Training the Out-of-Tune or Uncertain Singer
The out of tune or uncertain singer is probably the largest single dilemma facing the music educator. In order to teach students to sing in tune, one must first understand what causes pitch disorientation.
Many students have problems matching pitches because they are emulating a role model who speaks with a raspy, low voice. Their admiration for this person is displayed by imitating the person’s tone quality. Inexperience and lack of confidence often contributes to this problem. Limited public experience or feelings of extreme shyness can lead to an unwillingness to make an effort to sing in tune.
Some students have extreme vocal tension. They often use the muscles of their neck, placing pressure on their vocal cords when they speak. This tension is often transferred to the singing experience. They often sound raspy or throaty. They can sing in tune in the lower tessitura, but can’t match pitches in the upper range. A few students will have problems matching pitches because they are vocally lazy. Often students in this category have low attention spans or feel lethargic and unmotivated. Occasionally, students will come to the rehearsal or classroom with little experience in music. They simply don’t understand the music making process.
Pitch disorientation or the inability to inner hear is the most common reason for students’ inability to sing the correct pitch. They simply do not understand or correctly feel the vibrations in the inner ear. Some singers have sung for many years in the wrong range, usually with the chest voice. They have learned to phonate by shout singing. They generally cannot sing in tune in the upper tessitura and some have damaged their vocal cords. I call this the “Annie Syndrome.”
Hearing impairments can be the most difficult area to overcome, but also the most interesting. Students with hearing aids or some severe hearing loss can be taught to sing. Physical impairments beyond a hearing disability are rare but do occur. Some impairments include: bowed cords, arthritis in the vocal cord, mental retardation, some speaking impediments.
Teaching your students to sing perfectly in tune takes courage, patience, and the ability to properly evaluate each singer’s ability to match pitches. Gentle persistence must be an intricate part of your teaching style while
working on this sensitive issue. There are some basic techniques that can be used for the more routine problems, techniques that will quickly resolve uncertain singing.Exercise One~Let’s Whoop!
- This is the most basic and invaluable technique you can use. I discovered its importance early in my teaching career, using it with children to help them understand their natural singing range.
- a) As the students execute this exercise, have them raise their hands over
their heads and stand on tiptoe.- b) Work to have the students whoop higher and higher each time.
- c) Identify those students that whoop in the lower range of the voice and encourage them to use faster air and more energy to project their voices higher.
- d) Create a comfort zone with your students, developing an atmosphere where students feel safe doing the exercise with you or by themselves.
- e) If some students have trouble “whooping out the top of their heads” or feel awkward executing this exercise on their own, be assured that another technique will work. Move on to the next tuning activity.
- Use this exercise to assist in building a brighter more focused tone
quality. When the pitch lacks a tonal center or the melody sags in pitch, interspersing whoops quickly during the teaching of the piece is an invaluable technique to use.- The whooping exercise also assists in helping the singer understand natural
vocal resonance.Exercise Two~Let’s Sigh
- The sighing exercise is executed in the opposite direction of the whoop. It is ideal for learning to phonate in the entire gamut of a singer’s range.
- a) Sighing builds a relaxed, tensionless, free tone quality.
- b) Encourage a natural sighing quality, that begins on lower pitches and J
glides downward carefully and slowly. Students should sing all pitch
spectrums of their voices.
- Each time the students sigh, the pitch should start higher and higher. Add “Heigh” to this exercise.
- Make sure the students J glide with their hands and bodies as well as their voices.
Exercise Three~Put Your Finger in Your Ear
- This is a fabulous technique for building the student’s ability to inner hear. Insecure singers quickly gain confidence when they are able to hear inside themselves. They soon learn to match pitches perfectly with the others in the classroom.
- a) Students who have trouble matching pitches find this to be an invaluable tool for building in-tune singing.
- b) Teach the students to use this technique on their own.
- When the pitch disorientation is severe, have the student wear an ear plug or piece of cotton in the ear throughout the entire rehearsal. With this technique, they will soon begin to understand how their voices sound and what the vibrations in their heads should feel like.
Exercise Four~Put Your Hand on Top of Your Head!
- It is astounding that such a simple exercise can be so effective.
- a) Sing doo on d1 as the students think to sing out the top of their heads.
- b) Ask the students to make their entire faces fill with sound.
- Use this technique for in-tune singing as well as for a more focused tone quality.
Exercise Five~Name Roll Call
- This exercise helps you learn the students names as you teach them to match pitches.
- Use this technique at the beginning of each class. The students love doing it and you are constantly able to hear their vocal improvement.
