The Oevelopment of a Contemporary; Edectic Theory for The Training

And {ultivation of The Junior lIigh School Male {hanging Voice

PART III study, a vocabulary of skills can be developed. In singing.
training often proceeds in a logical fashion from learning
DEVELOPING AN INTEGRATED APPROACH TO simple concepts and skills related to technique (posture. breath
THE CARE AND TRAINING OF THE JUNIOR control, then tone control. etc.) to mastering the finer points
of style and interpretive musical expression. In the junior
HIGH SCHOOL MALE CHANGING VOICE high choral field especially, one must first attend to the
"basics" of good tone production so that a strong foundation
DR. JOHN M. COOKSEY can be developed for the further refinement of vocal skills.
The art of choral music makes many demands upon the vocal
The ideas offered by the Eclectic. Contemporary Theory capabilities of young singers. so it behooves the junior high
of Male Adolescent Voice Change form a basic framework choral director to give special emphasis to the voice and its
of integrated concepts which focus upon range, tessitura, cultivation. This begins with 1) classifying the changing
register delineation, and voice quality as primary factors in voice according to the criteria representing each of the five
voice development. If the young male can sing in the com- stages of Voice Mutation (See Article 2 of this series); 2)
fortable area of his range throughout the period of mutation, training. the voice according to certain well-defined. workable
his voice and tone quality will develop naturally and to the principles of good tone production; 3) exercising the voice
maximum degee ... PROVIDED that proper principles of correct in each stage of its development to achieve good tone quality
tone production are applied. The challenge then becomes one and resonance, maximum pitch agility and range extension,
of developing techniques and methodologies to train the voice smooth register transitions. and adequate dynamic-rhythmic
during each phase of the mutational process. It is important flexibility; and finally, 4) choosing choral literature which
that the choral director establish an integrated approach in suits the needs and limitations of the changing voice in each
this endeavor; that is, that he or she accept the basaic prem- of its mutational stages.
ises and tenets of the Eclectic, Contemporary Theory, then The following outline expands this approach and provides
seek to utilize a variety of methods derived from several "ped- the bask framework within which the junior high choral
agogical schools of thought" to support these ideas. Such an director can devise his/her own methodology.*
approach would rest first and foremost on the key factors. A. Voice Classification and Analysis
mentioned above (range. tessitura, etc.). but also take into 1. Establishing criteria for voice classification: Qual-
account the various physiological complexities associated with ity. range, tessitura. register development as im-
pubertal voice mutation. Because of the many challenges in- portant considerations.
volved ... such as the wide variability of range. tessitura. 2. Classifying the voice according to the five stages
register delineation, and vocal agility among individuals ... of voice development.
the task of dealing with these adolescent voices in the choral 3. Auditioning and Testing Voices: Individual and
situation becomes highly complex. and at times, extremely Group Methods
. difficult. While it is beyond the scope of this article to pre- B. Understanding the Basic Principles of Good Tone
sent a detailed. thorough-going methodology, it is hoped that Production
enough information will be given to enable and encourage 1. Phonation: Some Physiology
the junior high school choal director to 1) recognize and 2. Principles of GiJod Posture and Breath Support
acknowledge the special vocal needs of the junior high school 3. }'Iethods of applying the above principles
male singer, and 2) develop his or her own integrated system C. Exercising the "oice During Its l\futational Stages
for preserving and training the voice throughout its various 1. Building Good Tone Quality and Resonance
stages of mutation. As understanding and insight is achieved. 2. Building Interallic/Dynamic. Rhythmic Vocal Flex-
the entire singing experience for the junior high male be- ibility and Agility
comes positive. healthy, and exciting! As a result. the young 3. Range Extension and Register Transitions
man becomes more encouraged to continue his participation The rest of this article will follow the above outline and
in choral activities later on in life. He is not "turned off" present ideas which will support the tenets of the Eclectic.
to being a part of the school choir. and he seeks aggressiwly Contemporary Theory. Concepts, principles, and methods will
to expand his musical experiences in many are;~s. This writer thus he considered within the context of an integrated ap-
believes that realistic and practical approaches to training and proach.
dealing with the changing voice call be accomplished in the
choral situaticn. A. VOICE CLASSIFICATION AND ANALYSIS
The art of singing calls for a complex coord;nation of 1. Establishing Criteria for Voice Classificatioll
mental (cognitive). emotions (affective), and physical (psy-
chom:Jtor) skills governod by each individual's own level of The junior high male voice should be classified accord-
"musical" judgment. Correct phrasing. beautiful tone. distinct ing to the criteria representing each of the five previously
enunciation, correct breathing. accurate pitch. and dynamic defined stages (See Article 2) of voice development. The
varietv come as a result of carefully analyzing the "ingredi- 1110st important factors for classification are range, tessitura,
ents" -of the singing process so that a proper sequence of voice quality. and register development. Range refers to the
learning can take place. After one has delineated areas for entire compass of notes \yh;ch can be sun~ by the i'ldiyidual
Tessitura designates that part of the singer's range (compass)
"in which he sings ,,·ith the most ease and beauty." (1) Voice
*Because of space limitations, the topic of choral litera- quality is a yery suhjectiye term ancl refers tJ the overall
ture wil be dealt with in another article. nature and color of the sound. as determined by the reinforce-

