for new, the break eventually disappears. my students. Like many others, I didn’t What emerges is a voice that we do number of people have at- know what to do with the boys in my not recognize in our culture or choral tempted to understand the fi rst middle school age treble chorus writing—a three-octave voice without boy’s changing voice through of eighty-six singers because there a break. a system of vocal classifi ca- were not enough changed voices to do Ations: Duncan McKenzie, Irving Cooper, balanced SATB repertoire. Since the It was at that point in time that I Frederick Swanson, and John Cooksey vocal classifi cations that I had studied realized I was doing a great service as well as others. were of little or no help, I told the to these boys because now they had In his 1956 book Training the Boy’s boys to just keep singing in their high a bass or tenor voice, which was a Changing Voice, Duncan McKenzie1 de- voices. I knew their voices might tire new voice, and also had their treble scribes the progression of vocal change more quickly, they wouldn’t be able voice. If you keep coming down across through what he calls the alto-tenor the break enough, it disappears. The to sing some notes, and their voices plan. This concept basically suggests that students that leave my choir (especially might crack. The girls needed to know a soprano I becomes a soprano II, then the basses) can sing soprano, alto, tenor, what was going on so they wouldn’t an alto, then an alto-tenor, then tenor. be laughed at. But I wasn’t experienced or bass. It drew me to the conclusion The alto-tenor voice he describes is one enough to know what else to do with that, in reality, a bass range is not the that has a soprano quality but is lowered them. I continued to vocalize them range of a man’s voice at all. It is only into the tenor range. McKenzie also sug- down across their break from their old the lower register. Nearly every male voice to the new. Then, lo and behold, a who is allowed to keep singing in his gests that the leading indicator of vocal miracle happened. I discovered that if a high voice is able to keep that voice. change is a change in the speaking voice. So it is not a boy’s “changing” voice, it Although it is true that an early sign of is a boy’s “expanding” voice. It is not voice change is the loss of some upper an unchanged treble voice becoming notes, most educators would disagree Henry H. Leck is director of choral a tenor or a bass. It is an unchanged with the upper pitches of the alto-tenor, activities at Butler University, and treble voice adding a lower register. or the tenor (Figure 1). the founder and artistic director of In a second set of ranges, McKenzie the Indianapolis Children’s Choir. tries to classify bass voices according —Henry Leck to grade (Figure 2). As we know today, boys’ voices do not mature at the same

Choral Journal • May 2009 49 the fi rst change, then the second change, and then fi nally a fully changed bass voice (Figure 3). Again, to- day’s singers would disagree with the up- per registers. Surely basses sing above a middle C. It is inter- esting to note that when Cooper places these voice types together, (Soprano, Cambiata, and Bari- tone ) he fi nds that there is a common range of only a fi fth from D to A (in octaves) as shown in Figure 4. His conclu- sion is that junior high singers should not sing in unison. Frederick Swan- age. To classify according to grade is far tion appears in the 1973 Teaching Junior son wrote two books titled Music Teach- too simplistic. High Music by Irving Cooper.2 Cooper ing in the Junior High and Middle School A second source of voice classifi ca- was the fi rst to coin the term cambiata. (1973) and The Male Singing Voice—Ages It is actually a counterpoint term mean- Eight to Eighteen (1977).3 In these books, ing “changing note.” Swanson recognizes that vocal change Cooper recognizes quite validly that relates to puberty. He also gives great at- Audio recordings of most conference boys’ and girls’ unchanged voices are tention to register breaks and recognizes concert sessions are available for nearly identical in range. He describes the importance of vocalizing downward. purchase on our Web site. Go to:

