Changing Voices in Junior High School Students

Classify voices into appropriate sections first by group method and later individually. The group classification is done the first day of class and leads to an immediate successful teaching experience. The MOST IMPORTANT INDICATORS of stages are: Range, tessitura, quality of tone, and physical maturation. Age or grade level are not important indicators, though mutation for most begins at 12-13 years of age, reaches its most active phase between 13 and 14, then stabilizes between 15 and 18 years of age.

Characteristics of Boys Voice Stages Unchanged: rich soprano Midvoice I: some alto characteristics, increasing breathiness on top notes, and a somewhat darker quality Midvoice II: approximates aspects of treble and baritone qualities, yet is unique; distinct falsetto and whistle registers develop Midvoice IIA: lower range approaches new baritone quality, but upper range retains treble quality; most vulnerable to abuse New Baritone: light, thin "baritone" quality yet not truly settled; limited

agility and coordination with new-found voice

Settling Baritone: early adult phase, voice is more powerful, "resonant," and

morq e closely resembles the adult sound. (extracted from the research of John Cooksey) = chest or “modal” voice = comfortable range “tessitura” w

Stage: Unchanged Midvoice I Midvoice II Midvoice IIA New Baritone Settling Baritone Optional: “Treble” “Cambiata I” “Cambiata II” “Baritone” SATB: S2 or Alto Alto or Tenor1 Tenor Baritone or Bass

Group Classification. Ask the girls to sit in the back and the boys in the front. With the group singing "America" (or other limited range song) in the key of C, move carefully but quickly through the boys, tapping on the shoulders of those singing an octave below middle C or in an obvious falsetto. Have those you tapped sit as a group--they are the baritones, new and settling, and some Midvoice IIA who are able to sing in the baritone range.

Next, have the group sing "America" in the key of F or G and tap those boys singing with ease in the upper range. These should be Midvoice I and Unchanged voices, who can be assigned the alto part in an SATB arrangement, a tenor part placed above A below middle C, or the upper part in a boy's chorus situation. Have them sing "America" again, listening for those further into their voice

change and singing in falsetto register--place these students in baritone or with Midvoice II.

The remaining voices should be Midvoice II and IIA. Have them sing in B-flat, beginning on B-flat just below middle C. They can sing tenor in SATB arrangements with a part within the ranges noted above or "Cambiata" in SACB arrangements.

Divide the females into "high" and "low" by finding those who sing "America" in F or G freely and those who sing in C comfortably. Females who sing in both keys comfortably should alternate between sections. Note that the "lower" female voices should not be labeled "alto," since the voices at this age are unsettled as well. The lower section should not be forced to sing very low for long periods of time. The two sections should be thought of as SI and SII rather than soprano and alto. Recheck female and male voices periodically. Circulate around the group and listen to individuals as much as possible.

Individual Classification. After the initial group classification, students can be brought in to clarify the quality, range, tessitura, and physical maturation on an individual basis. Throughout the process, help the student start to understand his/her own voice by offering information that you find.

Upon entering the room, make an attempt to set the student at ease through appropriate remarks and by getting the student to talk some. Note the student's physical maturation (facial hair, build, etc.) and the quality of the speaking voice, and note this information on a file card. Have the student count backward from 20, noting the relaxed fall of the voice around "10." Find this pitch on the piano. On the average, this relaxed voice pitch falls about a third above the lowest note of the student's range. Have the student vocalize on an ascending five-note scale beginning on that pitch on "Ah," taking the scale up every half step. Note the point at which the top note changes register, shifts in quality, or becomes too uncomfortable to sing in modal register. Mark this "shift" point of the file card. Vocalize downward to find the lowest pitch that the student sings comfortably. Do not include "fry tones," which are produced by incorrect vocalization and that do not sound healthy. Based on physical maturation, tone quality, range, and tessitura (most comfortable range), check whether the student was placed in an appropriate section in the chorus.

Research Findings

The process of change. Voice change in adolescent boys is erratic yet gradual, a process that takes place generally over several years. Voices change with the thickening and lengthening of the vocal folds, ligament growth, laryngeal cartilage growth and configuration, and resonance area expansion. Voice training does not affect the classification of the voice, yet exercise can help create a smoother register transition. Lower notes are added gradually over several months, before which there may be an "octave illusion" in voices that have a huskier quality, yet have not actually dropped in pitch.

The break. A "break" or sudden change in voice quality can be heard in boys during adolescence. This is actually a shift between modal and falsetto registers,

thus nothing actually "breaks." The shift occurs during emotional excitement, strain, or other situations that cause the larynx to adjust too suddenly.

The blank spot. Some singers experience difficulty in producing pitches from about D4 to G4, or the transition area from modal to falsetto. Others have difficulty producing tones in falsetto, while still others with this problem find the falsetto above G4. This lead to a "blank spot" in their full range from modal through falsetto. These pitches may not sound because the student has not learned to coordinate the voice in falsetto. Register transition exercises may help, but then again it may be best to wait, especially if the problem is due to physiological problems. The falsetto register is often easier to produce after Midvoice II and IIA stages, thus warranting a patient approach to this problem. If vocalization is attempted at this stage, get boys to use a light head voice quality, avoiding forced sounds in the upper range.

Baritone characteristics. New Baritones and Settling Baritones only approximate adult tone quality and range--in other words, they are still developing! In some cases, newly-found low notes no longer are singable, so be cautious with the low range as well. In the two baritone stages, flexibility and agility are reduced. The new size and configuration in anatomy are still uncoordinated; singing in the new voice is at times difficult because the brain is still programmed for a boy's voice. The younger concept of singing is no longer adequate, and must be carefully retrained to avoid tension, forcing, or pushing during tone production. Stabilization of flexibility and agility typically does not occur until age 17 or 18, and voices continue to develop for several years after this.

Handout the following to students as a self guide:

TIPS for learning to sing during voice change

Tips for learning to sing during voice change

For years, you were good at using your unchanged voice. Then one day you realized (or will realize) that you can't use your voice the same way you used to. First, be assured that

• this is only temporary.

And if your voice is doing things you aren't used to, it doesn't mean you can't sing NOW. Remember, if you have the ability to laugh and speak with excitement, then

• you can sing!

There are several stages of change that all voices go through. It is normal as predictable. When you are asked to sing, you should sing with others that are in the same stage of change. This way, you will all sound great together, and it will be easier to sing. To start out

• get used to singing in your speaking voice range.

When you learn to sing comfortably and easily with this "chest" voice, then

• sing freely up into your upper voice.

We call this upper voice a head voice. It may not sound as good as you want it, but it will get stronger. The head voice will also help your chest voice sound better. When you can sing from chest voice to head voice, back and forth easily, then try to • sing higher and lower in both of your voices.

Finally, when it gets hard to sing with the part you have been singing, let your teacher know. You may have changed to a new stage. • You can't stop your voice from changing, and • it is best to move to a new section and learn the more comfortable part.

Now, check your range anq d find where your voice fits in the categories below:

= chest or “modal” voice = comfortable range “tessitura”

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q b # w w t w b w w b # # q Stage: Unchanged Midvoice I Midvoice II Miwdv oice IIA Neww B#aritone Settlingq Baritone Term: “Treble” “Cambiata I” “Cambiata II” “Baritonwe” Part: S2 or Alto Alto or T1 Tenor Baritone or Bass