DECEMBER 1977 6
DEVELOPMENT . . . range is ultimately the determinant. along with tl'ssitura and
voice quality. Vennard(S) and others feel that the "lift
ment of certain harmonic partials within the harmonic spec- point" between the modal and head registers . . . Or modal
trum produced for any single note at any given instance in and falsetto (where the head register ... blend of modal and
time. "Register" is also difficult to interpret. I shall use it falsetto ... has not been developed) is a less important con-
to refer to "the adjustment of the larynx which produces sideration. Basses would have a lower "lift point" (exact
tones of a particular quality. for particular demands of range. place \\There the quality change is noticeable), say middle c,
dynamics, etc." (2) Control of the intrinsic and extrinsic than a baritone (d-e). or tenor (e-f). Sundberg adds that
musculature of the larynx determines the degree of consis- the voice designation really is "established by the shape, size,
tency and quality of the sound within a certain pitch region and musculature of the vocal folds." (6) It should be obvious
(myo-elastic phenomenon) ... but so does the degree of air to the reader at this point that the traditional adult voice
pressure (aero-dynamic phenomenon) exerted through the classification will not fit the junior high male voice since
glottic opening between the cords. There are indeed many all the factors mentioned prior to this point (range, tessitura,
adjustments of the myo-ebstic and aero-dynamic forces with- register development. quality) are in a state of flux due to
in the larynx as phonation occurs. The consistency of certain the growth of the vocal mechanism and the total body pro-
adjustments produ:ing smooth transitions between tones with7" cesses during adolescence. Instead. the junior high choral
in certain pitch region:,; determine;:; register composition. The director should use the four basic criteria. and apply them to
same forces are at work when one sings through the lower, the five stages of voice mutation described in Article 2 of
middle, and upper section::; of the entire singing range. In this series. While tendencies toward bass, baritone, and tenor
singing, many experts recognize the existence of three regis- will become more obvious as the voice matures, the teacher
tel's: modal (chest). falsetto. and middle (Overlap of the would be wise to view the male voice as a growing, develop-
modal and falsetto registers ... sometimes referred to as ing mechanism which has not yet reached full maturity.
"head" register3. (3) Rubin, et aI., (4) determined there are
2. Classif.\'illg the Male Voice Accordi1lg to the Five Stages
distinct differences within the laryngeal musculature when
of Voice Development
the modal versus the falsetto registers are produced. The
crucial difference is that in the falsetto register. a smaller The five stages of voice mutation offer a point of refer-
amount of thyro-arytenoid substance (part of the actual cord ence and outline from which crucial decisions about the possi-
muscle) is thrown into vibration and that the vocal cords are bilities (range. tessitura, part assignment, etc.) of each voice
activated by a less powerful air blast. In the lower (Modal) can be made. \iVhile some voices may not "fit" any of the
register the thyro-arytenoid muscles strike against each other categories, the majority should approximate the various stages
in phonation \\"ith varying force, but "in phase." In the up- presented below. Figure 1 sho\\'s the Ranges and Tessituras
permost regions (approaching the "break" area) of the modal for the changing male voice during mutations, and Table 1
register. the vocal cOl'ds are in a state of maximum tension gives a brief summary for each stage. highlighting the criteria
· .. then. in the untrained singer especially, the main mass of for voice classification that have been discussed thus far in
the thyro-arytenoids (cords) relax somewhat and the pure this article.
falsetto vibratory pattern appears. The break between the FIGURE 1
two registers occurs when the muscular adjustment is not
smaoth. For the "mature" male singer. there may be 11/~ to RANGES AND TESSITURAS FOR THE
2 octaves of modal register. with the transition area to Head CHANGING MALE VOICE*
Register between middle c and f. f# the head register may
continue ... but the falsetto may take over at this point. and
most certainly between a ancl c (above middle c). NOTE: 11\
THE UNTRAIKED SINGER. there may be little or no head reg-
ister, and the "break" to falsetto may occur around d or e
(just above middle c). The falsetto register, then. may ex-
a) STAGE 1.
tend up the scale to high g (just above the treble staff), or Boy Sop.
b) STAGE II
Midvoice I ,(or
c) STAGE III, IlIA d) STAGE IV e)
'~idvoice II, crux New Barit.
STAGE V
Voice is
a few notes beyond. The falsetto register appears during the Voice at its alto) pd. of change. 1-2 yrs. "Settled"
peak: 1·2 yrs. 3-9 r~os. (Camb. sound) Some develop.
Midvoice II Stage and becomes most noticeable by the time
the Baritone Stag'e is reached. In many cases. the head reg-
1 3-y Mos. continues

Total avo time. approx.

ister (blending the qualities of mod1.1 and falsetto registers) 14 months
· .. "midd!e"... does not appear, apd there is a decided break *Bracketed notes tessituras
iust abo\'e m;cHle c where the falsetto takes over. If praper
~'ocal training has transpired before and during Midvoice II. TABLE 1
Baritone stages. the tn,nsition area (head register) becomes SUM~lARY OF THE FIVE STAGES OF VOICE
m':1re negotiahle. and the young voice can make a smooth
DEVELOP:\lENT IN THE ADOLESCENT MALE
transi tion to falsetto. *
For adult voice classification. the singer's frequency Stage I, Premlltation: Eo}' Soprano Classification
a. Pre-puhertal period. ~lay extend into 7th grade.
'" (This matter will be discussed in greater detail later on. The b. ::\lcan average pitch frequency of speaking voice about
reader should note that the terms middle and head registers middle c or b.
are being used to describe the same vocal phenomena in males. c. Singing voice: FulL rich sound. soprano-like sound.
A different s:tuation exists in women's voices. Here the transi- Voice reache;; pinnacle of development for childhood.
tion area from chest (modal) to middle rp.!5isters occurs be-
tween m'ddle c and f, f# above. The middle register extends Range and Tessitura: See Figure 1. Register: Only
to c or d, e (octave above middle c) where the head register modal sound of soprano-like quality throughout range.
· .. IN THIS CASE. A DIFFERENT REGISTER ... takps Ko lift points apparent yet.
over and extends upward another octave. At the point of high d. C sually sings soprano part, but may also manage some
c (above the treble clef), the falsetto (some call this the whistle
register) register begins. Hence, the terms middle and head harmony parts, Sop. II or Alto.
registers are not synonymous ... as is the case with the male e. Very flexible/agile. with good capability for dynamic
singer.) variation.

6 THE CHORAL JOURNAL

Stage II, Early Muta:tion: Midvoice I (or Alto) The quality is difficult to describe since resonation
a. Initial pubertal period~ Grade 7 or early Grade 8. For capabilities in the lower register extremes are not yet
the majority, occurs between ages 12 and 13. fully developed. The voice remains light. but approxi-
b. Speaking voice begins to lower. Mean average pitch: mates the mid-baritone sound. It is huskier than the
a or b. Speaking voice timbre becomes a little rougher, Midvoice II sound, has a definite register lift point
darker ... but still light. (middle c or d). and typically can not sing without
c. Singing voice: Variable loss of high tones in the range, strain in or above that area. The passagio region ex-
and increasing breathiness and strain, especially above tends from middle c to possibly e or f above. vVhile
el (3rd space, treble clef). There is little body or this transition area may be difficult for the young
resonance in the extreme lower part of the range. voice to negotiate, register breaks can possibly be
Register: Only the modal still apparent. but some avoided with proper vocal training. Some voices can
points of quality changes becoming evident, around B sing from the modal to head (middle) ... middle c
flat to el (3rd line, 3rd space, respectively, treble clef) to f or g ... to falsetto without undue strain.
d. Usually sings the alto part, but still has most color and d. Vocal agility is usually limited. These recently changed
power in the mid-range area, d (j ust above middle c) voices may have difficulty in negotiating fast mo\'ing
to b 0 el just above. parts containing intervallic leaps of more than a per-
e. Volume capabilities begin to diminish fect 4th or 5th.
NOTE: A very difficult stage to detect since the voice e. Assigned to baritone part. Sometimes (and often!)
still has not undergone pronounced changes, either in range, SATB bass parts are too low.
register development, or quality. Some teachers, unfortun- f. Volume capabilities are somewhat limited at first since
ately ask these students to sing in the upper range when it the voice is lig-ht: however, the dynamic compass in-
actually is in the process of diminishing, both in terms of creases dramatically if proper training is applied.
volume and quality. Listen for breathiness and increased
Stage V, Earl}' Adult Phase: Adult Tenor, Baritone,. Bass
strain in this area. Also watch for visible signs of vocal dis-
comfort as the student sings in this register. Qualities Emerge
a. May occur in the latter part of the 9th grade, but
Stage II/, II/A, High Mutation: Mid~loice II Classification most often occurs after the male reaches 17 or 18
a. Height of pubertal period. The majority of boys in years of age.
this stage are found in the eighth grade. Age span: b. Speaking voice approximates the adult sound.
13-14 years of age. c. Singing voice: Body and resonance of the tone in-
b. Speaking voice becomes noticeably huskier and lower creases. and characteristic adult qualities emerge. Vocal
in pitch. Mean frequency pitch: a or g just below agility, resonance, and power increases significantly.
middle c. d. Must be assigned to tenor. baritone, or bass parts, de-
c. Singing voice: Extremely crucial period for careful pending upon voice classification.
voice training. The voice loses agility and becomes
harder to manage. There are coordination problems 3. Allditioning and Testing Voices: Indi~'idual and Group
related to the external and internal growth of the ]Vi ethods
laryngeal muscles. The quality of the sound becomes To classify the male voice according to the stages of
"unique" and stabilizes for a time. It can have a harsh mutation. and to discover the capabilities of the voice, indi-
edge if too much exuberance is allowed, be exception- vidual testing is a necessity. Although this might be a time-
ally breathy and weak if not encouraged, or be quite consuming. logistical problem for the choral director, the re-
startling in its beauty and richness if cultivated prop- sults are well worth the effort. AIlO\ving about ten to fifteen
erly; that is. if the voice is encouraged to develop with- minutes with each student. the teacher can assess the follow-
in its own natural pitch tessitura. ing factors: range. tessitura. voice quality. register develop-
Register differentiation becomes apparent as the falset- ment, speaking yoice pitch. posture and breath control, volume
to register emerges (around b. el, dl area in treble capabilities. dynam:c-rhythmic agility. pitch agility, tonal
clef). memory, diction. intonation. sight singing ability, outstanding
d. Crucial period for part assignment. Standard alto personality characteristics. and yocal strengths and weak-
parts sometimes too high: tenor parts too low. nesses. .-\t first glance. this list appears imposing, but all of
e. Surprising- yolume capabilities. if cultiYated properly. the factors may be eyaluated if the audition is properly or-
Maximum po\\'er of sound produced between A (be- ganized and executed. To eyaluate the junior high male sing-
low middle c) and g (2nd line, treble clef). er using the criteria listed. the choral director may consider
the follo\ving procedure:
STA.GE IlL\. 1. Student enters room ... has already completed a "gan-
The baritone quality can be recognized during this time. eral information" part of his audition card. (This
and evolves most noticeably in the lo\\'er hali of the singing gives you pertinent d~tails about his musical back-
range. The modal register begins to take on its character- ground: choral experience, instrumental lessons. etc.).
istic quality in pitches located in the hass clef range. hut the Talk to him to put him at ease. Call him by name and
young singer retains mud1 of the 11lid\'oice II quality and ask him a few questions, perhaps about his grade in
range in the middle c to g (2nd line. treble clef) or a range. sch:)ol. \yhat sports he likes, etc. By carefully li~ten·
ing to the pitch of his speaking voice. you can get
Stage IV, Post71l11tational Period: .:.Ye'lC' Baritone Classification some idea. of \\'here to begin matching tones: that is.
a. A "settling" period. Often begins near the end of the if the voice sounds low and has a hmky quality. be-
8th grade or beginn:ng of the 9th grade. and can ex- gin the matching tone exercise at C or D in the b:lsS
tend to the 10th or 11th grad-=. Age: late 14th year clef.
(early 15th year), extending to 16 or 17. 2. Ask the student to stand several feet from the pi:lI1o.
b. Speaking voice has lowered to approximately E or D facing you, but unable to see the keyboard. Students
(bass clef). Adult sound still not fully apparent. "psych" themselves out when they w:ltch the notes
c. Singing voice: See Figure 1 for range and tessitura. going higher. etc.