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50 Choral Journal • May 2009 In addition, he recognizes the continued use of falsetto. In looking at his voice classifications, however, there is no evidence of falsetto in his ranges. And more importantly, the ranges again seem to have very low upper limits (Figure 5). Today, many people regard John Cooksey as a leading authority on the boy’s changing voice. In his publication, Eclectic Contemporary Theory of Male Adolescent Voice Change, John Cooksey4 brings the concept of vocal classifi cation to new levels of sophistication as shown in Figure 6. Although each of these writers has helped us to better understand the voice, it seems consistent in their analysis that once the new voice appears, the high voice is ignored. In fact, in most instances the high voice or “falsetto” does not disappear but, conversely, can give crucial assistance to the new voice. Oddly enough, the high voice becomes the foundation for the low Diffi culties With top down and actively work to maintain voice. As Swanson indicated, vocalization Previous Vocal Classifi cations that upper singing range, these classifi ca- downward across the break is extremely The theoretical perspective we gain tions are insuffi cient because they do helpful. When done properly and consis- from this research is interesting, but not take the falsetto voice into account. tently, the male voice can develop a very these classifi cations are hypothetical These theories basically exclude the wide range without a break. conditions and rarely apply to the whole high voice and perpetuate the myth that voice. If we approach the voice from the once the voice changes the high voice

Choral Journal • May 2009 51 disappears. Figure 7 shows the range Analysis fi nd strategies that worked last year are not appropriate for their present group classifi cation I have observed. The changing of the boy’s voice is an because of individual differences. In fact, Experience shows that boys’ voices important topic affecting boy singers many middle school choir teachers be- expand while changing if they continue and choral directors who work with come frustrated and confused because to sing in their high voice and vocalize the adolescent singer. There tends to they have to deal with the unpredict- from the top down across the break be a great deal of perplexity in dealing ability of boys’ voices. All middle school while developing their lower range. The with the boy’s changing voice due to its teachers love to have boys in their choir, range expands as the low range devel- unpredictability, individual differences, but they may not know what to do with ops. The lower range for boys who will and continuous change. Many teachers 1 them. In order to succeed, teachers be basses often is F to e . For those who have used repertoire purported to be 1 need to understand how the boys may will be tenors, it often is c to a . Astound- appropriate for boys only to fi nd the be feeling, where they sing comfortably, ingly, the range of the high voice for both range too wide or the pitch too low and exercise patience. Awareness, of developing tenors and basses can be for the boys in their group, or the boys’ 2 both what is happening physiologically to g , almost three octaves. Sometimes part may linger on their break. Some 2 and what to expect, empowers teach- there are boys who can’t hit that high g have found solutions only to have a 2 ers to help boys accept and understand but most of them sing e easily. boy’s voice change unexpectedly. Some themselves during the process. Boys need to have an idea of how long it may take and when it may happen. Although it was once questioned whether boys should continue singing through the adjustment period, it is now generally concluded that not only should boys sing, but this is the time they need to sing the most. It is essential to have goals to guide them, and strategies that boys can use to keep on singing. They need vo- calises to use and repertoire to perform. Teachers also need to understand vocal production for the boy’s changing voice, what voice part to have them sing, and how to avoid problems and vocal strain.

52 Choral Journal • May 2009 Experience has shown that boys who change thus becomes the “head” voice stop singing when their voices begin or “falsetto”. So when we say “head” Voice Terms to change may actually lose the ability voice or “falsetto” we mean the same to manage their voice in later years. High Low thing, the “upper” voice of the man. It is Until recently, the upper voice has been the treble voice that the boy had when virtually ignored in the choral setting. Falsetto Chest he was young. The lower “chest” voice However, if boys continue using their is what is commonly called the tenor or high notes, they will still have a high voice Head Tenor bass. It’s very important that boys start when their voice settles in. Upper or Bass at the top and carry that down, through The goal is to be able to use the full the break, making a nice transition. high voice mixed with the chest voice. Unless there is vocal damage, you can Because terms are used differently by teach boys to sing from the top down different people to mean different things, Although technically incorrect, the com- using their head voice. With light singing, let us clarify terms for the purpose mon label for a man’s treble range is they will learn to match pitches easily of this discussion. In this article “high” “Falsetto”. The “high” voice that is the so- and shape the vowels well—provided and “falsetto” voice are used the same. prano range when a boy’s voice starts to they use good posture and breath sup-

