Using Repertoire to Teach Vocal Pedagogy in All-Male Changing Voice Choirs Conversations With Six Master Teachers Drew Collins

Transcription

1 Using Repertoire to Teach Vocal Pedagogy in All-Male Changing Voice Choirs Conversations With Six Master Teachers Drew Collins Drew Collins is an assistant professor of choral music and music education at Wright State University in Dayton, OH

2 Interviewees Lon Beery (New York) Spry Middle School; Eastern Division JH/MS R&S chair; published composer. He conducts an all-male curricular choir of seventh and eighth graders. Ken Berg (Alabama) Artistic Director, Birmingham Boys Choir; published composer. He conducts an all-male community-based choir made up of boys aged Mona Jethmalani (Illinois) Dundee Middle School; Central Division JH/MS R&S chair. She conducts an all-male curricular choir of seventh and eighth graders. Mark Johnson (Minnesota) Artistic Director, Minnesota Boychoir; former North Central Division Boychoir R&S Chair. He leads a community-based program of three choirs, aged Brody McDonald (Ohio) Kettering Fairmont High School; Van Buren Middle School. He conducts an all-male curricular choir comprised mostly of ninth graders. Amy Moore (Texas) Labay Middle School. She conducts an all-male curricular ensemble made up of seventh and eight graders. Conductors of all-male choirs spanning or including the middle grades have a unique perspective on the changing voice in the choral setting. Six such conductors were interviewed for this article concerning teaching, rehearsing, and programming, especially with regard to the vocal issues associated with the changing male voice. The panel represents a broad swath of choral expertise, including school teachers and community-based boychoir directors; those who compose music, and those who do not; and both male and female directors. An effort was made to include teachers and conductors who work with different configurations of grades and ages. CHORAL JOURNAL Volume 52 Number 9 35

3 Using Repertoire to Teach Vocal Pedagogy in All-Male Changing Voice Choirs The interviews were conducted via e- mail, followed by telephone conversations where necessary. The interviewer created some questions, with others suggested by the interviewees themselves. A list of interviewee-suggested repertoire appears on pages 37 and 39. Several themes emerged when the multiple responses were examined: These conductors believe that the boy s head voice should be exercised before, during, and after the voice change. Topdown mix should be the foundation of vocal instruction. It is critical to determine each boy s range via regular voice checks throughout the change. There are three priorities when selecting repertoire: (1) accommodating the ranges of your current ensemble; (2) quality/appropriateness of text; and (3) variety of styles. It is important to foster an encouraging and positive learning environment when working with adolescent boys. Appropriate Genres of Repertoire Question Are there specifi c genres of music that seem to work well with boys this age? Are there genres that are often less successful? Are there genres that are difficult to find? Response Overview There is agreement among all respondents that arrangements of classical music for the all-male changing voice chorus are diffi cult to fi nd. Lon Beery s point about boys being capable of serious texts is echoed by Moore, and was brought up by Berg in response to other questions in this article. Moore s point about avoiding cute music is also addressed by Berg in a separate question. Beery We need more repertoire written for middle school male choruses, and in greater variety. There are some folk-song arrangements, novelty songs, spirituals, and doo-wop. A few pop songs are also available that are appropriate. There are far too few arrangements of classical literature. There is also a lack of other pieces based on great poems, or choral art songs. More serious, or more lyrical pieces are few for guys this age. This is a shame, since middle school boys can sing more serious texts than are usually available for them. Finally, there is a need for more multicultural pieces arranged for middle school boys. Berg Folk songs, hymns, and carols are always useful for the migratory choristers. Classical literature for TTB voicing is very hard to fi nd. Johnson Classical arrangements are maybe harder to fi nd, but I think it s important to continue to study all genres of music and adapt the voice change to those styles. Each different piece can be used as a learning example or voice case study, not only for the style, dynamics, approach, etc., but also for vocal technique and use of the instrument as well. Moore I don t do cute with my young men, and so many pieces are cute these days. I feel middle school guys want to be treated as young men and having them sing cute pieces makes them feel like I consider them little boys. By cute I mean anything that makes a spectacle of them or points out that they are boys and not yet men. The one genre that is very diffi cult to fi nd for guys is classical, especially for younger choirs. I have performed Bach s Alleluia and Mozart s Jubilate Deo, but the selection [of classical art music appropriate for all-male changing voice choirs] is very limited. More in this line would be very welcomed by many directors, I know. Holiday selections for young men can also be challenging to fi nd. Selecting Repertoire A common theme was that selecting repertoire is a process best informed by the ranges of the current singers in mind. It takes much more time and effort when this is the priority, but better serves the student singer. This echoes the advice of John Cooksey: It is very important for the director to select music which matches the ranges and tessituras of the voice change stages. This is a diffi cult but not impossible task CHORAL JOURNAL Volume 52 Number 9