DECEMBER 1977 7
DEVELOPMENT . . . 8. Rhythmic memory, Sense of tempo: Use a call-
response technique, clapping simple quarter, half,
3. lIatching tones ... Begin :,;omewhere close to the pitch eighth note patterns. The student listens and claps
of the speaking yoice. (which is usually about a 3rd the patterns in tempo, in sequence, not losing the feel-
or 4th aboye the lowest point in the student's singing ing for the basic pulse.
range.) Find comfortable pitches for them to sing
Example:
initially. This builds confidence. and begins the audi-
tion on a positive basis. Ask the student to sing an t1 ~ J J
...., l'e.a...c.hu'
I ~ J J J
~\:..,..d..ud:,
I e..'tc,.
open vowel (lah. for example) on several pitches.
Recommended beginning tones are:
N ext, use dotted patterns, rests, then syncopations. Go to
Boy Soprano: d to f or g (above middle c)
two measure sequences. using the same call-response method.
1\1idyoice I: c to e or f (above middle c)
The reader may be interested in using the following pat-
~IidYoice II: B flat (below middle c) to c or d (just
terns which I have devised: (They are graded. from easy to
aboye middle c)
very difficult)
Ne\v Baritone: C to F (bass clef)
Encourage the student to project the sound with energy t ~.~ J d J ',~nnJ d
and confidence. You may want to sing with him a
little to get him started. Be positive and enthusiastic. ~ ,j nd J ." 4J. j,. J
Cnless YOU project confidence, the student may not
giye you an accurate "reading" of what he's really ~ d d 1. ~ d ~ d. '" In J 1 ~
capable of doing.
4. If the student matches pitch easily. ask him to sing ~ J l I); ~ r:1 n n n,d n\Wn ~
a simple four note exercise on "mah:" 1 2 3 4 3 2 1
(diatonic scale tones: = 60). Voice the "m" only *** (The writer expresses great appreCIatIOn to Pro-
on the initial note of the pattern. Begin again in a fessor Rodger Vaughan. Coordinator of Music Theory,
comfortable singing area and descend/ascend by % California State University. Fullerton" for doing all
steps, using the same sequence each time. (Check the music notation work for the articles in this series.)
for range. tessitura. breath support. yocal control, 9. You could close the audition with sight singing. In
voice proj ection. and register changes). junior high. many young boys will not be able to do
5. To check for tessitura, diction. vocal problems. breath this, since few have adequate musical backgrounds.
control. volume. and intonation, ask the student to sing I find the tonal and rhythmic exercises provide essen-
"1\ly Country 'Tis of Thee" ("America"). Since this tial information about the musicianship of the male
song is familiar to many students and has a limited singer. If he has a good tonal memory and excellent
range (major sixth), it is especially good in the initial rhythmic control, he will be a real asset to your choir
audition. Be careful to begin in a comfortable key! ... and will learn to read music quickly, if given the
Boy Soprano: Key of e or f (beginning tones just proper training!
above middle c) It should take the director only about ten to fifteen min-
Midvoice I: Key or d or c. utes to complete the above procedures if the pacing is fast,
Midvoice II: Key of B flat or c. and the criteria to be tested are listed on an audition card
New Baritone: Key of D or E (Bass clef). for each student. The next test may be less detailed. You
Be flexible and listen for the comfortable "lie" of the v;ill want to spot check for rangeitessitura modifications,
voice. If you are not sure about the mutation stage of particularly if the student is in the 8th grade and his voice
the voice (having listened to the speaking voice. and has entered the midvoice II classification.
conducted the matching tone. four note exercises), Unfortunately, many teachers do not have the time or
try several keys. using the guidelines given above. resources (Student assistants. choral aides) to implement full-
6. Next. try some quick flexibility exercises and also scale individual auditions at the beginning of the school year.
check for register changes. Sing the 1 3 5 1 (octave If "group testing" has to be dJne. during the regular choral
above) 5 3 1 pattern on "pah" with eighth notes period. voices must be assigned to their respective parts very
(J = 120). ascending and descending by % steps quickly. Otherwise, students mav lose interest. While I pre-
using the saame sequence. fer individual testing. the follo\~'ing group testing procedure
NOTE: For midvoice II. the span of an octave is dif- is recommended:
ficult to negotiate. Try the follov;ing exercise instead: 1. For mixed chorus: grades 8-9, divide the class into
two groups. boys on one side of the room, girls on the

