Advice for Working with Changing Voices in Middle and High School Choirs
Voice change occurs in all voices, and it’s important to find ways to encourage and support your singers throughout the process (and keep them singing).
As a middle or high school choir director, you need to know what to look for, how to evaluate your singers, and how to support and encourage them throughout the process.
Researchers agree that voice change occurs in stages, though there are a few different schools of thought on the process.
In the mid-20th century, there were four main theories: Cooper's Cambiata Concept, McKenzie's Alto-Tenor Concept, Swanson's Baritone-Bass Concept, and Cooksey's Contemporary Eclectic Theory.
For adolescent males, it may begin as early as age 9, though it occurs most often between ages 12-15 (source). It may take anywhere from 18 months to three years for the voice to change completely (source). For adolescent females, voice change often occurs between ages 11-15 and may take up to four years.
Considered one of the leading authorities on this topic, Cooksey outlined five stages of vocal change and transformation in the adolescent male voice:
Editor’s note:
The stages outlined in this post are a useful framework,
but know that voice change varies significantly from person to person.
Stages of Voice Change (Male)
Unchanged
Age: 10-11 (Grade 5/6)
Description: full and rich; soprano-like
Range: A3-F5 (A below Middle C to F above Treble C)
Tessitura (average range of vocal part): C#4-A#4
Stage 1
Age: 12-13 (Grade 7)
Description: breathy; singing range decreases by about four half-steps
Length: 1-5 months, sometimes up to a year
Range: Ab3-C5 Tessitura: B3-G4
Stage 2
Age: 13-14 (Grade 7/8)
Description: higher pitches are more challenging; register changes between chest and falsetto voices begin to appear
Length: around a year
Range: F3-A4
Tessitura: G#3-F4
Stage 3
Age: 13-14 (mostly Grade 8)
Description: husky, less agile
Length: 1-10 months
Range: D3-F#4
Tessitura: F#3-C4
Stage 4
Age: 13-15 (Grade 8/9)
Description: solid sound, still lacking adult richness
Length: 3-5 months
Range: B2-D4
Tessitura: D#3-A#3
Stage 5
Age: 14-15 (Grade 9/10)
Description: range expansion beginning to emerge (though still not quite full tenor or bass); more consistent voice
Range: G2-D4
Tessitura: B2-G#3
The Importance of Falsetto
Choral conductor Henry Leck noted that all of the classifications mentioned above leave out the falsetto or upper voice, which, in most cases, can extend the male range to at least E5 (E above Treble C).
Myth: Singing through voice change means pushing the voice or attempting to sing notes that are out of range.
Fact: Singing through voice change means continuing to use and develop the upper range and singing notes that fall in a comfortable range.
Leck observed, "In most instances the high voice or 'falsetto' does not disappear but, conversely, can give crucial assistance to the new voice. Oddly enough, the high voice becomes the foundation for the low voice." (source)
Stages of Voice Change (Female)
Adolescent females experience voice change, too, though the transformation is not as dramatic as it is for males. Still, the process may take several years. It’s often characterized by breathiness, inconsistencies between registers, and the development of vibrato (source).
Unchanged
Age: 8-11
Description: light, flute-like
Range: Bb3-F5
Tessitura: D4-D5
Stage 1
Age: 11-13
Description: breathy, register change between chest and falsetto begins to emerge (generally between G4 and B4)
Range: A3-G5
Tessitura: D4-D5
Stage 2
Age: 13-15
Description: heavier; comfortable singing range decreases; easier to sing lower pitches
Range: A3-F5
Tessitura: B3-C5
Stage 3
Age: 14-15
Description: less breathiness, fuller tone; early vibrato development
Range: A3-A5
Tessitura: A3-G5
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Overcoming Challenges
Working with changing voices requires dedication, patience, encouragement, and creative problem-solving. Help your singers stay engaged and active during voice change so you can continue making music together. Encouragement is vital to the process. Do what you can to make singers feel comfortable experimenting and trying things, help them learn how to be flexible, and support one another throughout the process.
Here are a few common challenges you might face with your choir and ideas and strategies for overcoming them in rehearsal:
Some of my tenors and basses sing everything down an octave.
Try matching their pitch, then step or skip up to the desired note. If it's in a comfortable range for them, begin singing the line immediately, at the correct pitch. Help your singers develop good breath support, especially during this time of change and vocal development. Here are a few exercises and warm-up ideas.
My singers have gaps in their ranges.
Help your singers connect their head voice (or falsetto) to their lower voice by using a top-down approach in your warm-ups: vocal slides or glissandi and lots of descending patterns.
"Vocalises that descend and employ some movement with the body are more helpful, those with a narrow tessitura of a fifth or a third are easier, and descending patterns are easier than ascending ones." - Henry Leck (source)
Suddenly, this part seems out of range for some of my singers.
Adolescent male voices may change quickly or slowly, depending on the individual. Ensure that all singers are singing a part that falls in a comfortable range for them by frequently checking their voices and making adjustments. It's better to move singers around from week to week or adapt a part to their voices than keep them on a part that’s uncomfortable to sing.
Myth: Singing through voice change means pushing the voice or attempting to sing notes that are out of range.
Fact: Singing through voice change means continuing to use and develop the upper range and singing notes that fall in a comfortable range.
Be flexible (source). It's better to move guys around from week to week or adapt a part to their voices than keep them on a part that is uncomfortable to sing.
I'm having trouble finding music my choir can sing.
If you have tenors and basses with changing voices in your choir, it may seem logical to choose music with a men's part. You may not have enough singers to split into tenors and basses, so a common thought is to choose SAB music. However, baritone parts are often more challenging
for those with changing voices because they're often written right around the break.
Bridge the gap by choosing music written for equal parts or treble voices. Transpose or adapt the parts, as needed, to accommodate your singers and their changing voices.
"Seek out simpler music (for example 2- or 3-part treble) and be flexible in adapting parts in those arrangements to accommodate ranges that are comfortable for each singer."
- Henry Leck (source)
Voice change is an ideal time to keep developing musical skills and good singing habits, so spend
time focusing on vowels, breathing, posture, music-reading, and listening.
I’d love to hear from you:
What are your best tips for working with changing voices in youth choir?