4 Interviewee Suggested Repertoire A La Nanita Nana Spanish Carol, arr. K. Berg TB Carl Fisher Amor Vittorioso Gastoldi, arr. J. Leininger TBB Alliance Arirang Korean, arr. K. Berg TTB Carl Fischer Question Do you purposefully shy away from repertoire that would require boys to switch between head voice and chest voice? Response Overview Responses to this question were varied and adamant. Beery says, Absolutely, while Johnson, McDonald, and Moore were unequivocally against the idea. Beery makes the point that selecting pieces that address the ranges of your particular choir is a much more involved process than when this is not taken into consideration. It is especially true when considering that the vocal needs of which may change from year-to-year, and even in the middle of the year. Beery Absolutely. When I look for pieces for middle school guys, I purposefully look for pieces where they can sing in their most comfortable range. This is diffi cult, but by selecting specifi c TTB arrangements, I can assign parts for the unchanged/beginning change (T1), middle voices (T2) and changed (Baritone) voice. As the guys move through middle school, there seems to be a growing stigma against singing the high part, and a growing desire to sing baritone. Of course, I carefully test their voices and would never place them on a part that is too low. However, I do recognize that there are social components as well. As I once heard it said, a middle school guy is more than a larynx with feet! Jethmalani It really depends on how many boys I have that can easily fi nd that transition with pitch accuracy. If I have enough that can handle it successfully in a given piece, I may program repertoire that requires more of that switch for a public performance. But generally speaking, if boys are still working through that transition with uncertainty, then I use that repertoire more as a rehearsal tool. Volume 52 Number 9 37 Arirang Korean, arr. L. Beery TTB Alfred As Lately We Watched Austrian, arr. W. Rogers TBB Boosey & Hawkes Barbara Ann arr. A. Billingsley TB Belwin Behold that Star Spiritual, arr. D. Moore TTB BriLee Blow, Blow, Thou Winter Wind Sherri Porterfi eld TTB Alfred Blue Moon Rodgers & Hart, arr. J. Funk TBB Alfred Boatmen Stomp arr. M. Gray TTB G. Schirmer Born, Born In Bethlehem Spiritual, arr. D. Moore TB BriLee Cantate Domino Nancy Hill Cobb SA or TB Santa Barbara Children, Go Where I Send Thee arr. E. Crocker TTB Hal Leonard Cindy American, arr. N. Johnson TBB Heritage Colorado Trail American, arr. D. Moore TTB BriLee Come Travel with Me Scott Farthing TTB Walton Fa Una Canzona Orazzio Vecchi, arr. R. Robinson TBB Alfred Feliz Navidad Jose Feliciano, arr. J. Leavitt TTB Hal Leonard Fillimiooriay Irish-American, arr. L. Beery TTB Alfred Fratres In Unum Jim Leininger TTB Alliance A Full Sheet and a Flowing Sea Sea Shanty, arr. G. Parks TB BriLee Gloria in Excelsis Vivaldi, arr. S. Porterfi eld TTB Heritage Go Down, Moses Spiritual, arr. J. Arthur TTB BriLee The Gospel Train Spiritual, arr. L. Beery TTB BriLee Hine Ma Tov Hebrew, arr. L. Beery TTB Shawnee I ll Sail Right Home to You George Strid TTB Alfred I m Gonna Pick My Banjo American, arr. L. Beery TTB BriLee I s the B y Newfoundland, arr. L. Beery TTB BriLee If You Can Walk You Can Dance Elizabeth Alexander TTB Seafarer Press In Flanders Fields Lon Beery TTB Alliance It Chanced While I Was Walking Irish, arr. B. Trinkley TBB Carl Fischer Joshua! Spiritual, arr. D. Moore TB BriLee Jubilate Deo Mozart, arr. L. Spevacek TB Heritage Continued on page 39