'%nnpnOOpp ~
other.
2. Ask everyone to s;ng "America" in the key of C. The
NOok _ _ _. _ _ riel..h. _ _ _ _ _ range of a major 6:h in C fits the vocal ranges reason-
ably well for all parts. Junior high girls, midvoice I's
Another exercise for all boys: 1 3 5 3 1 ( = 120), and II's sing in the treble clef compass, while baritones
beginning at C (bass clef) for baritone, middle c for double the pitches an octave lower. You may wish to
m:ch'oice I, B flat (just below micld:e c) for midvoice use ,mother "limited range" song. If so, be sure that
II, and e or f for boy sopranos. C sing the same pat- its pitch compass does not extend beyond the limits,
tern ascend, then descend by 1;2 steps. Sing this on B flat (just below middle c) to g or a (trehle clef).
the syllable "pah." 3. Ask the boys to sing alone ... in C. Listen for voices
7. Tonal m;:>mory test: Play three-note, stepwise patterns, singing in the octave BFLOW m'd~lle c. As you walk
ancI ask students to sing them back to you. Then go around. po:nt to the boys in the section who are sing-
for triads. and gradually work for larger intervallic in the lower octave and tell them to stop singing.
separations. Next. go to 4 or 5 sequences. Ex.: 123. These are your baritones.
321. 234. 432, 135, 531, 145. etc., 13531. 12345, 12543, 4. Those identified as baritones sing alone as a group.
etc. AcId accidentals. if the student is really good! Check for any errors you might have made!

8 THE CHORAL JOURNAL

 5. Ask the remaining boys (after the baritones are seat- NOTE: Girls' voices are also maturing at this age,
ed together as a section) to sing "America" in f or g and have not "settled" into the alto classification.
(above middle c). Walk through the section and point' 8. Ask newly assigned altos to sing "America" in B flat,
to those who are obviously singing in the upper octave. then g. The sopranos do the same. Listen for uniform-
These are unchanged boy sopranos . . . or possibly ity of sound within and between the groups. Listen for
midvoice 1's. Assign these voices to a treble part (alto BALANCE. Essentially, there will not be a great dif-
preferably, for social reasons). Boys are very self ference in quality or volume between the sections.
conscious in the 8th grade, and in a "mixed choir" 9. Finally, everyone sings "America" in c, to establish
situation do not want to be "identified" with the so- a feeling of unity and confidence!
prano part. For this reason, the teacher may even NOTE: The above procedure can be done quickly and
want to assign these voices to tenor, realizing, of efficiently, with practice! The teacher may elect to sing only
course, that this part will be too low part of the time. the first part of "America" in some instances so that the
In any case, the boys should be seated with the rest of students will not get bored by singing the song so many times!
the male section. The following diagram shows one For boy's glee (grades 7-9), the same principles should
way to seat these students, taking these factors into apply, with newly changed voices being assigned to baritone
account. I, II; midvoice II's to tenor I or II; and boy sopranos, mid-
voice I's to tenor 1. Variations will occur for two and three
...----r----...---------r X = unchanged voices part music. The main idea is to separate unchanged (boy
and sopranos), changing (midvoice I and II), and newly changed
midvoice I's (baritones) voices so that unified sections may be established
right away. This allows the choral director much flexibility
6. For confirmation, boy sopranos (unchanged voices)
in teaching whatever music he/she has selected (Be it scored
sing "America" in f or g; The remaining voices should
for unison, two, three, or four parts.) It also instills excite-
be midvoice II's. Ask them. to sing "America" in B
ment and confidence in the young singers as they begin to
flat ( below middle c), then assign them to the tenor
learn about the capabilities and limitations of their own sing-
part. (The limitations of this part as it appears in
ing voices.
most SATB music will be discussed in the last article
of this series. B. UNDERSTANDING THE BASIC PRINCIPLES
7. For girls, ask them to sing "America" in G. Pick out OF GOOD TONE PRODUCTION
the strongest, most developed voices, and ask that they
sing "America" in c or B flat (below middle c). Voices 1. Phonation: Som.e Physiology
which are strong in both the upper and lower registers After voices have been tested and assigned to sections
may be evenly divided between alto and soprano. Re- (parts), the choral dil ector must devise ways to train and
maining voices balance between alto and soprano. cultivate the changing male voice so that it may develop and

ERN TI N L TRAVEL J INS T E

SIXTH INTERNATIONAL EDUCATION INSTITUTE
States - Europe - United Kingdom

PROGRAM
Band - Symphonic and Jazz
Choir - Concert and Swing
Humanities Courses
Musical Theatre July 22-23, .L.A'"''''''
Opera Workshop July 24-25, AmlstelrdalTI.
Dance July 26, Brussels
Study in Baroque Music July 27-28, Paris
Orchestra July 29, Return

For further information, wrlte::S1tanlev

DECEMBER 1977 9
DEVELOPMENT plus the mouth: SEE FIGURE 3), which constitutes a reson-
ance chamber. The shape of the tract (except the naso-
grow in a healthy manner. Besides choosing appropriate pharynx) is adjustable, and changes according to the posi-
choral music which suits the vocal limitations of the junior tions of the articulators: the lips, jaw, tongue, and the larynx.
high singer, individual group procedures should be implement- This in turn affects the quality, and produces the unique char-
ed for promoting good phonation/tone production. This means acter of each singing tone.
that the choral director must understand some physiology A widely accepted theory (Myoelastic-aerodynamic prin-
and principles of phonation. If he/she knows how the vocal ciple) (10) for voice production makes it clear that Sund-
instrument works, principles of good tone production may be berg's idea of phonation is highly accurate, and should be
established quickly, and efficiently applied in the rehearsal understood by those dealing with human voice production:
situation.
The entire physiological-accoustical system related to' FIGURE 3***
voice production is in a state of flux during junior high school. PRIMARY RESONANCE AREAS
As stated previously, the larynx (organ of phonation) and
its associated musculature is growing and d~veloping at a
rapid rate, so extreme care must be exercised to insure the NASAl. CAVITY
proper balance between breathing and phonation. J 01111· Sund-
berg, in an excellent article. "The Acoustics of the Singing HARD PAI.ATE
Voice,"(7) states that phonation involves three major units:
a power supply (lungs). an oscillator (the vocal folds), and
a resonator (the vocal tract). (8) Phonation beg-ins with the
activation of the vocal folds. but proper breathing sets up
this function:
"The main voice function of the lungs is to produce
an excess of air pressure, thereby generating an air
stream. The air passes through the glottis. a space at
the base of the larynx bet\veen the t\vo vocal folds
(which are often called the vocal cords but are actually
elastic infoldings of the mucous membrane lining the
larynx.). The front end of each vocal fold is attached
to the thyroid cartilage. or Adam's apple. (See Figure
2) The back end of each is attached to one of the two
small arytenoid cartilages, which are mobile, moving to
separate the folds (for breathing). to bring them to-
gether. and to stretch them. The vocal folds have a "'HBath drawings by Tricia Smith, CSUF art student.
function apart frem that of producing sound: they pro- "With the glottis closed and an airstream issuing
tect the lungs from any small objects entrained in the from the lungs, the excess pressure below the glottis
inspired airstream. Just above the vocal folds are the forces the vocal folds apart; the air passing between the
two "false" vocal folds. \vhich are engaged when some- folds generates a Bernoulli force that. along with the
one holds his breath with an overpressure of air in the mechanical properties of the folds, almost immediately
lungs. The vocal folds (Figure 3) are at the bottom closes the glottis. The pressure differential builds up
of the tube-shaped larynx. \vhich fits into the pharynx, again, forcing the vocal folds apart again. The cycle of
the wider cavitv that leads from the mouth to the esoph- opening and closing. in which the vocal folds act some-
agus. The ro~f of the pharynx is the velum. or soft what like the vibrating lips of a brass-instrument player,
palate. which in turn is the door to the nasal cavity. feeds a train of air pulses into the vocal tract. The fre-
vVhen the velum is in its raised positiJn (\vhich is to quency of the vibration is determined by the air pre:-isure
say during the sounding of all vowels except the nasal- in the lungs and by the vocal folds' mechanical proper-
ized ones), the passage to the nose is closed and air ties. which are regulated by a large number of laryngeal
moves out through the mouth. "(9) muscles. In general. the higher the lung pressure is and
FIGURE 2*** the thinner and more stretched the vocal folds are, the
higher is the frequency at \"'hich the folds vibrate and
TOP TRANSVERSE VIEvV OF THE LARYNX emit air pulses. The train of pulses produces a rapidly
oscillating air pressure in the vocal tract: in other words,
~----:?'""ARYTfNOID CARTILAGE a sound. Its pitch is a manifestation of i the vibratory
frequency." (11)
_ GLOTTIS
With the proper balance and control of air pressure
against the vocal folds (which are controlled by. extrinsic
'10CAlIS MUSCLE
muscles ... that is. those that move the larynx in relation to
CRICOTHYROID MUSCLE """"----'r--
adjacent organs ... and intrinsic muscles ... those that are
CARTILAGE responsible for actual laryngeal function). maximum phona-
tion efficiency can be achieved. In the junior high area, this
is. often not the case. Young singers often 'ioverblow" the
cords; that is, force too much air pressure through the glot~
tis at any given moment. This causes vocal strain. and some-
TOP T!lAASVEIISE VIEIJ OF TijE l.'RY/t,IC
tirnes increased breathiness. Physiologically. the excess sub-
glottis pressure affects the proper coordination between the
After the vocal folds have been activated by the column extrinsic and intrinsic m:.tsculature of the larynx. and this in
of air pressure, sound waves are created and travel thrcugh turn sets up laryngeal Clctions which impair the efficient oper-
the vocal tract (The laryngo-. 01'0-, and nasa-pharynx areas, ations of the vocal mechanism later on in life. For these

