• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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.

Follow the Discussion on Facebook

Filed Under: Articles Tagged With: Catholic Youth Choirs, music classes, teaching music Last Updated: December 15, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (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

Quick Thoughts

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “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
    “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

Random Quote

In the United States, Archbishop Kenrick had said in his “Moral Theology” that it was acceptable to sing the “Véni Sáncte Spíritus” before the sermon.

— Monsignor Schmitt (1977)

Recent Posts

  • Every Diocesan Music Commission Should Do This
  • Exclusive Interview • “Púeri Cantóres” President
  • PDF Download • “Offertory” for this Sunday
  • The Real Miracle of Gregorian Chant
  • Why A “Fugue” Here?

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.