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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 II)

Keven Smith · December 7, 2020

HIS ARTICLE IS THE second installment in my three-part series (for now) on helping children match pitch. In my last article, I explained why I believe singing in head tone is a prerequisite for children to match pitch.

Now, I explained six months ago that in their first classes with me at age 4, kids learn that the most important skill of a musician is listening. I haven’t changed my stance. But I think of it this way: a child can’t show the fruits of careful listening if they’re misusing the voice. A child who is listening intently but using their voice wrong will, in my experience, always struggle to match pitch. I’ll see in their eyes that they’re entirely focused on the task at hand, but they’ll keep missing the note.

There are a few things you can do to remove obstacles to their success. I’ll cover two of them in this article.

Tip: Make everyone sing alone

When kids struggle to match pitch, there are sometimes personality issues going on. I’m not necessarily implying a lousy attitude. It could be a simple lack of confidence, extreme shyness, or the fact that Mom signed them up against their will.

For these and other reasons, I have children sing alone in each of my classes. This approach may sound aggressive or even harsh. Indeed, in the first few classes of a school year, I do encounter some reluctance. After a while, it goes away.

Don’t make a big deal out of it; matter-of-factly ask, “Who would like to try singing this alone?” Then, beginning with the volunteers, work your way around the room, and ask each child to sing a single note or simple note pattern. If children resist, use your judgment. Perhaps let them off the hook at the first couple of classes but say, “Well, I’m sure you’ll want to try next week.” I’ve found that the reticent kids warm up after a while due to positive peer pressure.

There are at least three benefits to singling everyone out. First, it’s the best way for you to evaluate each student individually. In a class of 20 kids, it can be hard to identify which two or three are singing those off-key notes.

Second, it lets the children know that each of them has a contribution to make to the class (and eventually, the choir). The message is clear: there’s no coasting along and hiding behind the other voices. If you’re here, you should be contributing to the group sound!

And third, it forces them to listen to themselves—not just the overall group sound. I’ve met adults who say, “I can’t sing alone, but I can get it if enough other people are singing.” Ah, but what if you have a choir loft full of such reticent musicians? Nobody will sing the Kyrie! We’ve got to raise the bar by encouraging our young students to sing out, alone, and not to be afraid of making a mistake.

Now, going around the room and giving everyone a chance to sing alone won’t instantly “fix” the non-matchers. But I have another trick that can do just that in some cases.

Tip: Sing in their range and timbre

If you’re a male teacher, consider demonstrating in your falsetto or asking an advanced student to demonstrate for the class.

This one is like magic for those challenging cases who simply can’t seem to match pitch. While most of my students will hear me sing a note in my octave and instinctively sing it back in their own (higher) octave, the non-matchers will sing back a different note entirely. But when I repeat the note or pattern in my falsetto, the non-matchers will match almost every time.

Here, as always, be sure to remember that the little student sitting in front of you isn’t just a voice; she’s a soul. So when I have to give a “second chance” note in my falsetto, and they sing it back correctly, I try to deflect any embarrassment. I’ll say, “Some people’s ears are just like that; it helps them to hear me sing it in my ‘other’ voice!”

My falsetto frankly isn’t very good most days (I’ve heard that, paradoxically, basses tend to have a more robust falsetto than tenors like me). So I’ve thought about putting my more advanced students to work demonstrating note patterns for their peers. They’ll provide a valuable service and stay more engaged as I go around the room.

A teacher’s timbre matters—and there’s research to back this up. In a 1990 study, children matched pitch best when the model was a child’s voice. The next best option was a woman’s voice. You can guess who finished last.

Of course, I don’t mean to let the female teachers off the hook entirely. Do be sure you’re modeling well. You may be an operatic soprano, but think back to how you sounded as a child. Make every effort to demonstrate in a voice that’s light and sweet.

Don’t Give Up on the Droners

Give these tips a try, and don’t forget to encourage your young students to stay in head voice. If these methods are new to you, I think you’ll be surprised by how much they can help, and how quickly. I’m grateful to have stumbled upon so many useful tips during my career. I’ll have more to share on matching pitch in my next article.
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, music classes, musical training, vocal pedagogy, vocal training Last Updated: December 14, 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

    “Music List” • 23rd in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 7 September 2025, which is the 23rd 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. My singers really enjoy singing the resplendent COMMUNION ANTIPHON with its Fauxbourdon verses.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

“It was amusing to read in our papers that German Catholics were now using the vernacular at High Mass. In some parts of Germany they have been doing just that for well-nigh four hundred years! The cathedral in Osnabruck has solemn High Mass every Sunday with the whole chapter present, and the introit Gloria, Credo, Sanctus and Agnus Dei are sung … in German. Imagine, for four hundred years almost!”

— Hans Ansgar Reinhold (Dec. 1944)

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