'10 THE CHORAL JOURNAL

reasons, it behooves the junior high choral director to give then bring them back together during the expiration phase.)
special attention to teaching his/her students proper breath- 1. Inhale by audibly sucking air in through puckered lips.
ing for singing. (This controls the rate of air flow going to the lungs,
2. Considering the Power Snppl}l . . . Teaching Principles and permits the chest and abdominal areas to expanu
of Good Posture and Breath Support gradually.) GUARD AGAINST excessive throat
tension here. Inhale slowly and evenly. You may
Unfortunately, many vocal problems of adolescent males wish to count to four, or show how long you want
begin with some malfunction of the bodily organs and muscles inhalation to last by indicating this with your conduct-
associated with breathing. Because of the continuing growth ing gesture.
in the size of the thorax and associated muscles (Mainly in- At the end of inhalation. immediately expel the air
tercostal, diaphragmatic, and abdominal) during puberty, by hissing, ·'sssss.·' (Do not lock the throat area or
proper coordination between these muscles during singing is tense abdominal muscles unduly at the moment just
sometimes difficult to achieve. It is very important, there- before expiration; also. do not hold (' (lock") the air
fore, to establish correct habits in this area. just before exhalation.) The entire inspiration and
The act of breathing involves at least two major phases, expiration process should be thought of as a continu-
inspiration and expiration (inhalation and exhalation). Dur- ous action.
ing inspiration, the thorax expands, and the lungs fill with 2. Repeat ... checking for relaxation in the upper part
air from the bottom lobe to the top. As air fills the lungs, of the body. particularly the throat and stomach area
the walls of the thorax (chest) expand, aided by the upward during inhalation.
pulling of the external set of intercostal muscles. "The slope 3. Suck the air in. hiss "sss" . . . then connect with a
of the ribs is such that pulling them up moves the sternum voice (sung) sound, ·'sah." The hiss may take place
forward and also expands the rib cage sideward." (12) for a count or two, after which the "sah" sound be-
Simultaneously, the diaphram (large dome shaped muscle gins. The "sah" tone should be a comfortable note
that provides a floor for the thorax and separates the heart for all voices. If a mixed choir is participating in
and lungs from the abdominal viscera) contracts and lowers this exercise, use middle c (octave below for bari-
Itself, increasing the capacity of the thorax. When the Jia- tones). If you are working with separate/individual
phram drops, it presses down upon the stomach viscera, thus voices: use f (above middle c) for boy sopranos and
encouraging muscular abdominal expansion. In the expira- midvoice I's; middle c for midvoice II's; F (below
tory phase, the internal intercostal muscles pull the ribs of m:ddle c) for baritones.
the chest back into place; the abdcminal muscles (four sets), 4. Now inl;ale (sucking the air in), expell the air on
resisted and steadied in their contraction by the diaphram, whispered "hah." This eliminates the lip area as the
compress the viscera, causing it to press against all the ab- focal point for expelling the air, and allows the student
dominal surfaces (including the diaphragm). If the fibers to feel the upward flow of air in the back of the
of the diaphragm are relaxed, the visceral pressure will push throat area.
the diaphragm upward to decrease the thoracic area, increase N ext, inhale on whispered "ah" and expel on whis-
the internal pressure. and thus force the air out. pered "hah."
To teach this concept to young junior high boys, I first 5. Inhale, whispered "ah," and connect immediately upon
give a very "simple" explanation of the breathing process. expiration with the sung sound, "hah," on a comfort-
I draw a figure (See Figure 4), speak of chest expansion, able tone. (See #3).
stomach relaxation-expansion, and coptraction of the dia- 6. Graduallv eliminate the whispered "ah" (Inhalation)
phragm wnen me aIr comes 111to the DOdy. 1 am careful to so that ~ normal. noiseless inspiration of air is ac-
tell them that thev can not feel the diaphragm! Upon ex- ccmplished. Along with the elimination of inspiratory
piration, there is ; slight squeezing action felt just below the air noise. there should develop a well-coordinated in-
sternum (epigastrium muscle) continuing down to the lower tercostal. d:aphrammatic-abdominal action which serves
abdominal area. I'm careful not to let the students work too to direct the air pressure at the proper rate and in-
hard at this. I do, however, allow them to exagerate the tensity through the glottis. The resulting tone should
hasic muscular actions in the initial stages of the lesson. be rich and unforced.
FIGURE 4 7. Try steps 4-6 in different tempos.
It may take several sessions, particularly in a large group
situation, to go through all the steps outlined above. ~ ot
everyone will catch on right away, so individual help seSSIOns
will be necessarv. It is important also to identify certain key
problems which 'seem to occur quite often among young junior
high boys. Some of these are:
- - - EXPANDED
1. Failure to hold the chest up, relax the abdominal area
NOP.MAL~---
d'.1ring inhalation.
2. Shallow breathing: too much chest action, raising
shoulders. To combat this problem. move the boy's
I AL \V A YS seek to avoid excessive chest (clavicular or shoulders physically as he breathes. Ii the shoulders
abdominal ("belly") breathing. Younger boys (7th and 8th can remain in a relaxed position. proper chest and
graders) may have a tendency to pull up the shoulders when abdominal expansion can take place. Other te~11l1 :ques
they first try this technique, and older boys (ninth graders) for soh-illg. the problem: ask the student to he do\\-.n
may overwork the 10'wer abdominal muscles. on the floor and breathe with a book placed on l11s
After my initial explanation and demonstration, I ask epigastrium. Since the shoulders c.an 1:0t move up-
the hoys to place the palm of their har.d just below the stern- \vard in this position, excess tenSIOn 111. the up~er
um 011 the epigastrium area (uoper abdcminal region), then torso is easily eliminated, and the fo.cal P0111t 111-
follow the procedures listed: (NOTE: Be sure to show them halation becomes the abdominal regIOn.
when to breathe. and for how long, by the c:mducting ges- 3. Reverse muscu'ar action ... that is. the :>L'-'l11Cl'-U
ture. That is, move the arms apart to indicate inspiration, inward as the student breathes. To solve