5 Using Repertoire to Teach Vocal Pedagogy in All-Male Changing Voice Choirs Johnson No. Choosing that type of repertoire only continues to build a singer s range and ear. You also give them the opportunity to learn how to experiment and control their instrument. McDonald No. No point in delaying the inevitable! Moore Absolutely not! I believe it is my responsibility to teach the boys to bridge between head voice and chest voice. What better way than choosing repertoire that exercises that very thing? Again, this would be reinforced through warm-ups and vocal exercises in class. I want repertoire that will teach, train, and stretch my singers to be better than they are already. If I don t choose repertoire with certain vocal challenges, then I am not stretching my choir to their full potential. In addition, it is certainly not getting them ready for the more challenging singing they will be doing in high school. I cannot just focus on my choir s now, I have to be thinking about their high school readiness. That is always a consideration as I choose repertoire throughout the year. Question When considering a new piece of music, what are some red flags you look for that would cause you to not select it? Response Overview Repertoire selection can take a huge amount of time when done with great intentionality. This question was CHOIR ROBES EXPERT TAILORING $ &UP Finest fabrics including permanent press and wash & wear. Superior quality. Free color catalog and fabric swatches on request. GUARANTEED SATISFACTION Call Toll Free: P.O. Box 8988-CJ Jacksonville, FL designed to discover what these six directors look for when reviewing a score for the fi rst time. There were many red fl ags cited by the respondents, the two issues that recurred throughout the responses were range (and tessitura) and subject matter of the text. Beery I ll come at this from the opposite angle: What do I look for? First, are there enough parts for unchanged, changing, and changed voices? Are the ranges of each of the parts within the ranges of middle school boys? Many TTB arrangements are written for high school guys, not middle school. Is the text one with which middle school guys can relate? Is the voice leading simple? Is it easy to fi nd initial pitches? Are the harmony parts the same at the repeats? If they are not, this will cause problems! Berg Choosing the right music for the right ensemble at the right time is the most important part of our job. If we choose the right music, the boys never really tire of singing and working on it. Singers in general and boys particularly want to sing meaningful music that involves all or most of their thought processes. They want to sing music that encourages nobility, purity, courage, and spirit. They want to be men, and so want to sing of manly things. Here are some red fl ags : (1) I try to avoid music with trite or politically correct texts. My boys have tended to hate such texts! (2) I fi ercely avoid music that has the piano part doubling the voice part throughout. Occasional doubling is not bad, but constant doubling is very bad; (3) I try not to choose music that is cute; boys don t do cute very well. Fun is good and cool is good, but cute is not. Jethmalani Tessitura, large or tricky skips, arrangements that don t accommodate range for the boys. Johnson Range extremes. I tend to select repertoire with comfortable ranges for all parts. I also like to choose a broad range of diffi culty (easy to hard). Good choirs with good singers need to be able to sing beautifully in unison and should be able to execute a simple two-part piece and a piece with more divisi. Moore The biggest red fl ag I look for is a vocal range that is too wide for the middle school boy s voice to achieve. If I see a piece that has a range greater than an octave for any voice part, I will quickly shy away from it. Of course, every year is different. Some years, I may have a bass section that can handle a wider range, or a T1 section that can do the same. I choose repertoire according to the vocal range that I know my choir can achieve. Generally speaking, a perfect range is about a sixth for all voice parts. The second red fl ag is text. I never select music in which the text is demeaning to young men. I love a good sailor song as much as the next person, but many have a trite or silly text. In my experience, my men s choir s favorite pieces are those that offer deep, meaningful texts that move them in some way. The third red fl ag is texture. Middle school men do much better when there is less polyphony and more homophony. A piece with a lot of staggered entrances and moving lines will generally not be one that 7th and 8th grade guys can easily do. Optimal Vowels for Vocalizing Question Have you found certain vowels or consonants to be especially helpful for male singers whose voices are changing? Response Overview James Jordan recommends using the blended vowel [y], because it incorporates the head quality of the oo vowel with the brightness of the ee vowel. 2 This author has recently started using this vowel to great success in university ensembles, with the question arising of whether directors who regularly work with boys going through the voice change fi nd this or another vowel benefi cial for achieving beautiful tone or top-down mix. All respondents advocated use of the [i] vowel for its brightness (or advocated brightness as a desirable quality for the males going through the change), and most advocated use of the [u] vowel as well. 38 CHORAL JOURNAL Volume 52 Number 9

