Transcript BOYS TO MEN

A Practical Approach
• Strategies for quickly identifying where
adolescent males are in the voice change
process.
• Ways to structure your choir based on what you
have to work with.
• Examples of literature that works well for
adolescent voices.
• A big circle around the piano works for me. Risers are okay
too.
• Key of B Major
• Separate the low voices
• Key of F Major
• Separate the low voices
• Double-Check
• 5-3-1 / Sol-Mi-Do / No-Oh-Na
• “Ah” is the vowel that will give you the most information, but be careful.
• ALWAYS BE WILLING TO GIVE A BOY RE-DO
• A re-do promotes solo singing, an investment in the process, and a culture
of collaborative learning and teaching
• Labels for each section – “not the total truth”
• You must share this with the boys. Lack of understanding is the root of
bullying and teasing. It is YOUR JOB to create the necessary environment for
success. Every boy in the classroom has a “changing” voice – everyone.
• The “Changed” section is mostly comprised of boys in stages 5 and 4.
• If a boy can easily sing down to a D (middle line bass clef) or lower, I usually
put them in the “changed” section.
• The “Changing” section is comprised of boys in stages 2 and 3.
• Boys singing comfortably down to F or G (4th line / top space bass clef), are
put in the “changing” section.
• The “Unchanged” section is mostly comprised of boys who are in
stage 1 or actually unchanged.
• Many of these boys can sing down to B or A below middle C. The freedom of
the upper register and lack of strength in the lower range are telltale signs of
who belongs in this section.
• Speaking voice. (height as well)
• Resonance. Where is the sound hangin’ out?
• Posture/Technique. How efficiently/freely do they sing?
• Alignment, head-voice, chin, breathiness, etc.
• “Fake” notes. Is he forcing notes out?
• Hesitation is normal.
• Young boys may not want to be “unchanged” voices, but more importantly,
they don’t want to be embarrassed. Don’t be afraid to tell them what you
are listening for. Don’t confuse hesitation for a lack of ability.
• Heaviness and Huskiness vs. Lyrical and Relaxed
• Breathiness is often a result of a rapidly changing voice.
• Regardless of range, I may move them if they can’t sing with reasonably
efficient posture (chin especially). It is not fair to them if I don’t. It’s better
to fake it with good technique than to force it with bad!
• “Grovelers!” What can I do with a “groveler?”
• BE AGGRESSIVE, TALL IN BACK OF HEAD, RELAX THE JAW and
SNOTTY TONE. A snotty tone should be encouraged!
• Nasal resonance really seems to help boys, and men, release
tension in their throat, ultimately helping them move through pitches
that they don’t trust.
• Be patient. I have had several grovelers that took 6 months to fix,
but I’ve NEVER had one that went on forever!
• All changed voices seem to be considered basses.
• Too often the earliest voices to change are considered the basses and the
later ones are considered the tenors. Then in 9th and 10th grade, half the
boys are in the wrong section!
• It is quite common for boys to switch from the bass section to the tenor
section. Why?
• EVERY boy becomes a New/Settling baritone at some point. Therefore,
most tenors start their “career” as baritone/basses. Be ready for this, and
explain it to them. Late bloomers are no less likely to become basses than
students who mature early.
• EVERYONE is a “changing” voice…
• If you don’t consciously teach vocal techniques that will “build” good
singers, you won’t have any… or you’ll have very few. This can, and
should be done, regardless of stage of change.
• Number of voice parts (TTB, TB, B, etc.) has nothing to do with
skill. It has EVERYTHING to do with vocal range. Wrong vocal
range – THE CHILD WILL HAVE NO SKILL! Use 3-part music for
boys middle school boy’s choirs. This is the most efficient way to
accommodate the various stages of change.
• Most 3-part music for MEN doesn’t work for middle school BOYS. TBB vs.
TTB.
• Number of boys doesn’t matter, you still need 3 parts, even if you leave
one out.
• Balance… WHO CARES!? They need to sing where they
belong, not where you need them.
• Adjust music as needed. Respectfully of course!
• create solos, adjust voice leading, etc.
• With mixed middle school choirs, try to use SATB arrangements. SAB
isn’t as logical as it might seem. Why do I think that?
• Often the “B” part utilizes full octave ranges, which many young men don’t
have yet… or at least not the same octave as the guy next to them! 
• Separate 7th & 8th mixed groups can be especially challenging for this
reason.