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New Releases ~ Sacred SATB Voices ~ Sacred
For All the Saints (Sine Nomine), by Vaughan Williams, arr. Christopher Willcock, English text, OCP Pub., 10625, SATB, congregation, & organ. This arrangement is a fine alternative to the rendition of this great hymn tune. A florid introduction leads the congregation into the singing of the tune. The second verse for choir contains rich, straightforward harmonies. Difficulty rating 3. $1.20
Gedenk’ Herr Jesu/Halleluja (Reflect, O Lord/Halleluja), attributed to J.S. Bach, German/English text, Kjos, 8838, SATB & organ. This chorale and chorus is taken from two cantatas, 143 and 67. The edition by Victoria Meredith contains a pronunciation guide and extensive historic documentation. The chorale tune is easy to sing and homophonically set. The Halleluja is filled with challenging counterpoint. Difficulty rating 4. $1.35
Introit for Easter, by Valerie Shields, English text, Kjos, 8794, SATB, trumpets, & organ. This joyous pronouncement that Christ is risen is perfect for the introit of the Easter service. The setting includes the use of the church’s minister or cantor. The trumpet parts can easily be played by amateur musicians. Difficulty rating 3. $1.35
Lord, Thou Hast Searched Me, by Bruce Saylor, English text, ECS, 5191, SATB & organ. Surprising intervalic relationships dominate this quiet piece based on the hymn tune, Garmey-Calvary Church. Written for Calvary Church in New York, the piece requires soprano and alto soloists, with a choir that has excellent
tuning and can sing dramatic pianos. Difficulty rating 4. $1.50Praise to the Lord (Lobe den Herren), arr. Christopher Willcock, English text, OCP Pub., 10609, SATB & organ. Easy harmonies set in a broad style make this piece extremely accessible for congregation and choir. Difficulty rating 2. $1.20
SAB Voices ~ Sacred
Somerset Anthem Books, selected and edited by Ronald Arnatt, various texts, ECS, SATB & organ/a cappella. These wonderful collections are ideal for the small church choir. They contain anthems of varying difficulty by composers of our historic past and by contemporary composers and arrangers. Difficulty rating 2-4. $4.95-6.95
Volume 1~Advent & Christmas~5128
Volume 2~Easter~5129
Volume 3~Holy Spirit~5139
Volume 4~Christmas Tide~5140
Volume 5~General~5141Treble Voices ~ Sacred
Ghana Alleluia, arr. Kathy Armstrong, African/Latin text, Boosey, OCTB6952, SSA, a cappella with drums. Kathy Armstrong is a leading authority and performer of African music. This simple Alleluia is authentic and ideal for a multi-cultural program. A pronunciation guide, drum performance recommendations, and historic background are included in the edition. The piece uses a very narrow range and simple partwriting. Difficulty rating 3. $1.20
I Got a Robe, arr. by Michael Neaum, English text, Oxford, 3415291, SA & piano. This sprightly setting of this spiritual was written for Cantamus. The rhythms hold some challenge and the tessituras are appropriate for both children or women’s chorus. Difficulty rating 3. $1.00
In Remembrance (from Requiem), by Eleanor Daley, English text, Warner, VG-272, SSAA a cappella. Originally written for SATB voices, this haunting movement has been adapted and edited by Jean Ashworth Bartle. The entire Requiem won a major choral composition award by the Canadian Choral Conductors in May of 1994. The piece is filled with glistening harmonies that describe the moving anonymous text. The entire movement is a beautiful tone painting that will ring on treble voices. Difficulty rating 4. $1.75
Sometimes I Feel Like a Motherless Child, arr. Michael Neaum, English text, Oxford, 3415305, SA & piano. This simplistic setting has some challenging rhythms and harmonies. The piece is written in the lower tessitura (A-b); therefore it is more appropriate for women’s voices than for children. Difficulty rating 2-3. $1.00
Te Deum (three movements), by Andrew Carter, English text, Oxford, 3420708, children’s chorus, SATB, & organ. Set to Cantico di fratre sole by St. Francis of Assisi (paraphrased by William Henry Draper), it is a challenge for children’s choir. The first and last movements are for trebles; the middle movement (Holy Spirit, Truth Divine) is composed for adult chorus with treble descants. The rhythmic gestures and challenging intervalic relationships in the melody require an accomplished choir. Difficulty rating 4. $2.00
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New Releases ~ Secular SATB Voices ~ Secular
Earth Chants, by Imant Raminsh, Native American texts, Boosey, SATB (divisi), soli, a cappella. This is another major work for advanced choruses from this fine composer. Raminsh returns to his love of Indian themes and poetry, drawing on texts from the Innuit, Chippewa, Sioux, Nahuatl, Winnebago, Tewa, and Wintu tribes in a powerful collection commissioned by the Vancouver Bach Choir. The piece uses many major and minor seconds, changing meters, canonic imitation, and complex melodic relationships. The work ends with a quiet benediction. This extended work, divided into 7 pieces, each sold separately, should be done by college choirs and choral societies of advanced capability. The Lands Around My Dwelling~6889, As My Eyes Search~6890, War Song~6891, Love Song~6892, Pleasant It Looked~6893,