6 Interviewee Suggested Repertoire Continued from page 35 Just Before Christmas Lon Beery TTB BriLee L Hiver Lully, ed. V. Meredith TBB Kjos Jethmalani I lean toward a forward ee sound, instructing them to sing around the ee with an oo on their lips. I may tell them that their lips should appear as if they are sipping a straw but singing ee through the straw. I will often work to retrieve a neutral vowel from a word or sound fi rst such as Woa or Zing and attach this to the mechanics of their singing, what they should try and feel and a lot of creative imagery. I will also often use an ay-o combination in a descending fashion head voice down keeping the chin down and relaxed and ask them to lighten up if it they try to start too heavy or try to pull chest. Johnson I don t usually concentrate on one neutral vowel, but rather explore many different vowels and sounds during warmups to help them explore vowel space and the physicality of their instrument. I try as much as possible to keep the sound brighter, more energetic, and more forward in their mouth. McDonald I use the oo vowel most of all. Many young singers do not have a concept of openness in the tone, and the oo helps this a lot. For young male singers, I use the syllable wah. Repeating this syllable rapidly (in head tone) on a single troublesome note (wahwah-wah-wah-wah) really helps free up the sound. Moore I generally use both the oo and ee vowels. The oo vowel seems easiest for young men to maneuver through their falsetto. I bring the oo down through the bridge into the changed voice and then incorporate the more focused ee vowel. Since young, newly changed voices tend to put their tone back in Volume 52 Number 9 39 The Lion Sleeps Tonight arr. J. Funk TBB Alfred The Little Book Spiritual Spiritual, arr. D. Moore TTB BriLee Loch Lomond Scottish, arr. G. Gilpin TTB Shawnee Mary Had a Baby Spiritual,arr. V. Johnson TTB Heritage My Heart s in the Highlands Lon Beery [T]TB Alfred My Land Lon Beery TTB BriLee New River Train arr. D. Moore TTB BriLee Now Is the Time to Lon Beery TTB BriLee Cross Over Jordan Old Paint Cowboy Songs, arr. L. Beery TTB BriLee Passing By Lon Beery TTB BriLee Refl ections of a Lad at Sea Don Besig and Nancy Price 2-pt. Shawnee Remembering Songs arr. M. Patterson TTB Alfred of the American Rise Up, My Love, My Fair One James McCray TBB National Salty Dog American, arr. B. Siltman CBB Cambiata Set Me As a Seal Laura Farnell TB Hal Leonard Shake, Rattle, and Roll arr. K. Shaw TTB Hal Leonard She s Like the Swallow Laura Farnell TB Alliance Shoshone Love Song arr. R. Emerson TBB Hal Leonard The Sidewalks of New York arr. L. Beery TTB Hal Leonard Sing Me a Song of a Sherri Porterfi eld TTB Alfred Lad That Is Gone Spirituals Medley arr. L. Beery TTB BriLee Ten Commandments of Love arr. K. Shaw TBB Hal Leonard That s Why I Do Like I Do Traditional, arr. L. Beery [T]TB Hal Leonard Thulalila Lele African,arr. J. Englert TBB Carl Fischer Til the Walls Come Down Lon Beery TTB BriLee Two Folk Songs for Male Voices English, arr. J. Rutter TTBB Oxford Two Renaissance Chorals for Men arr. R. Robinson TBB Alfred Viva la Quince Brigada arr. D. S. Berry TTBB Santa Barbara Viva Tutti [Here s to Women] Anonymous, ed. R. Hunter TTB Alfred The West-Country Lover Laura Farnell TTB BriLee

7 Using Repertoire to Teach Vocal Pedagogy in All-Male Changing Voice Choirs the throat, a very bright ee works best in bringing the tone forward. Teacher as Vocal Model Question How do you model for singers who sing lower or higher than you? Response Overview Beery advocates that male directors sing in head voice, regardless of the octave, as hearing the timbre helps them in their vocal development. Berg, Johnson, and McDonald model in the written range. The two female teachers sing in their comfortable range, and use the piano to double or give pitches in the printed octave. Beery When I sing along with my unchanged/beginning changed (T1) voices, I almost always sing in my falsetto. I fi nd the quality of falsetto is actually closer to the quality of their voices. I have never seen my boys with unchanged voices confused by my falsetto. When I have tried singing an octave lower with them, I have found that many are fi ne, but a few get confused and sing notes that are lower, but which are not correct. This might change over time with experience, but falsetto has served me as an effi cient tool. Berg As a male teacher, I work very hard on my vocal quality. I model in my head voice for the younger boys and my chest voice for the older boys. They are still building their individual sound based on the sounds they hear from others in their own choir and from their director. That is why it is imperative that the director be aware of the tone quality of the sound he/she is making. If the boys hear a good, pure, tuned, healthy sound from us, they will build toward that. The converse is equally true: if we make a bad sound, that s what they will sing right back at us! Jethmalani I play pitches on the piano in written range and sing in my comfortable range/octave. I have found that they grasp Hal Leonard presents a NEW Choral Resource DVD! Creating Artistry Through Movement and the Maturing Male Voice Discover how movement can enhance choral tone! Henry Leck Randy Stenson ORDER TODAY! Please see any music retailer 40 CHORAL JOURNAL Volume 52 Number 9