DECEMBE,R 1977
DEVELOPMENT tion within the resonance areas must be achieved. With the
young male singer, care must be taken so that an excessive
the student's hand on your stomach (just below the amount of air is not forced through the glottic area (space
sternum), and your hand. on his ... then breathe to- between the vocal folds) at one time. or that the extrinsic
gether. He will catch on right away that the stomach muscles of the larynx, neck. chin area are overworked. Most
relaxes and comes out during inhalation . . . It does often, these problems occur because the young singer tries to
not tighten. or draw itself inward. The teacher might reach notes that are out of range. or becomes overexuberant
also apply som~ pressure imvard upon the student's as he produces notes in the forte dynamic range. "Control"
epigastrium during EXHALATI ON, then release the is the key concept here, for the vocal cords must constantly
pressure just as the student inhales. Sometimes this adjust and "approximate" properly according to the dynamic
helps to establish the proper concept of contraction- and pitch demands of the music itself. (NOTE: in the normal
expansion; inhalation expansion; Exhalation = larynx, the elasticity of the vocal cords can be increased simply
contraction. by the opposing actions of the thyroid muscles and their
4. Consciously pushing the stomach in or out. This can antagonists, the cricothyroid muscles. (See Figure 2). The
easily occur, if one uses the techniques I have suggest- former tend to shorten the vocal folds, and the latter to elong-
ed for teaching proper breathing. Be sure throughout ate them. The pitch of the tone is detennined by the tension
the lesson that the male does not "muscle" the air in of the vocal cOl'ds. the size of the glottic opening, and the
or out. The "sucking" of air (See Step 1, teaching amount of air pressure passing through. The cords approxi-
breathing techniques) controls the rate of intake so mate in Yarying degrees, depending upon range. dynamic.
that exaggerated muscular actions will not occur. and register demands.)
Vennard states that the "muscles of posture will work It is important to secure the correct balance between air
by themselves if we know what they should be accomplishing pressure, cord tension. and overall energy level input into
and concentrate on that." (13) This does not mean that cer- the sound as the voice' passes through its various stages of
tain principles of good posture should be ignored! Good pos- mutation. If too much air pressure is applied. the cords can-
ture reveals a confident appearance and "provides a body not approximate properly. and excessive tension is created
readiness for the coord:nation that is needed to aid artistic within the laryngeal muscles to compensate. If too little
communication through singing. With the proper posture it energy anel air pressure is generated, the more typical, breathy,
is possible to insure increased efficiency of the yocal and thin sound will persist. I think it is important that the choral
breathing mechanism. For good posture. the head, chest and director work for the mezzo-forte to forte sound first. con-
pelvis should be supported by the spine in such a way that they centrating on the exercises in the EASIEST singing tessi-
align themselves one under the other ... head erect and chest tura of the voice ... before going after range extension and
high. The position of the head and shoulder allow the jaw to register transitions. pitch agility. etc. After all. the young
be free, not pulled back into the throat. This liberates the man, regardless of· his stage of voice mutation. must gain
organs in the neck. The high chest implies that the shoulders enough confidence to i'trust" his voice. This can only come
go back, but they should relax and be comfortable." (14) when he knows (with some assurance!) \vhat kind of a sound
To teach the above concepts: will be forthcoming as he attempts phonation in various parts
1. Rest the body weight easily on slightly parted feet. of his range. \\lith confidence comes energy, projection. and
vVatch out for feet which are too close together. or vitality. Too often it is easier to neglect the phychological
aligned exactly evenly. One foot should be placed factors im'olved . . . the insecurities produced by the rapid
slightly in front of the other. physiological and psychological changes taking place . . . as
2. Raise the arms above the head. then lower them slowly attempts are made to get the vocal instrument functioning
(keep:ng them extended) on either side of the booy, properly. If the young singer can learn to "sing out" \vith
holding the chest up and shoulders back as the arms energy (aYoiding strain) on the notes that are most comfort-
descend. Be sure the body does not tense or become ahle ·for him to sing. the task of refining and cultivating the
"locked" in a soldier-like position. To check for this. sound becomes much easier. It is better, I feel, to risk some
ask the group to raise their bodies on the tips of their "over-energizing" at first, however. in order to establish the
toes, then return slowly to the original standing posi- self-confidence of the singer and "vitalize" the sound. With
tion. junior high males, it is extremely difficult to work in the
Watch out for the following problems: reverse way; that is .. establish refinement. control, and care-
1. Slumping shoulders and slouching (collapsed chest) : ful pianissimos before 'realizing the forte possibilities of the
A book on the head helps! Try the arm stretch up vocal instrument.
and down again. There are a number of exercises which will help estab-
2. Jutting chin and locked jaw; head tilted too far up: lish good energy levels in the tone, hal anced articulation be-
Rotate the head around as the student sings. Book tween air pressure and vocal cord functions. and pleasing
on the head will also help. resonance in the sound. Here are a few which I have used
3. Standing on one leg! Raise the body on tips of toes, with some success:
then come back down gradually. a. \Vork :1t sustained, single tones first ... on the funda-
4. Hards folded: Allow arms/hands to hang naturally mental vowels (ah. ah. ee, oh, 0)), mezzo-forte level.
at the sides of the bedy. Later on. vary the dynamics. Next. to develop breath
C. EXERCISING THE VOICE DURING
support and unify the sound, sing a diatonic 1 2 3 4
3 2 1 pattern on single sustained open vowels. re-
ITS ;\IUTATIONAL STAGES peating the sequence, ascending then descending, by
1. Building Good Tone Quality and Resonance
half-steps.
Once the principles of good psture and breathing have To energize the sounc1, try the following:
been established, good tone cpality and resonance must be 1) Hiss. then connect with vowel "ah" or "oh" at sfz
developed in the changing voice. This means that the proper dynamic level. and sustain on one pitch level. (D se
coordinatio1l between the sub-glottic air pressure. extrinsic pitches which are comfortable fer m~dvoice I, II, bari-
and intrinsic muscular control of the vocal folds, and articula- tone. boy soprano). Next. hiss, then connect with

12 THE CHORAL JOURNAL

 "ah" or "oh" vowel. singing the 1 2 3 4 3 2 ' pat- e. To build resonance and projection, keep the tongue
tern, sustaining the last note. and jaw flexible, and maintain a low larynx position,
Ex.: Midvoice II (Beginning tones for Boy Soprano, try the "Iuggedy, luggedy. luggedy, luggedy, lah" exer-
midvoice I: cI or e above middle c; for baritone, D, in cise! This one is especially good for midvoice II's
the bass clef) and baritones.
Ex. Midvoice II