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Choral Journal • May 2009 53 port. If you encourage your singers to Table 1 rely on their high voice while their new Vocal Ranges from Choral Journal Guidelines voice is developing, young men emerge singing beautifully with a resonant, well placed tone and a wide-ranged voice without a break. Though many boys are reluctant to use the high voice because they perceive it as unmanly, it is the foundation of vocal production for the boy’s changing voice. It is best to nurture this voice within an environment of effective vocal training and musical knowledge. An unchanged voice that is damaged from poor vocal cess of vocal maturation begins. On the slowly. Appearance does not always pre- use or an unchanged voice that does not other hand, a singer who has good vocal dict the pitch of the voice, when or how match pitch very well will continue to instruction and a healthy grasp of musi- it will change, how long the adjustment face the same diffi culties once the pro- cal and vocal concepts is likely to make will take, or if it will be tenor, baritone, the transition toward becoming a tenor or bass. The voice change occurs in the or baritone with relatively little diffi culty. larynx where the folds are lengthening Boys should understand that the un- and thickening. changed voice is essential to the devel- The way the voice changes is directly Tempowatch.com opment of the new voice. It is normally related to the speed and the manner in not helpful to emphasize labels such as which the larynx is growing. It all relates Know Your soprano, alto, tenor, baritone, and bass to the change in length of the vocal Tempo As It folds (called vocal mutation). Each boy Happens to unchanged and changing voices if we want to consider the whole voice. will experience voice change in his own Toll Free Once the voice has fully changed, the unique manner. The male voice change is 1-888-803-6287 male voice may be classifi ed as a tenor different for tenors than for basses. The or bass depending on the character or voices of those who are becoming ten- the range of the voice. ors tend to change with less interrup- AllThingsMusical.com tion and less trauma. Usually the period of adjustment is much more severe and “The Music Identifying Changing Voices dramatic for a bass. For future basses, it Education Yellow Pages” When discussing specifi c pitches, the can happen very quickly or take a long pitch designations in Table 1(taken from time. But it will take many variations and Sign-up for Your Choral Journal style guidelines) may be many adjustments before it “settles in” FREE Choral helpful. to a consistent range for either voice E-Newsletter, A boy’s outward appearance does type. The high voice normally will not Choral Resource not necessarily indicate what is hap- disappear once the voice changes. Packet & CD-Rom pening to his voice. Individuals grow at Boys’ voices may start to change as various rates with each aspect of their early as the sixth grade or as late as the Starting a Music Biz? physical body changing and growing dif- eleventh or twelfth. Some may start dur- ferently. For example, seventh and eighth ing the summer between the seventh MusicBusinessOwner.com grade boys, even high school students, and eighth grades, and some between Learn How to Start & Grow are many different heights even if the the ninth and tenth. (And some the Your Music Business pitch of their speaking voices is similar. week before your Christmas concert.) Tall boys can have higher voices while Some are still going though the experi- Get FREE Music Marketing Calendar shorter ones have lower voices and vice ence as late as their junior year in college Email: [email protected] versa. A voice may change rapidly or Boys with unchanged voices (de-

