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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

How to Help Children Match Pitch (part I)

Keven Smith · November 30, 2020

BELIEVE THERE’S A DANGEROUS misunderstanding around the issue of matching pitch. In my work in parishes, I’ve found that most apparently “tone-deaf” people aren’t tone-deaf at all; they just can’t coordinate their voices to sing what they hear in their audiation. I have some specific methods for helping men match pitch, based on my notion that many “tone-deaf” men are either reluctant or unable to sing high.

Today let’s focus on children. Suppose you’ve started a children’s choir or children’s music class. You get the kids together and have them warm up by singing a simple hymn or folksong. Most of the kids sing more or less in tune with decent vocal quality. But you soon notice a few “droners”—kids who can only approximate the shape of the melody and have a limited range. What do you do next?

One challenge is that every child is different. Another challenge is that in a typical church music program, you probably only have one weekly class or rehearsal to evaluate, diagnose, and fix the non-matchers—all with many other students looking on.

Thus, I don’t have a single, failsafe method of fixing this problem. But I do have a toolbox of general principles and specific techniques that have worked for me over the years. I’ll be sharing them in my next few articles.

Let’s begin with what should be our top priority as teachers of young singers.

Head Tone or Bust

Ever been to a concert performed by an outstanding children’s choir? Or attended a parish with a well-trained youth-heavy choir? What’s the number-one compliment people tend to offer? That’s right: “They sound like angels!”

What does that mean, exactly? It’s a metaphor, of course—angels don’t have bodies. But one can surmise that it refers to the purity, sweetness, and lightness of the sound. This delightful sound is called the head tone. For the singer, it produces a feeling of resonance in various parts of the face and head (these sensations can vary widely from one singer to the next). For the listener, it lifts the soul without overwhelming the ears. Find a parish with a whole gaggle of kids singing in head voice, and you’ll be in for an otherworldly experience at Mass.

The “other” tone is the chest tone. It’s the voice most people will instinctively use if they suddenly join in singing Happy Birthday and aren’t thinking about vocal quality. It’s a tone that seems to resonate lower in the body without engaging the head or face. The chest tone isn’t inherently bad, but it’s not ideal for choral singing.

Renowned choral conducting pedagogue Dr. James Jordan writes:

“If one were to ask what the single most important ingredient for the building of a healthy vocal sound is, the answer most certainly would be pedagogical insistence upon head tone….Without sufficient head tone, it is almost impossible to have a wide range of dynamics, and it is next to impossible to have crescendos or decrescendos. It is also difficult to vary tone color for different musical styles….Finally, without sufficient head tone in the sound, serious pitch problems will abound.” [Jordan, James. Evoking Sound: The Choral Warm-Up. GIA Publications, 2005. Page 76.]

As you can see, encouraging head tone isn’t just about teaching your choir to produce the best sound possible. It’s also about helping them control their pitch. In my experience, children who sing exclusively with chest tone have severe difficulty staying on key, especially when the melodic line goes up high.

How to Help Kids Find Their Head Tone 

So, how to find this elusive head tone? It won’t happen overnight; it’s a habit your singers must develop.

In the same passage I cited above, Dr. Jordan encourages heavy use of [u] and [i] vowels in warmups:

“Careful selection of vowels for vocalizing is directly related to head tone development. ‘Oo’ and ‘ee’ are often referred to as ‘head tone vowels.’ Of all the vowels in English, they are the two vowels that are most abundant in their capacity for carrying head tone. In essence, all vowel colors, in my opinion, should grow from a correct production of ‘oo’ and ‘ee.’ No other vowels should be used at the beginning of the warm-up process for inexperienced choirs.” [emphasis in original]

It makes sense. It’s pretty hard to sing a spread, chesty “oo” vowel. The “ee” vowel is a bit dicier, but at its best, it has a thrilling, shimmering quality. I’ve gotten good results stressing these vowels in warmups and encouraging singers to let the other three Latin vowels grow out of these two.

But what about the severe droners? I’ve found it helps to get away from the whole idea of pitch and instead focus on making sounds. Try some warmups that aren’t on specific notes:

  • Hoot owls. Tell the kids to start on the lowest pitch they can comfortably hoot and gradually hoot higher. Remind the children to drop the jaw and round the lips; they’re not going to be able to access their head voice if they don’t open their mouths. Is anyone straining or forcing to go higher? Gently remind them that once they’ve reached their “ceiling,” they should keep hooting sweetly and lightly on that note.
  • Sirens. Tell the kids to start on a comfortable note, slide upwards, and then slide back down. Demonstrate, and then have them follow your hand as you raise and lower it. This exercise gives the voice a stretch, yet it’s fun and helps dissolve kids’ inhibitions about singing high.
  • Big sigh. Tell the kids to take a deep breath, drop the jaw, and then gather the lips as if they’re drinking a milkshake through a straw. They should sing the highest note they can hit comfortably (no screeching or forcing) and then let the pitch slide down on “oo,” gradually reaching the lowest note they can comfortably sing. Remind them to leave the jaw dropped for the entire exercise; otherwise, they’ll fall abruptly out of head tone into an unattractive chest tone. The big sigh is invaluable for reinforcing the feeling of effortless singing that rides on the breath.

I have many more ideas for helping kids match pitch, but I’ve gone on long enough for today. I look forward to sharing more in future articles. Thank you for reading!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: Catholic Youth Choirs Last Updated: December 1, 2020

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The priest coming nearer to the faithful; communicating with them; praying and singing with them and therefore standing at the pulpit; saying the COLLECT, the EPISTLE, and the GOSPEL in their language; the priest singing in the divine traditional melodies—the Kyrie, the Gloria, the Credo—with the faithful: these are so many good reforms that give back to that part of the Mass its true finality.”

— Archbishop Marcel Lefebvre (1965) praising vernacular readings at Mass

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