~~%~b4~$~44~i~4~¥~l¥S4~!U¥I~#~I~~~'
~_~f.._~ ~-e,t..~ ~_qe.-cl."I ~_"t..d..y
2) Try the same exercise, buzzing the "v" sound \vith
the lips (instead of "ssss" sound), making sure the f. For flexible jaw. vital sound projection, proper energy
tongue continues to touch the lower inside teeth. Try level, try the following exercise. This one can be
"vvvvvah," then "vvvvvvoh" at first. Once these are adapted to the comfortable singing ranges of midvoice
mastered, other vowels can be used. I, and baritone.
b. To develop energy in the sound. sing "Kah" (with Ex. Midvoice II
lots of "K") on sustained notes in the comfortable
tessitura. Then sing the 1 2 3 4 3 2 1 pattern ( articu-
lating the "k" on each note. ( = 60). Repeat the
sequence, ascending then descending by half-steps. Try
this exercise using different dynamic levels.
Ex. Baritone Voice (See "a." exercise for beginning
pitches for other voices) g. To develop proper glottic pressure and breath support:
(especially good for midvoice II, and baritones.)
Ex. Midvoice II (Adapt to comfortable ranges of mid-
voice r. boy soprano, and baritone).

Note: In this exercise the "k" releases the back of the

tongue when the sound is produced. thereby helping to keep
the larynx down.
c. To develop vowel consistency. good resonance in the
naso-pharyngeal cavity. and unity of sound in the mid-
Also, try "Hah, Hoh, Hee, etc." on sustained tones, get-
range, try the following:
ting immediately to the vowel sound on each pitch. The as-
Ex. Midvoice I, and Boy Soprano (See "a." for begin-
pirate "h" helps to prevent "locking" the vocal cords before
ning pitches for other voices).
the attack.
:tit Slow~
14 DB J.
~~f\t<.,~ ,Moo
ijA 8J
~ yw,,~,~,Moo
·1:,,~4
Ex. Midvoice II (Adapt to comfortable ranges of mid-
voice r. boy soprano, and baritone)

NOTE: For best results, 1) stress the importance of

singing on the vowel; 2) vocalize within the middle range
of the voice; 3) move smoothly fronv one vowel to another;
4) listen carefully and strive for uniform production within
the group. 2. Building Inter,:allic I Dynamic) Rhythmic Vocal Flexibility
For improved resonance, also try: Ex. Midvoice II. and Agility
After the proper confidence, energy level. and coordina-
tion between air pressure and the vocal mechanism are estab-
lishd in the CO:\IFORTABLE singing range, the above
exercises (a.-g.) can be used throughout the developing pitch
range. Vocalises for improying intenallic/dynamic, rhythmic
d. For working on the balance of air pressure versus agility can also be utilized. As in the above exercises, the
proper cord resistance, and building energy in the following yocalises should begin in the most comfortable sing-
sound: (Th is must be done LI GHTLY, keeping all ing area of the voice:
voiced tones in a comfortable range.) a. For lightness. good vocal cord approximation for ex-
Ex. Baritone Voice. pandirg the range, and rhythmic-pitch agility: (Place
the finger lightly on the upper ridge of the thyroid
cartilage . . . Adam's Apple . . . and check for ex-
cessive throat tension and raising of the larynx. Each
student should do this as he sings the exercise.)
Ex. Baritone (For midoice II, this should only be done
This exercise can be done in unison. with a mixed within the F to alb flat range.)
choir, provided the melodic sequence is begun in the
middle c (Octave below for baritones) area. If the
sequence is repeated, ascending, then descending by
half-steps, care must be taken to avoid singing beyond
the upper and lower limits of the changing voice
range.

DECEMBER 1977 13
DEVELOPMENT Ex. Baritone Voice (Should begin on F, G or A for mid-
voice II).
b. For precise articulation, pitch agility, and energy:
(Vary the dynamic levels).
Ex. Midvoice II (Good exercise for all voices).

Also: h. For rhythmic flexibility:

Ex. Midvoice II (Begin at comfortable pitch with other
voices) .

Finally, try the same patterns in the first exercise above

~~ pnnllHlbUnl Nijlpt ll!\~
~Q..\\. - - - - - ~~ - - - - -
using the word, "bubble." Place one finger on the "Adams
Apple" again, feeling how it stays in place as the range ex-
3. Register Trallsitiolls and Range Extension
tends upward and downward. (Avoids excessive tension in
the throat, as long as the sound remains light.) This is an As the midvoice I and II lose high notes, and lower
especially good exercise for the newly changed, baritone voice. tones begin to develop, vocalises should be given which en-
Ex. Baritone Voice (Good exercise for all voices). COUl'ages the continued exercise. control, and coordination
of the intrinsic-extrinsic muscles of the larynx. '\lith proper
exercise, the voice will develop the way it should, in spite of
the fact that the vocal cords are lengthening dramatically, and
the cartilage structure enclosing the vocal mechanism is ex-
pandingand growing larger. The choral director must be
c. Sustained notes, with gradual crescendos, decrescend-
on the alert to recognize not only changes in vocal range,
os. Builds dynamic control. Try the same exercise.
but also changes in the quality and compass of notes within
varying the tempo.
the characteristic modal range. As the voice reaches the mid-
Ex. Baritone Voice (Good exercise for all voices). voice II stage of mutation. the normal singing range is con-
stricted, but another register appears abM'e this ... beginning
[4. $Iio (¥A. 1 ~ somewhere around note a (2nd space. treble clef) to d or e

"'- "--==
Ma.\.\.
===-- Nu..~
.........::=::

d. For lip articulation, lightness, building consistency

-
.=-- above. These notes have a characteristic sound that is quite
different from the normal singing tones of the modal register,
Hence, they are called "falsetto" tones, and are recognized as
a separate vocal register in the male. The falsetto register
differentiates itself even more dramatically by the time the
throughout the range without strain: voice reaches the newly changed baritone phase of its develop-
Ex. Midvoice II (Begin on comfortable tones in lower ment. As stated previously in this article, the transition area
part of ranges of other voices). (middle/head register) between the modal and falsetto reg-
isters poses special problems for the young singer. As the
upper limits of the modal range are reached, the vocal cords
must thin (have less area approximaticn). yet be properly
tense. A re-adjustment then takes place as the voice moves
into the falsetto register. There is a different laryngeal in-
tr'msic muscular response, The folds approximate with tight,
e. For resonance and pitch agility: Try various moving posterior vocal process adduction; tbe posterior cartilaginous
patterns on the syllCJ,bles, "noo mee." p')rtion is so tigbtly adductec1 that there is little or no pos-
Ex. Midvoice II (Begin in lower part of comfortable terior vibration; the lateral portions of the thyro-arytenoid
range for other voices). muscles are not contracted. The inner vocalis section is ex-
tremely tightened and contracted around the vocal lig-ament.