54 Choral Journal • May 2009 pending on age) will normally sing mainly may experience vocal fatigue during suitable solution to have him sing mezzo in the treble staff. Some may sing up to a rehearsal as his range adjusts to the soprano while his new voice is emerging. B or a C or a C# above the treble staff. physical changes in the larynx. It is important for the choral director Normally, the lowest note will be G (g) If a seventh grader speaks in a low to enable the boys to fi nd a part that is below middle C and the highest up to voice and sings in a treble chorus, he comfortable to sing. Boys with limited G (g2) above treble staff. They will often might notice that he has some new reading or singing experience may only have nearly a two-octave range or more. notes and starts to experience the voice be able to sing either the melody or When notes emerge below a G (g) it change. He may fi nd it frustrating when transpose it to the lower octave without could be an indication of an impending he cannot sing certain high notes in assistance. voice change. A boy’s voice is beginning choir and he has to skip past them. He Boys may identify themselves as to change when some lower notes ap- may have to switch sections because the tenors or baritones when they start to pear and he begins to experience some part he is singing is right on his break. notice some voice change and some strain in the upper range. When certain When a voice starts to change, we of- lower notes appear, sometimes even top notes start to disappear during this ten think it is best to have him sing alto down to the bass clef B second line time of adjustment, the voice may be because he has a few of the high notes. or the bass clef C second space. Their unpredictable. It may squeak, crack, or But, in fact, the alto part may lie right on range may include the entire treble staff become inaudible on certain notes. He his break. Therefore, it might be a more and a portion of the bass staff, result-

Choral Journal • May 2009 55 ing in a range of over two octaves. It is It is important to use a boy’s high against them. The baritone part is too not uncommon for the voice to have voice while his voice is changing and low for tenors but too high for basses. a temporary “hole” in the middle. This sing descending exercises down across Boys who will become basses will have usually occurs around middle C or on the register break. One can start on a low notes as well as high notes in the their break. The bottom of a baritone’s higher note such as C (c2) in the falsetto treble staff, but might have a hole in their range can reach down to the bottom of or head voice and bring that down into voice between the two staves varying the bass clef while their high voice can the lower range. Some male singers between A (a) in bass to G (g1) in treble. go up to the top of the treble clef staff. have no diffi culty singing down through This is exactly where the baritone of Basses have an even wider range—often the break. They can sing lightly, carrying SAB music resides. more than three octaves. the head voice down gently as low as Furthermore, if the arranger tries to When changes become infrequent, possible, fl oating into the lower register. accommodate the baritone by making boys know their voices are settling in. Others will take longer. When this can the part lower, it becomes too low for They may have lost notes in the higher be achieved successfully, an ascending the boy who will be a tenor. It is even range that have actually returned. They glissando can be developed. Even in worse because as boys’ voices start to might not have the highest notes they university level teaching, it is helpful for change, they need as much help as they had before, but they develop a nice head tenors, baritones, and basses to access can get. They are accustomed to singing voice and a pleasant lower voice. their light head voice regularly. This ap- the melody. Now they are confronted proach, of course, is not an attempt to with a bass part that is often written a make baritones and basses into tenors, major sixth down. They are then asked but rather to keep the light head voice to sing in the upper part of their register that is the hardest place for them to sing. THE CONDUCTOR’S connected to the traditional register. When done correctly, the male voice What makes the common SAB arrange- INSTITUTE will move through the mutation and ment even more diffi cult is that the girls Southwestern University will result in a beautiful instrument with who are not going through voice change wide range, fl exibility, resonance, and are usually given the melody, the easiest June 28 – July 2, 2009 suppleness of tone. part. The altos are given the harmony, with which they already have experience Vivaldi’s Gloria singing. Boys are given a part that they Performed by Institute Choir, Orchestra Repertoire cannot hear because it is in the upper and Soloists - Conducted by YOU Choosing effective literature is peda- most part of their range; consequently, they often will drift down to the melody CLINICIANS: gogically essential and very important Dr. Kenny Sheppard and Mr. Brad Bouley to maintaining interest and enthusiasm. an octave lower. Fee: $400. Enrollment is limited. It should be appealing to the singers, Some publishers try to accommo- bring out the natural beauty of the voice, date the boys changing voice by having Contact us for more information. a part with cambiata so a piece may be [email protected] represent a variety of periods and styles, (512) 863-1358 and provide viable options for all voice SACB. The music that has been crafted www.southwestern.edu/sarofim parts. It is a special challenge to fi nd to accommodate a cambiata is often not literature that will interest the whole very musically fulfi lling and is somewhat choir and still include changing voices. contrived. In middle school/junior high choirs, the A better option is to seek out simpler usual enrollment is predominantly girls. music (for example two- or three-part When you have a choir with few ten- treble) and be fl exible in adapting parts ors and basses, it is not possible to do in those arrangements to accommodate SATB repertoire because there are not ranges that are comfortable for each enough boys. Often junior high teach- singer. Wouldn’t it make sense to ask the ers will say, “I don’t have enough boys boys to sing a simple melody instead of to sing SATB so we can use SAB.” This asking them to sing a part that is down Southwestern University is probably the worst choice for those a sixth? Baritones may sing a melody an Georgetown, TX boys because the compromise works octave down, an ostinato, or an alto part,