• When using SATB arrangments, who’s a tenor and who’s a bass?
• It all depends… It may be necessary to make adjustments to the music in
order to accommodate success for your singers.
• Tenors at this age aren’t really tenors because they haven’t become new
baritones yet. Therefore limited in range. Same for basses.
• There are a number of composers who are mindful of developing voice
ranges. (Spevacek, Harris, Parks, Perry, Althouse, Crocker, etc.)
• There is a belief by many that SAB music is necessary because young choirs
(boys) are unable to handle the complexity of other voicings. Complexity is
better than impossibility.
• Refer to them as MEN.
• “Real Men” handle adversity by challenging themselves and each other.
• Being a “Real Man” requires a willingness to accept one’s capabilities and
a desire to improve.
• A “Real Man” can handle a crushed butterfly once in a while.
• A “Real Man” respects, and builds up, his brothers. There is no room in a
young choir for anyone who wants to tear down another. (bullying)
• “Real Men” are terrified of looking foolish in front of girls.
• For Girls:
• Sweet Talkin’ Guy, arr. HUFF, SSA, HL08730075
• Something Told the Wild Geese, Porterfield, 2-part, Heritage Music Press
H5890
• I’m Gonna Wash That Man Right Outa My Hair, arr. Brymer, SSA,
HL08720802
• The First Snowfall, Ellen, SSA, Shawnee Press B 0547
• She Sings, Bernon, SSA, Heritage Press, 15/1863H
• For Boys:
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It Takes A Worried Man, arr. Krunnfusz, TTB, Alliance Pub. AP-1150
Boatmen Stomp, by Gray, 3-part, G. Schirmer 12396 (out of print?)
Rosalee, by Perry, TTB, HL42318041
Ballad of the Cross-Eyed Sailor, Perry, TTB, Shawnee Press C-272
Salty Dog, arr. Bobby Siltman, CBB, Cambiata Press U485183
Children Go Where I Send Thee, arr. Crocker, TTB, HL47103041
Drill Ye Tarriers, arr. Crocker, TTB, HL47104011
The Little Book Spiritual, arr. Moore, TTB, BriLee Music BL287
Songs for Tenor-Bass Chorus, arr. Crocker, TB/TBB, HL47123077
• Aura Lee, Sansa Kroma, Passing By, Viva Tutti, Chorus from “Sleepers
Awake,” Blow Ye Winds
• HONESTY
• This is the situation and IT IS NORMAL!
• “This is part of becoming a man!” (not just a cave man, but a real man)
• Have fun with the reality. Laugh together. Bullies get CRUSHED by me!
• PASSION
• Be excited about what is happening for the young men. Let them know that you are enjoying the process
for them.
• Don’t for a second believe that they aren’t picking up on how you really feel.
• Rachmaninoff got me here, but it isn’t what kept me.
• CONSIDERATION
• You must be considerate of their limitations by not asking them to do things that they can not be successful
at. (throw your ego aside and do the music that you are supposed to do, not always what you want to
do)
• Boys will develop a hierarchy within the classroom – be sure that it isn’t hurtful or painful. Find ways to
even the playing field so that ALL BOYS are part of the difficult transition.
• AGGRESSION
• We will be aggressive about singing!
• Voice change is not an excuse for inaccurate singing.
• Doing nothing, or bowing out, are seldom helpful.
• At times I am their friend. Not because I’m cool, or because I
play video games, but because I have their back and I hold
them accountable like a true friend would.
• Although they are unruly and smelly, in their hearts they want
me to be proud of them. THEY TRUST ME, and this trust is
earned through my passion for their success.
• Every year I make this promise – “I will not let you make a fool
of yourself.”
• My expectations are always high. This shows the boys that I
have confidence in them, even when so often they don’t believe
in themselves. Over time, they too will expect more from
themselves!
• And… I’m a liar!
• You will make mistakes, and your kids will see it, and this is the
most import part of why they trust you!
• Because I am willing to admit that I am sometimes wrong, they trust that I
am always considering what is best for them.
• Although mentorship programs can be helpful, you may still
want to seek out others on your own.
• Influential People for me:
• Stan Carlson, Carlin Berg, Axel Theimer, Mike Smith, Chris Aspaas, Brian
Stubbs, Ann Motl, Gene Mattilla, John Gagliardi… many, many more!
• My contact information:
Steve Hoemberg – [email protected]