Now that you have some idea of the mechanical workings of the voice we specifically need to consider the young, developing voice. It is constantly changing - even in adulthood - for example, it is generally possible to gauge someone's age by their speaking voice, but the greatest changes happen in childhood and adolescence.
The trained adult voice is capable of producing a vocal range of 2½ to 3 octaves. This range is divided into areas called registers which can be defined as "a group of sounds or tone qualities whose origin can be traced to a special kind of mechanical (muscular) action." (As mentioned earlier in reference to the working of the vocal folds.)
It is generally accepted that there are three areas - head, middle and chest, or upper, middle and lower adjustment. The middle voice is a mixture of head and chest in varying proportions and enables even movement from head to chest. In some voices these are more evident than in others. They are particularly evident in the singer who pushes their chest voice up as far as possible and then flips into a hooty, light head voice.
In the past (and still in many churches and cathedrals), especially in the British choral
tradition, it was advocated that trebles only used the flute-like head voice and none of the chest
mixture was present. In America and more so in England now (since singing teachers in Cathedral
situations are more prevalent) boys are encouraged to use the whole voice.
The pure upper voice where the inner edges of the folds oscillate generally begins an octave
above middle C and extends upward. Pure chest voice should only be used from middle C downwards.
Between these two registers is the middle voice which is a combination of both lower and upper
registers.
Children lacking in vocal instruction mostly gravitate to the chest voice which is the speaking voice register and never discover their head voice. This is another cause of 'tone-deaf' singers. Over a sustained period of time this kind of singing can lead to permanent vocal damage as the folds are under a terrific amount of pressure.
It is now more widely believed that the sole use of head voice, extended below middle C is equally damaging and the sound in this part of the voice is lifeless and does not project. The answer, however, is not a sudden flip into chest voice at this point. American research has also found that boys encouraged to sing in all registers have a much easier journey as the voice changes in adolescence. It is not necessary for them to have a period of time when they are not singing, waiting for a period of adjustment.
The European or Continental approach to choir-boy singing (eg Vienna Boys Choir) is different from the traditional English model in that some chest is mixed into the head register, producing a more robust quality and the ability to sing an alto part. This is the general approach I favour. It may be thought that some of the "purity" or spiritual quality of the sound is lost, however, in my opinion, it adds a wider range of expressiveness and requires greater physical involvement.
Children should feel uninhibited to explore and experiment with their voices, not purely aiming at beautiful sounds. The upper voice must be emphasised initially and vocal exercises should predominantly move downwards, keeping the middle light but energised. The two registers should then begin to blend automatically.
Girls' voices do not change as much as boys', but there is a vocal adjustment.
Before puberty girls' larynxes are closer in size to the adult larynx than boys', and therefore need less growth to reach maturity. The female vocal folds do increase enough in length and thickness to result in a period of adjustment during which the tone may become breathy or sound congested. Good vocal technique will restore this very quickly. The registers remain basically the same and the use of chest voice above middle C should be discouraged.
The adolescent male voice change is more documented than the female change. The larynx approximately doubles in size and protrudes at the front - the Adam's Apple - and produces a sound an octave lower. While the voice is settling there may be areas of the voice where there is no sound but it is generally accepted that the whole voice including the falsetto should be exercised so that the upper voice can later be developed.
The main reasons why children stop singing are
i) a lack of vocal development, making it strenuous or difficult to sing and
ii) peer pressure, particularly at adolescence -comparing oneself with others and embarrasement due to lack of confidence.
The first can be taught, the second is a case of creating a safe, non judgemental atmosphere in which to develop and the choice of suitable repertoire.
In teaching young and changing voices it is vitally important to have some idea of what should
be expected at each stage of development. Of course, no two pupils will be the same but it is
important to find repertoire which has the right range and tessitura so that voices are stretched
to their full potential but not strained.
This can sometimes prove to be very difficult and much of the modern repertoire for the very
young, for example, consistently goes above a D. This often results in out of tune, strained singing
and the development of bad habits which will be carried on into later life.
The adolescent voice is also difficult to accomodate as the top is usually around a C or D. Few songs of the standard repertoire have C or lower as its top note, so it is important to transpose and even change notes or octaves to accommodate the student and encourage comfortable singing. At this stage the development of good basic habits is vitally important, singing in a comfortable range and dynamic - neither too loud, or just as importantly, too softly. A healthy energised sound at this stage is of the utmost importance for healthy development. But keep them singing!!
Try to avoid labelling or pigeon-holing voices at this age. Encourage them to sing where they are comfortable, transposing if necessary, emphasising strengths rather than weaknesses - they are, as you know, not only vulnerable vocally but emotionally as well.
Introduction, Technical Aspects, Practical Ideas, Vocal Ranges, The Healthy Voice, Bibliography, Front Page.
©Anita Morrison October 1999