56 Choral Journal • May 2009 or, for that matter, can occasionally sing often puts the baritone part. Singing low voice if it becomes uncomfortable. in their high voices. on the break causes their chins to go The conductor can arrange the music up and puts strain on their voices. Most to meet the needs of the singers. This boys have not had enough training to Trust is easier with a two-part piece than a facilitate singing on their break, so they What we really want to do is build four-part piece. A creative teacher can jump down to sing a monotone and do confi dence. When kids sing a melody, mold a two- or three-part piece to fi t not match the pitch that is needed. they are more confi dent because they the most comfortable range of their When we write a part for new feel assured. When you have adolescent singers. Where can a new bass sing most basses, we should put it in the center singers, assign their most comfortable comfortably? If still using his high voice, of the bass clef staff. The tenor thrives range and fi nd music that allows them he can sing in the treble staff. If using his on the lower part of the treble staff. It is to sing in that range. Teachers often ask, new voice he sings from low D (d) up primarily the baritones that have trouble. “Are you a tenor or a bass?” Then they to G (g) in bass. That is his comfortable The solution is to fi nd a two- or three- predict that the boys will sing those tra- range. Most boys have diffi culty singing part treble piece and have them sing in ditional adult male ranges. We need to across the break from D (d1) to F (f1) their high voice and have them jump vocalize them, fi nd where they sing the and this is exactly where SAB music down almost an octave to sing in their most comfortably and fi nd music that

Jerry Blackstone CHORAL University of Michigan CONDUCTING SYMPOSIUM Paul Rardin University of Michigan July 6-10, 2009 University of Michigan

music.umich.edu/special_programs/ adult/choral.conducting.htm Julie Skadsem • Conducting Master Classes University of Michigan • New Repertoire For more information • Techniques for Working with please contact Female and Male Voices • Effective Rehearsal Strategies Regina Ferguson • Learning the Score [email protected] 734-764-5429 • Developing the Conductor’s Pearl Shangkuan Calvin College Imagination guest faculty

Choral Journal • May 2009 57 fi ts their ranges. Changing voices need You must know every boy’s voice. can do this with experience. The best as much encouragement as they can You may have some of everything. For experiences to give them are descend- get. They need easy parts or the melody. changing voices, labeling is very danger- ing sighs on the schwa (ә) vowel. For In one disastrous episode, a seventh ous. A boy does not want to be called a while they will have a clunk on the grade choir teacher put a group of girls a soprano or alto. It is better not to buy way down, but they will gradually work on one side and called them sopranos an SSA piece but a three-part treble and through it to develop the coordination and another group of girls on the other assign them to sing part 1, part 2, or part needed to sing smoothly throughout side and called them altos. All twenty- 3. Maybe a boy is not a tenor yet, but he their range. fi ve boys were called baritones and put wants to be. Therefore, it is important to Find music with a comfortable range in the center. This resulted in tone clus- know all the voices and be able to adjust and level of diffi culty for each boy. Re- ters because many boys were unable to the music so that they are singing com- member not to exclude his high voice. sing the pitches. The boys took no pride fortably. If a baritone has a big hole in the Many teachers, and consequently many in the sounds they were making and middle of his voice, the teacher should boys, think they only have tenor or bass acted out with major discipline prob- know that it is a temporary condition. notes when, in fact, most boys can retain lems. Though it is perplexing to decide The vocal folds have not yet attained a good portion of their upper range what part they should sing, it is critical the coordination to transition gracefully (commonly called falsetto). It is the boy’s not to pigeonhole singers. from one register to another, but they experience with this range that will

