Rehearsing Changed and Un-changed Voices TogetherDate: July 13, 2010
I direct a 70-voice choir with children and youth ages 9-18. Having changed and unchanged voices in the same group is not unheard of, but does present some challenges when trying to teach vocal technique. I would like to know if anyone has had experience directing a group like mine and, if so, what specific challenges/solutions did you discover in trying to meet the needs of the changed and unchanged voices simulaneously?
Stephen Stomps on July 13, 2010 10:54am
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on July 13, 2010 2:13pm
Rob: Not I, but my wife's youth choir at church. (About the same age range.) One thing she did that I recommend is to use some treble pieces, and have the boys with changing or changed voices sing along with the trebles in their upper range if they could. It certainly paid off for our two sons, one of whom is now a professional countertenor and the other who could have been if he had felt like it.
Combined changed and unchanged should not be a problem, if you know how to work with the unchanged voices. It's the changing ones that make life interesting. But since she was a composer/arranger, she just wrote new parts for them as their voices dropped!
All the best,
John
on July 14, 2010 4:08am
Hello Rob,
You might have some luck contacting Jolle Greenleaf, who works with choristers at Grace Church, NYC. She specilizes in the changing voice and will be one of our faculty members at this year's RSCM Newport - 2010 course in August. You can read more at our website about the course and how to contact her here: http://www.emmanuelnewport.org/rscm-newport-course-2010/. Ben Hutto of St. Albans Washington, DC will be our music director for the week and I am sure he would be a good resource person as well, since he works with teens many of whom have been choristers in the National Cathedral Choir in their pre-teens years. Are you a member of RSCM - Royal School of Church Music?
They have many good resources. More information is linked through our church wewbpage: wwwEmmanuelNewport.org.
Best wishes and peace,
Allen J. Hill
Director of Music
Emmanuel Church
Registrar for RSCM Newport - 2010 Summer Course
on July 14, 2010 7:16am
Hi Rob,
I think the first step is to be sure that the individuals with unchanged voices feel comfortable within the ensemble. For my choirs, this means changing the choral formation with the boys standing in the middle/front so that they do not feel the need to sing over the women and they are able to have closer interaction with the conductor. This way, when a part needs to be changed or the changing male voices need some special attention, the conductor is able to do so without yelling over the rest of the ensemble. Also, I have found that working extensively through the entire ensemble's passagio/break in warm-ups will help make those with unchanged voices feel more comfortable with their instruments and improve the ensemble's tone as a whole.
As far as repertoire is concerned, I am an avid proponent of Cambiata Press, not only have they found quality repertoire for early adolescents but the Cambiata Institute for America has put together several resources by Don Collins (http://www.cambiatapress.com/CVMIA/cvmia.htm) who has a broad knowledge of the changing voice. Cambiata Press will send a packet of music or you can view selections online. Their music is often available in different keys and have alternate parts for changing voices that may only have a few notes one day and many more the next day. Also, if you are not familiar with Santa Barbara Music Publishing (http://www.sbmp.com/Small%20Screen-NF.html), they offer a great selection of music for changing voices and I have always found the quality of their music to be well above average. They will work with choral directors to find pieces that match your ensemble which can be extremely helpful if you're on a limited budget or time table.
Hope some of this helps! Have a great day-
-Matt
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