Post on 19-Jan-2021
Selecting Age Appropriate Choral Repertoire
Dr. Michael John Trotta
Common questions. . .
Can MS/JH singers perform “adult” repertoire?
How does the male voice change, and how does this affect my choir?
Does the female voice also change?
What factors do I need to consider when choosing repertoire?
What is the difference between SATB, SAB, 3-pt mixed, and Cambiata repertiore.
Overview . . . Literature selection
perhaps the most important aspect of developing an successful rehearsals and performances. (Reames, JRME)
A Case for Quality Music (Collins, The Cambiata concept) New teachers often choose music that panders to the what they
think the students will like Arrangements of “pop” music Pop inspired settings, adolescentristic
Master teachers select music based on educational and aesthetic tenets Masterworks, Folk Song arrangements, Spirituals, Newly composed
music Music that teaches the independent part singing skills needed for a
lifetime of great music making
Common problems . . .
Putting all of the young men on the same part Ignores the male voice change Leads to frustration
Choosing Literature that is too easy or trite Having the boys sing the soprano down an octave Picking music that does not have a boys part
Choosing Literature that is too difficult Some style periods are not appropriate for the young voices
because of the tessitura Repertoire selection should be driven by vocal range
Goldilocks ?
Solutions. . .
Step 1 – Understanding the Adolescent Voice Male Voice Change Female Voice Change
Step 2 – Guidelines for matching repertoire to your ensembles Different models of choral programs How to evaluate a piece of music for your ensemble
Voicings
Step 3 – Resources for finding appropriate repertoire
Step 1 - Understanding the Male Adolescent Voice
¨ Male (Cooper and Cooksey) Three Stages
Unchanged
Rich, full soprano-like
Cambiata Limited range, loss of upper
New Baritone
Possible “blank” middle
NOT adult Baritone
Step 1 - Understanding the Adolescent Voice
In John Marion Cooksey’s book Working With Adolescent Voices Midvoice I
Lasts from 1 to 5 months, and sometimes up to 12 months. Higher pitches are lost and the singing range decreases by about four half-steps. The sound is breathy and not as rich.
Midvoice II Lasts for about 12-13 months and begins closer to the age of 13. Higher notes become more unstable and
distinct register changes emerge between chest and falsetto voices.
Midvoice IIA
May last anywhere from one month to ten months and the majority of boys in this stage are in eighth grade, ages 13-14. The quality is huskier and there is a loss of agility
Adding low notes to their existing unchanged range and losing some of the top range.
The last stage is called the Developing Baritone/Emerging Adult Voice that gradually moves towards vocal maturity. Characteristics in this stage are still not full adult, but qualities such as expansion of range and more vocal consistency are beginning to appear.
Step 1 - Understanding the Female Adolescent Voice
Prepubertal
Pubescent /Pre-Menarcheal
Puberty /Post-Menarcheal
Post-Menarcheal/Young Adult
Step 1 - Understanding the Female Adolescent Voice
I. Prepubertal Age 8-10/11, light and flute like easy switch lower and upper ranges
Pubescent /Pre-Menarcheal Age 11-13, breathiness common
Puberty /Post-Menarcheal Age 13-15, shortened range, husky quality
Post-Menarcheal/Young Adult Age 14-15, Fuller richer tone, may produce vibrato
Step 2 – Guidelines for matching repertoire to your ensembles
Different Models of choral programs
Grade level 1 2 3
Elementary Treble Choir
Auditioned Treble Choir
Middle/JH 6 Mixed 7 Mixed 8 Mixed
6/7/8 Boys 6/7/8 Girls (Combine on Concert)
6/7/8 Mixed
High School 9-12 Mixed 9-12 Audition
9 Boys 9 Girls 10-12 Mixed 10-12 Audition
9-12 Mixed
Step 2 – Guidelines for matching repertoire to your ensembles
How to evaluate a piece of music for your ensemble ¨ Vocal ranges determine the appropriateness of the piece
¨ Sop – not above F
¨ Alto – Not below Bb
¨ Tenor – G/A-a (one octave)
¨ Baritone – D-d (one octave
Step 2 – Guidelines for matching repertoire to your ensembles
Voicings ¨ SATB – with limited ranges as in some Renaissance and Baroque Music, the
tenor is high enough to make this possible ¨ SAB – This is music written for adult choirs where the men never learned
how to sing in their head voice, DO NOT use this music for changing voice choirs.
¨ SSA - ¨ TTB - ¨ 3-pt Mixed – Many times this music is written with the changing voice in
mind, especially if there is an optional baritone line ¨ SSCB – this is music written specifically for changing voice choirs
¨ Having gender separate choirs provides the most options for different parts for the singers to choose from.
Step 3 – Resources for finding appropriate repertoire
CPDL – Vivaldi Gloria
Edited by Drew Collins
for changing voices
Excellent to pair with a
youth orchestra.
Step 3 – Resources for finding appropriate repertoire
CPDL – Schubert
Lebenslust
Ed Drew Collins
Step 3 – Resources for finding appropriate repertoire
Earthsongs – Gloria in Excelsis. Mass in Bb– Haydn
Step 3 – Resources for finding appropriate repertoire
ACDA Repertoire lists –
Beware ! There are many pieces on this is that violate some of the aforementioned principles.
A master teacher can adapt a work to fit the needs of their students.
Cross check with CPDL for good editions
Step 3 – Resources for finding appropriate repertoire
Agnus Dei (3pt) Poorman BriLee BL423
Adoramus Te (3pt) Crocker Hal Leonard 08740062
Native Am Thought(3pt) Porterfiled Heritage 15/2145/H
Didn’t My Lord (3pt) Emerson Hal Leonard 40326168
This Old Hammer (3pt) Emerson Hal Leonard 08551837
Elijah Rock Emerson Hal Leonard 08551274
Exhilaration is the Breeze (3pt) Ginsberg Heritage 15/1970H-3
The Wind (3pt) Ginsberg Heritage 15/2159H-3
Can You Hear (3pt) Papoulis Hal Leonard 48005164
Walk Together Children Berg Walton WLG 132
The Pasture Stroope Colla Voce 45-21102
And the Night Shall Be Filled Gilpin Heritage 15/1894H
Haida McRae Pavane P1201
American Folk Rhapsody Spevcek Heritage 15/1205H-2
Where Dwells the Soul Childs SBMP SBMP 463
Three Madrigals Diemer Boosey M051454174
Rhythm of Life Barnes Waring A-1316
Kyrie Schubert Hal Leonard 00007709
The Water is Wide Zaninelli Shawnee A0616
Gloria Libergen Alfred 7891
Tres Cantivos Leite Earthsongs
Step 3 – Resources for finding appropriate repertoire
Collins, Don L. The Cambiata Concept: A Comprehensive Philosophy and Methodology of Teaching Music to Adolescents. Conway, Ark: Cambiata Press, 1981.
Cooksey, John Marion. Working with Adolescent Voices. St. Louis, MO: Concordia Pub. House, 1999.