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58 Choral Journal • May 2009 help train his new voice. There is less a regular basis to determine what notes even if only in vocalises or periodically tension in their voices singing high than they can sing comfortably. Keep track of on regular occasions. Though the high if they sing an E natural in the baritone the changes in writing, and keep each voice is the foundation, singing only in voice with their chins in the air. Design boy aware of his own specifi c range the high voice can sometimes cause a part for the boys. Adapt the music to characteristics. The individual contact eventual problems such as a thin, straight suit their capabilities. Leave out certain will foster a friendly relationship with tone or extra tension. But when boys notes. Acknowledge that they may have the students. are given the opportunity to sing with a to omit certain notes for a period of Female choral directors can affect mix of high and low registers and plenty time. a boy’s impression of how he is being of descending vocalization, the results Most boys are hesitant to sing in asked to sing. Most boys are reluctant are healthy and productive. a social setting if there is the slight- to sing in their high voice for a female A healthy approach for choirs with est amount of distrust. Their personal instructor. Many directors have separate changing voices is to sing treble regularly esteem is at risk so they must know choirs for boys and girls for this reason. but not to exclude low voices when and trust the director and their fellow Some boys may not feel like men if they singing. In many children’s choirs in choristers. Be open about the fact that sing high, especially if they look to singers America, the boys sing treble twice a boys’ voices change. It is a fact of life. It is who sing predominantly in their lower week, but they use their low voices regu- important to nurture the boys through voice. So it is a sociological problem larly. They need to use their low voices the changing process in an atmosphere that we must overcome. If a young boy and vocalize down to their lower range of trust. Everyone in the group (including has never heard a man sing in his high in treble choir. They can use the lower the girls in a mixed choir) should know voice, he may think he is being asked to range in their church choir, temple choir, exactly what is going on. In essence, sing like a girl. This teaching challenge or school choir. Though the foundation the vocal folds within the larynx are has a simple solution. Give the boys a of the voice is from the top down, keep lengthening and thickening. Because of role model who can use his high voice them in a comfortable range to avoid this substantial change, the coordina- well. Either invite a male guest or use a strain. If it is too tiring, they simply should tion of these folds must go through a video tape of a male singer. Make sure to not sing the high notes in repertoire that period of adjustment. For some boys, choose people the boys will really look has F# (f#2), G (g2), or A (a2). it will take a long time. For others it is up to, such as the principal, soccer coach, Vocalises support the transition from barely noticeable. The process can be captain of the high school football team, the unchanged to the changed voice.6 dealt with smoothly if they know it is etc. We are surrounded with great male Vocalises that descend and employ perfectly normal, know what to expect, singing role models, if we just look for some movement with the body are and know you are there to guide them. them. When boys are ill at ease, you can more helpful, those with a narrow tes- Have older boys demonstrate and dis- fi nd a local singer to work with the boys situra of a fi fth or a third are easier, and cuss the process so they know it is very and vocalize with them. They can view descending patterns are easier than common. All members of the ensemble The Boy’s Changing Voice: Take the High ascending ones. It is advantageous for must be aware that the boys’ voices will Road,5 so that they can see other boys, these singers to start high above the tire sooner if they sing exclusively in like themselves, who can sing this way break and come down across the break. their higher voice. The boys should un- without surrendering their masculinity. Vocalises should be fun and employ derstand that they will probably not sing movement to keep the voice relaxed every note in any given rehearsal. They and avoid strain in the mouth and neck. learn how to manage their fatigue factor. Vocalises Vocalises that employ a feeling of mo- They also learn that their voice is going While using this approach, be mind- to crack occasionally, that it is sometimes ful that not all boys sing comfortably in unpredictable, and there will sometimes their high voice. Eighth grade boys who be tension in the voice. are uncomfortable singing in high voice *ODGGH0XVLF3XEOLFDWLRQV 7KH&KRUDO0XVLFRI%UDGOH\1HOVRQ Maintain good communication with need the option of singing tenor or bass. the boys to ensure that they feel a part This must be made available to them by ³