8 the pitch signifi cantly better when I model in my octave versus their octave (for developing baritones). Johnson I sing and model in both falsetto and my changed voice. I can reinforce their comfort level with their own changing voice struggles. McDonald Most of the time I model in the written range, using falsetto as I must. Sometimes I will even use falsetto on notes that I can clearly hit in full voice (as low as middle C) simply to illustrate that the note does not have to be pushed out and that freedom in the sound is paramount. If I am ill I will demonstrate down an octave. Moore I am defi nitely guilty of having sung down the octave with my guys, at least until the last few years. I now model in my regular singing voice fi rst; I then play the starting pitch on the piano and have them hold the fi rst pitch to ensure they are all in the correct octave, then we will begin singing the line or exercise I am working on. I have found this approach to be a very useful process by which to model. I have found that my voice is much healthier and my choir benefi ts from hearing better modeling from me in my own singing range. Setting Priorities for Choral Sound Question Between balance, intonation, and dynamics, which are you most likely to sacrifice in favor of encouraging good vocal technique for this ensemble type? Response Overview The respondents were generally in agreement: the director has to be fl exible and creative when dealing with issues of balance and dynamics. Beery s point about having as many grade levels as possible in the all-male chorus is particularly notable as a remedy for balance issues. None of the respondents was willing to sacrifi ce intonation. Beery When working with middle school singers, balance is often a major issue. Middle school directors often must sacrifi ce balance because of the number of singers in each section, unless, of course, it is an auditioned group. The percentages of T1, T2, and baritone voices at each grade level is signifi cantly different. One of the best ways of creating a more balanced ensemble is to combine grade levels. The more grades the better. A 6 8 middle school boys choir will have a better balance than a 6 7 or 7 8 grouping, and far greater than single grade male choruses. Berg I m not sure I would sacrifi ce any of these, but I will contain certain dynamic levels to maintain intonation and tone quality. Johnson Balance. McDonald I would rather sacrifi ce dynamics at fi rst in favor of a well-produced sound. The musculature has to be strengthened and good habits ingrained before introducing more variables. Moore This is a diffi cult question to answer because the musicality of the performance is so important to me. But, I would have to say I would sacrifi ce dynamics if I absolutely had to. First, I feel that balance and intonation are absolutely tied together. If you don t have a well-balanced choir then proper intonation is almost impossible to achieve. Therefore, I don t see how you can sacrifi ce one with out the other. The Learning Environment Question How does one build an atmosphere of trust with boys voice changes? Response Overview Several respondents discussed the personal relationship between the director and each singer on an individual basis. Jethmalani points out that maintaining open communication about the change is important. This echoes a point that Berg addresses in several of his responses to other questions, reminding boys that they will each go through the change. Berg First, do no harm! Do not mock or tease a boy in this position. Voice change be a very scary time for them. They need to know they are respected and valued in this time just as they were in previous times. Jethmalani Be open about the fact that boys voices change. Everyone in the group should know exactly what is going on. Maintain good communication with the boys to ensure that they feel a part of the choir. Johnson My relationships with different singers have strengthened because of showing care and concern for their changing voice and working with them throughout it, and also showing care and concern for them as people. I take interest in their activities, passions, hobbies, etc. Not just being their teacher goes a long way in building the bond of trust. Moore Trust is based on respect. They must know that I respect them as young men and young singers and in turn I earn their trust and respect. It is important to note that trust is earned and not easily given by young men; but once you have earned it (as a director) you will never lose it. Never let them demean each other or themselves. Let them know that you have faith in them to accomplish what they may see as impossible. Laugh often with them, and allow them to laugh at themselves and at you, just be sure it is done with respect and a good heart. Most importantly, allow them to be who they are. Boys are energetic and squirmy; use that as a tool in class rather than as something to hold against them. NOTES 1 Cooksey, John. Working With the Adolescent Voice. St. Louis: Concordia Publishing House, Jordan, James. The Choral Rehearsal, vol. 1: Techniques and Procedures. GIA, CHORAL JOURNAL Volume 52 Number 9 41