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Choral Potpourri: Choral Ethics; Bein’ Highfalutin

September 29, 2016 -

“It is impossible, in our condition of Society, not to be sometimes a Snob.” William Makepeace Thackeray Recently, I’ve become aware I am being referred to as Highfalutin, an Elitist, and a Snob. All those things are, apparently, bad things. In my own work, I suppose I am a bit

Can anyone point me to some advice regarding helping teenage boys sing through their voice change? I have two 14-year olds in my adult church choir, one whose speaking voice is very high and is starting to break, and one whose voice is incredibly low already and has difficulty singing above C3 (though I suspect this is due to shyness, not inability.) I have only ever worked with adults, so while I know it's important to keep them singing I don't know how to help them specifically. Thanks! ... See MoreSee Less

20 hours ago

Thou N Susan Yang likes this

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Thou N Susan YangBeing unable to sing above C3 when the voice first changes for a bass is common - I was the same when my voice changed and just assumed that singing was not for me since I couldn't sing like everyone else. A lot of directors lose basses and baritones because of this, sadly. I had a senior bass who had a good C2 but didn't join choir because he wasn't sure if he would be good like everyone else. Keep them singing every day - focus on breathing, rhythm, theory, eae training, and have them sing the notes that work best for them, even if you have to create an extra part for them to sing (cambiata voice). Here is something for quick reference: www.leedberg.com/voice/pages/male.html

18 hours ago   ·  1
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Shannan DavisFollowing.

17 hours ago
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Austen WilsonAlso I would highly recommend not referring to voice change as a voice break. Voices aren't broken. Hear their ranges and a tessitura on a somewhat regular basis. Start with having them count backwards from 20 to 1 outloud so you can hear where their speaking voices are. Probably the most important thing is having them in a range where they find success. Keep them singing in treble clef as long as possible. When they get further into voice change, you may need to create completely different parts for them (i.e. sing alto here, tenor here, etc., or even add a note if it's in the chord but not in the score). Keep in mind that no two voice changes are exactly alike. Flexibility is extremely important!

17 hours ago   ·  3
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Graham LackExpert on this is David Swinson, Music Director Trinity Boys Choir London.

5 hours ago
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CORO SAN BENILDO

Achievements

2016

Grand Prix Finalist Choir of the World

Champion, Youth Choir Category

70th Llangollen Musical Eisteddfod, Wales, United Kingdom

 

2015

Grand Prix Finalist 1 Gold, 4 Silver, 3 Bronze Medals 3 Special Awards

54th Seghizzi International Choral Competition, Gorizia, Italy

2014

Bronze Award, Classical Mixed Category

10th Busan Choral Festival & Competition, Busan South Korea

2013

Champion-Gold Level V, Mixed Choir Category

1st Sing’n’Joy Louisville Kentucky International Choral Festival & Competition, Kentucky, USA

2012

Platinum Award, Folklore Category

1st Xinghai Prize International Choir Championships, Guangzhou, China

2011

Champion-Gold Level V, Folklore Category

1st Runner-Up, Mixed Youth Choir

1st Hoi Ann International Choral Competition, Vietnam


 

CORO SAN BENILDO is the resident choral group of the De La Salle-College of Saint Benilde (DLS-CSB) in Manila, Philippines. It was founded in 1990 by a group of students who wanted to serve in the regular Holy Masses in the College. The group then went on to sing intermission numbers during institutional programs.

After being handled by nine conductors from 1995 – 2008, the group is now under the tutelage of Mr. Lorenzo C. Gealogo. Since 2008, the group has been part of numerous performances, bringing with them an innovative and creative showmanship which has earned them various achievements on and off campus.

 RECENT TRAININGS

Aside from Coro San Benildo’s regular rehearsal schedule the group  also attended workshops and trainings from different mentors in the choral industry such as:

  • Choral Clinicing with Mr. Mark Anthony Carpio, Conductor of the Philippine Madrigal Singers in August 2012
  • Swedish Conductor Fred Sjoeberg’s Master Class in February 1 -3, 2013
  • Choral Competition Workshop with Jonathan Velasco, President of the Philippine Choral Directors Association & Conductor of the Ateneo Chamber Singers in June 2015
  • Choral Competition Workshop with Jonathan Velasco, President of the Philippine Choral Directors Association & Conductor of the Ateneo Chamber Singers in June 2016

At present, Coro San Benildo continues to sing, perform and join international choral competitions to represent the school and the Philippines globally, and to promote Choral Music in the Philippines.

Grand Prix Finalist, 1 Gold, 4 Silvers, 3 Bronze, 3 Special Awards. 2015 54th Seghizzi International Choral Competition, Gorizia, Italy

Grand Prix Finalist, 1 Gold, 4 Silvers, 3 Bronze, 3 Special Awards. 2015 54th Seghizzi International Choral Competition, Gorizia, Italy

Champion, Youth Choir Competition. 2016 70th Llangollen Musical Eisteddfod, Wales, United Kingdom

Champion, Youth Choir Competition. 2016 70th Llangollen Musical Eisteddfod, Wales, United Kingdom


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