Choral Journal • May 2009 59 tion and a feeling of the beat help to solidify musicianship. There should be no tension in the neck, chin, or jaw as they are descending across that break. One can start on high C (c2) in the falsetto or head voice and bring that down into the lower range. Some male singers have no diffi culty singing down through the break. They can sing lightly, carrying the head voice down gently as low as possible, fl oating into the lower register. When done correctly, the male voice will move through the mutation and will result in a beautiful instrument is coming from the top down over the rich and varied in color. Just imagine the with wide range, fl exibility, resonance, break, the break will disappear. What a impact this approach could have on the and suppleness of tone. gift to give a boy! He can sing in the mid- artistry of our choral ensembles and our Sing a glissando on “ah” from high range up to an E (e), F# (f), G (g), A (a), concept of choral writing. Perhaps the to low without a bump in the middle. B (b), and just keep going up. Fourth, the conventional idea of SA (women) TB It takes a while to develop. (Take your boy will take pride in singing beautifully. (men) is ready for change. hand and follow the voice as it goes Boys who sing in their high voices often down.) It is not unusual to hear a clunk feel a great sense of loss or separation or two in the middle. Lighten up and when that register disappears from their NOTES bring your head voice down as much singing experience. But now boys do 1 as possible. not need to feel that loss. They can take Duncan McKenzie, Training the Boy’s Changing The hard thing is to go from the pride in singing with other sections of Voice. New Brunswick, NJ: Rutgers the choir. Do you need altos? They’ll sing University Press, 1956. bottom and back up again. (Follow your 2 voice with your hand as you glissando alto. If you say, “Any guys want to sing Irving Cooper and Karl Kuersteiner. Teaching from low to high.) Keep your chin down soprano?” Their hands go up. They take Junior High School Music, 2nd ed. Conway, AR: Cambiata Press, 1973. and relaxed. It’s a lot harder to go up pride in it because they think it is really 3 Frederick J. Swanson, The Male Changing Voice than to come down (Figure 8). cool to sing higher than a girl. Without question this approach to Ages Eight to Eighteen. Cedar Rapids, IA: teaching and understanding the Boy’s Laurance Press, 1977. 4 John Cooksey, Working with the Adolescent Advantages/Results Expanding Voice has certain disadvan- tages. There are the challenges of assur- Voice. St. Louis: Concordia, 1992. What are the advantages to this ap- 5 Henry Leck, The Boy’s Changing Voice: Take the ing the boys it is okay to sing high. The proach? One advantage is a beautiful High Road, Video, Hal Leonard, 2001. boys’ voices may tire sooner, and for sound, a truly beautiful sound. It can add 6 Vocal examples of this information a while, they will certainly experience enormously to the artistry and choral concerning the unchanged voice appear accomplishment of your ensemble. a certain level of unpredictability. But in the video: Henry Leck, Vocal Techniques A middle school choir can create a the advantages simply outweigh those for the Young Singer, Indianapolis wonderful sound while singing full ar- disadvantages. The sound of the up- Children’s Choir, 1995. rangements—not just parallel octaves. per male voice is beautiful. Adolescent Secondly, the boy’s voice has a chance to boys can develop a new pride in singing fully develop in the lower register with- beautifully and without strain. This ap- out creating all sorts of new strains and proach can add enormously to the art- problems. So we use the old voice and istry and accomplishment of our choral let the new voice settle in. Thirdly, and ensembles. The male singer is capable this is very important, the boy will de- of developing a whole voice from the velop a voice without a break. If the boy top down that is wide in range, versatile,

60 Choral Journal • May 2009