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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 III)

Keven Smith · December 14, 2020

HANK YOU FOR READING the final installment in my three-part series (for now) on helping children match pitch. In my first article, I explained why I believe your first step should be to get kids singing in head tone. My next article shared two practical tips for running your music classes.

Today, I’ll share three more tips on what to do and how to act with your young students.

Tip: Be persistent

When a “droner” finally matches pitch for the first time, you may think you’ve finally cracked the case and can rest a little. But I’ve found that this skill can wax and wane depending on the day. Some kids can match in their sleep. Others are generally good but slip a bit here and there.

And then there are kids who come in as droners, finally start matching after some training, but then have classes or rehearsals where they struggle a bit. On those days, I’ll gently but firmly give them some extra attention, offering them several chances to match a note and asking them if they can hear that they’re a little too low (that’s almost always the case; few kids “miss high”).

When the choir or class sings as a group, you may hear droners go back to not matching pitch. Be sure to stop and remind them, “Everyone on the same pitch!” If necessary, sing the starting note again and have them hold it until you can’t hear any wayward notes. Reinforce by asking the group if they can hear how beautiful it sounds to have everyone singing exactly the same note.

Whatever you do, impress upon them that they can’t just space out and approximate—they have to listen and strive to stay on pitch all the time.

Tip: Do lots of singing

This may seem obvious. But it can be tempting to spend a great deal of class time explaining concepts, talking theory, or playing at the piano. Instead, give the kids plenty of chances to sing.

As important as it is to stop and fix the wayward voices when your kids are singing as a group, you have to pick your spots. Sometimes it’s best to let everyone sing through a song together and let it be imperfect because we should be cultivating a love for singing, not merely a skill at singing. Keep the big picture in mind. Listen for constant progress rather than constant perfection.

Tip: Love them

Are you running your music class or rehearsal like one long audition? Be sure you don’t spend the entire session pointing out mistakes and correcting wrong notes. As you’re going around the room and listening to individual singers, take a few seconds here and there to enjoy some banter. When a child is struggling, give them a more attainable goal and help them achieve it. Praise their progress, but don’t overdo it—they know when they’re being patronized.

Greet them when they come into the room. Smile. Use open, friendly body language. Ask them how their Christmas was. Doing these things with sincerity helps the kids understand that they’re not just here to meet your standards—you actually care about them. They’ll be more docile for a teacher who loves them. This eliminates a potential barrier so that their achievement will be limited by only two things: their potential as musicians and your skill as a teacher.

These intangibles matter. I’ve had kids come back from summer break matching pitch much better than they did the previous semester, even though they weren’t receiving any training over the summer. Perhaps, for them, it’s a matter of sheer will. This is not to suggest that the kids who don’t match are being stubborn or lazy, but I’m convinced that there’s much more to musical achievement than musical training. If I ever figure out exactly what it is, I’ll write lots of articles about it.

In the meantime, I’ll share an anecdote that may be helpful (and may even sound familiar). I once had three sisters in one class. One of them, “Renee,” was really having trouble matching pitch when it was her turn to sing solo. She kept singing considerably below the note I gave her, even after a few tries. Finally, one of her sisters said, “Oh, you can do it. I think you’re just being a pain!”

We all laughed. In the next class, Renee matched pitch. Now, it was incredibly quiet, and from there I had to build up her confidence to match pitch at an audible volume. But the skill was in there all along.

The Bottom Line in Helping Kids Match Pitch

I’ve found that when it comes to teaching kids to match pitch, it’s all about how you do it. If you come across as the Pitch Police, kids will be intimidated and approach music class as something they simply hope to survive without embarrassment. But if you show—through your words, tone, and body language—that you care about them and want to show them how to do something enjoyable and worthwhile, you’ll win them over. The results will sing for themselves.

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, teaching music Last Updated: December 15, 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

    New Bulletin Article • “14 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    “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

Quick Thoughts

    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that claim is false. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Saint John Vianney, several centuries ago, taught clearly that canonizations are not infallible.
    —Corpus Christi Watershed
    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

Random Quote

“The Church, which so long had preserved Latin consciously as a bond of unity, had quite suddenly decided to discard it as a useless encumbrance. With this rejection, and as an almost inevitable consequence, went out the window also the whole magnificent musical heritage of the Church. For when you change your language you also change your song. The Jewish exiles hanging their harps beside the waters of Babylon, so long ago, made that discovery.”

— Most Rev’d Robert J. Dwyer, Archbishop of Portland (26 October 1973)

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