;abnnnbn laIR n n1bH,· U

"-\... ·tuII.ol~\lQ-~t.I~.''f,lll~OQ.I#.~,N(iQ1N.l.)~IULI~.f.U.,loloo.l'U.e.)NO<l..,Me.e
"The main mass of the thyro-arytenoid muscles lies laterally
and does not appear to be particip3.ting in the vibratory activi-
ty." (15) Rubin states that the "controlled, selective contrac-
tion and relaxation of the thyro-arytenoid muscles will effect
f. For consistent tone throughout the range, dynamic a graduated and s17Iooth transition from 100% utilitzation of
flexibility, and developing richness, depth in the tone: the thyro-arythenoids in the mo~lal (lower) register to a range
of perhaps 10% to 60% in falsetto."(l6) In other words, by
Ex. Baritone Voice (Must begin on low F or G for mid-
proper vocal training, the two registers can be melded to-
voice II).
gether within the passagio region. and excessive tension and
v oice breaks can be avoided, The question. of course, is how
this nny best be achieved, without doing damage or creating
vocal problems for the young singer. I feel this issue is so
important, AND controversial, that it should be given an
in-depth review .. , perhaps in another article where several
positions could be adequately stated. My ovin feeling is that
vocal strain should be avoided if at all possible. Hence, when
g. For energy, dynamic control, rhythmic agility: the young baritone singer is called upon to sing high e's and

14 THE CHORAL JOURNAL

f's, he should be able to use the falsetto register to provide It is important the young singer have his voice firmly in con-
relief, if necessary! In working the transition region (per- trol in its comfortable middle range BEFORE applying the
haps d, just above middle c, to f or g), vocalises should be vocalises given above.
given which allow the intrinsic musculature to adjust, as it CLOSING MOMENTS
is approached from below, as well as from above. If care is
The choral director's sensitivity to the vocal needs of
not taken, prolonged vocalization in the falsetto region, des-
the junior high school male will produce positive and excit-
cending downward into the modal region, can create vocal
ing results. Boys will sing better, maintain a healthier D.tti-
strain and tension, especially since the newly developing tude about themselves as individuals, and probably continue
musculature of the larynx is not ready to accommodate such to participate in some phase of vocal music throughout their
intensive coordination demands. Teachers who thoughtlessly secondary school experience. While it may not be practical
use this technique can create serious vocal habits which may or possible to work regularly on an individual basis, small
remain with the singer, even after his voice reaches full ma- group experiences within curriculum can and should be man-
turity. At the same time,> if the singer attempts to carry too aged. It is imperative that the junior high choral director
much intensity and weight in the sound from modal to falset- 1) establish basic approaches to voice classification and analy-
to, the same kinds of problems can occur. With careful super- sis; 2) apply principles of good tone production on an in-
vision and consistent practice (over a long period of time), dividual and group basis; and 3) exercise the male voice dur-
the young singer can learn to thin the cords properly in sing- ing its mutational stages so that good tone quality, resonance,
ing from the modal to falsetto registers. He can learn to use intervallic-rhythmic vocal agility, and smooth register transi-
the falsetto mechanism to extend his range, and to bridge tions can be achieved. By using a systematic, long-range
the transition area between the two registers. In order to "blueprint" for action, vocal development will proceed on a
do this, it is important that he vocalise BOTH from the top natural course, without interruption or undue strain. If the
(falsetto) down . . . into modal . . . and from the bottom teacher recognizes the developmental factors associated with
(modal) to the top (falsetto). This is a difficult task, fraught ,"oice change, training and cultivating the vocal mechanism
with possible pitfalls and problems. With some reservations, becomes much easier. The purpose of this article has been
I offer a few suggestions for vocalises to extend range and to present a workable, beginning "blueprint" for a method-
help with register transitions. ology, based upon the concepts and principles of the Eclectic,
a. Vocalizing from the top down. Try the yawn-sigh Contemporary Theory of Voice Mutation in the Adolescent
approach. Ask the students to "almost" yawn, then Male. \Vhile, doubtless, many problems and questions re-
immediately connect with a high-pitched sigh, begin- main, I hope that we, as a profession, can agree on many of
ning on the aspirated "H" and descending immediately the basic premises presented in these articles. If the basic
in pitch. The aspirate sound prevents the cords from tenets and concepts are acceptable to the majority, a compre-
"locking" together at the initial point of phonation. hel13ive, integrated approach to the care and training of the
N ext, repeat the procedure, but this time, end up on junior high school male changing voice can become a reality.
a sustained pitch in the modal register.
b. Use "whee" and "who," sliding from falsetto to modal, FOOTNOTES
sustaining a final tone in the modal register. 1. William Vennard, Singing, the Mechanism and the Tech-
c. To extend range, negotiate the passagio region, from nic (New York: Carl Fischer, Inc., 1967), p. 234.
2. Ibi-d. p. 248.
modal to falsetto: trv exercise "b.," beginning, how- 3. Ibid. p. 69.
ever, in the modal region and sliding upward into fal- 4. Henry J. Rubin, and Charles C. Hirt, "The Falsetto. A
setto. Next, sing ascending scale-wise patterns, using High Speed Cinematographic Study," The Laryngoscope,
the first the vowel "ee" and later the vowel "00." The Vol. 70, No.9 (1966), pp. 1305-1324.
5. Vennard. op. cit., p. 77.
cords "thin" best on the "ee" vowel, but good control 6. Johan Sundberg, "The Acoustics of the Singing Voice,"
in the modal region must first be achieved. Scientific American, Vol. 236, No.3 (1977), PP. 82-91.
d. Using the "ee" and "ay" vowels, vocalise from the 7. Ibid.
modal to falsetto registers . . . using arpeggios, or 8. Ibid. p. 82.
9. Ibid.
step-wise diatonic patterns. Begin with a very light 10. Vennard, op. cit., pp. 59, 240.
sound, allowing the voice to "flip" registers without 11. Sundberg, op. cit., p. 82.
undue strain. The light sovnd must have energy, 12. Vennard, op. cit., p. 21.
however, and can not be insipid! 13. Ibid. p. 19.
14. Ibid.
I rem:nd the reader that I expressed reservations about 15. Rubin, op. cit., pp. 1309-1310.
using the falsetto vocalization during time of voice change. 16. Ibid. p. 1323. :-:

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ing an attractive visual appearance the ISME CONFERENCE FORTHCOMING

NOTES OF INTEREST light-weight shell has excellent sound pro- The Thirteenth International Confer-
jection for instrumental and choral ence of the International Society for
Robert Regan has been appointed As- groups.
sistant Professor of Music and director Music Educators will be held August 12-
For further information, write or phone 20, 1978, at the Universitv of Western
of the vocal program at the University Wenger Corporation, 24 Wenger Building,
of Bridgeport, Connecticut. Prior to join- Ontario, London, Ontario, Canada. The
Owatonna, MN 55060; toll free: 800 533- theme for this twenty-fifth anniversary
ing the U. B. Music Department, Mr. 0393. For Minnesota, Alaska, Hawaii and
Regan directed vocal activities for eight will be the Person First - New Chal-
Cenadian residents, call 507-451-3010 col- lenges for Person - Oriented Music Edu-
years at West.on High School, Weston, lect.
Connecticut. He has served on the execu- cation.
tive board of CMEA and is a past presi- «« >>>>
dent of the Connecticut Chapter of ACDA. The Clarksville High School Concert
Choir, Clarksville, Tennessee, directed by THE BASICS OF SINGING
««»» Simple, concise explanation of the
Kathleen Anderson, was awarded the gold
After six years of extensive product and medal for an outstanding performance mechanics of vocal production.
market research, responses from music at the Florida World Choral Festival held HANDBOOK: $5.00
educators has led to the design of Wen- this past summer on the campus of Flor- KAREL PUBLISHING
ger Corporation's new Travelmaster Shell ida Southern College. The festival was Box 92446 Milwaukee, Wisconsin 53202
for school music programs. Besides hav- sponsored by Performing Arts Abroad.

DECEMBER 1977 15