Upward Going~6894, Two Dream Songs~6895 Difficulty rating 4-5. $1.20-2.25Birthday Madrigals, by John Rutter, English text, (17th century) Oxford, 3432153 (Draw on, Sweet Night), 3432161(My True Love Hath My Heart), 343217X (When Daisies Pied), SATB a cappella (electric bass). Written in five movements, three of the pieces in this set are now published separately. These wonderful 20th century madrigals were written for the 75th birthday of George Shearing, a jazz pianist Rutter has admired for years. The pieces contain nonsense syllables, jazz rhythms, and challenging motivic materials. The choral suite was written in 1995 for the Cheltenham Bach Choir. Difficulty rating 4. $1.50
Some Dreams Hang in the Air, by Gwyneth Walker, English text, ECS, 5030, SATB & piano (strings). Filled with wonderful atmospheres and glistening text painting, this piece is one of a set of three pieces commissioned by two Connecticut high school choirs. The piece contains changing meters, major
seconds, and simple counterpoint. Difficulty rating 3-4. $1.80Two Hearts, Four Lips, Three Little Words, by P.D.Q. Bach (Schickele), English text, Presser, 312-41699, SSATB a cappella. This tongue and cheek madrigal (lasting 6 minutes) is another outrageous choral contribution by PeterSchickele. Written in neo-Elizabethan music language, it joins the other
“previously discovered” madrigals, The Queen to Me a Royal Pain Doth Give and My Bonnies Lass She Smelleth. Difficulty rating 4. $2.30Treble Voices ~ Secular
Fiskervise (Fisherman’s Song) & Kveldssang for Blakken (Lullaby for Dobbin), Norwegian/English text, Kjos, 6252 & 6253, SSA a cappella. Simple but somewhat surprising intervals dominate these simple part songs. Edited by Bradley Ellingboe, an extensive pronunciation guide is included in each edition. Difficulty rating 3. $1.30
There Was a Maiden (Wedding Ballad), by Lisa Taillacq, English text, Hal Leonard, 08551216, SA & piano. This simple setting of a text adapted from Fuente Ovejuna by Lope de Vega was written for Winsor and Belmont Hill schools in Massachusetts. The piece has accessible harmonies and rhythms, making it a great choice for middle school choruses. Difficulty rating 2. $1.25.
Three 17th Century English Lyrics, by James Mulholland, English text, Colla Voce, separate numbers, SA & piano. These settings of Fair and True (20-96850), Come Let’s Be Merry (20-96840), and When I Lay Me Down to Sleep (20-96830) are charming. The pieces contain changing meter signatures and warm harmonies set to gentle counterpoint. Difficulty rating 3. $1.35-1.40
The Trees Stand Shining, by Victoria Ebel-Sabo, Native American text, Boosey,OCTB6964. Set to atmospheric counterpoint that describes the trees “growing in the light,” the piece is written in an ideal range, with shimmering intervals that will ring on children’s voices. Difficulty rating 2-3. $1.20
Tiree Love Song, by Alexander Sinclair (arr. by Michael Neaum), English text, Presser, 392-009640, SSA & piano. Neaum arranges British folksongs or folk-like materials with sensitivity and charm. This particular arrangement is set to lovely counterpoint over a flowing piano part. Difficulty rating 3. $2.00
Three Birthday Madrigals, by John Rutter, English text, (17th century) Oxford, 3426250 (It Was a Lover and His Lass), 3426269 (My True Love Hath My Heart), 3426277 (When Daisies Pied), SSAA & piano. These three madrigals originally written for SATB voices have been adapted by Rutter for treble voices. An original jazz piano part has been written to accompany the pieces and should be used as a guide for the pianist. Difficulty rating 4. $1.40-1.60
Men’s Voices ~ Secular
The Us of Me, by David L. Brunner, English text, Boosey, OCTB6917, TTBB & piano. Written for the Orlando Gay Chorus, this festive anthem celebrates the common experience of all human beings “and the necessity to affirm, support, and nurture each other.” Written homophonically with a florid, supportive
piano part, the piece contains changing rhythms to better advance the meaning of the original text. Difficulty rating 4. $1.45Shenandoah, arr. Paul Basler, English text, Plymouth, PJMS-300, TTBB & piano.Edited by Jo-Michael Scheibe, warm harmonies with simple counterpoint are part of the musical fabric of the famous sea chantey arrangement. The accompaniment is written independent of the voice parts. Difficulty rating 3.
$1.25In Memory of Princess Diana
Song for Athene, by John Tavener, English text, Novello, 60991, SATB a cappella. This spectacular piece was performed by the men and boy choir at Westminster Abbey during the funeral. It is filled with harmonic challenge, requiring an accomplished choir to be effective, but well worth the time. Difficulty rating 4. $1.95
Candle in the Wind 1997, by Elton John, English text by Bernie Taupin, Hal Leonard, 08200870 (SATB), 08200871 (SAB), 08200872 (SSA), 08200873 (SA) & piano. The recording of this song has already made millions for Diana’s trust. These arrangements by Ed Lojeski stay fairly true to the original
version and all royalties will go to charity. Difficulty rating 3. $1.40
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