The voice-down approach you apply is akin to the British boys choir approach as perhaps moreso to Henry Leck's approach developed with select singers in his children's choir experience (see May 2009 and August 2010 issues of Choral Journal). An alternative is presented in John Cooksey's book "Working With Adolescent Voices" (1999; also see the August 1998 issue of Choral Journal), based on his years of empirical research that expanded on the older Cambiata concept of changing voices. Cooksey applies a chest-voice-up or developing-speaking-voice-range-first approach in helping any male develop in singing. Cooksey suggests (a) testing and charting the range of the modal/chest voice, where the voice switches to head voice, and the range of the head voice and whistle registers, along with qualities of tone and technique, (b) developing a free and comfortable singing technique in modal/chest voice, (c) expanding across the healthy range of chest voice, and (d) developing an easy and healthy transition into head voice and across its fullest healthy range as well. Because of the primary focus on (a) and (b), people seem to neglect Cooksey's ultimate goal of correct phonation across the full range in all registers. The difference between the head-voice-down and chest-voice-up approaches is a matter of great debate, with central issues of whether you are working with select or nonselect singers, aiming for a refined purity of tone or a fuller resonant tone, and perhaps whether the goal is to develop a choral singer or a solo singer, just to name a few. These issues connect to each director's/teacher's concept of singing/choral tone and background experience, and both have long histories and entire pedagogies linked to them. Like I said, matters of great debate. Both claim great success, so the question is, against which criteria or qualities or goals is success being measured or judged? I believe there is good in it all, with the ultimate decision being left to the individual teacher and circumstances. Best advice--know the options, choose wisely.

I brought in a guest singer--he is a young man who sings in church choir with me, 17 years old, homeschooled, and is singing baritone in choir, but taking voice lessons as a countertenor.  He came in to my school choir (grades 6-10, mixed) and sang a rousing version of "Joshua Fit de Battle" in his low range, then did one of the Italian "top 40" arias in his counter-tenor/soprano range.  He was fantastic on both!  And my young men were enthralled--they really connected with the idea that "a man's voice includes the whole range"--and with the little competitive idea I tossed in that, as their voices shift, they will have a MUCH larger range than the girls will.  It didn't hurt that the young man is very handsome and a very cool guy--my boys could see that the girls all thought he was amazing (even with that soprano voice!)  Suddenly, it didn't seem quite so unmanly to use that register. They thought that was pretty cool, and were a lot more willing to sing in their treble range after that.

 You might look around at local colleges, or talk to voice teachers in the area, and find out if there is some young man you could bring in to model what you are trying to do.

 

Find video (Youtube is a great place to start) of great current acappella groups like Straight No Chaser, Pentatonix, etc. The two groups I mentioned first and foremost are fantasitic musicicians. They sing fun music and the men in both groups use every bit of their voices (high or otherwise) to create amazing sounds. My middle school kids ADORE watching the famous Straight No Chaser "12 Days of Christmas" video every year at this time, and I use it as a teaching moment to talk about falsetto (and intonation and breathing and listening to each other and looking like your are having fun while you are onstage). :-)  We also begin warmups in higher register each day, so those guys who are unchanged or changing or changed use all parts of their voice daily. They giggle at first, but eventually it just becomes normal. And, they ARE middle school boys, so something gets them giggling every day anyway. It might as well be upper range!

 

MAay Jane  

Thanks for all your suggestions!  I don't have this problem every year, but this year's 8th grade boys seem to be very self-conscious about it.  I had some high school boys that have been in choir for years come talk to them and share their experiences - basically to let them know they aren't the only ones that have gone through this.  The result was a very positive one.  The "tenors" are now singing out more and in their natural range.  I am also going to contact a local college music dept. and try to get a male to come sing for them.  Thanks again for all your help!  Choralnet is the best resource I have currently to visit and revisit issues.  I can't thank everyone enough!

 

Brian Hargrave

Hello Brian,

 

It's great that you are working with the boys separately as it allows you to address the specific needs of their changing voices.  One of the most inspiring things I've seen is Donna Otto of Vancouver, BC leading her 60 voice middle school boys choir.  Because of that experience, I've had a Men's Choir at the high school level for 10 years and the voice-down approach has been crucial to the boys being able to develop head tone.

 

Maybe you can connect with a local adult male choir.  Our young men have had the privilege of working with Chor Leoni, the great men's Choir from Vancouver, BC.   This has made a huge difference in what the boys think is manly tone.

 

My guess is that by the end of the year you will have some strong singers who will be your leaders for the next few years.

 

Sally Murphy

Victoria, BC