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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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Angularis fundamentum” is typically sung at the dedication or consecration of a church and on church anniversaries. For constructions too numerous to list in recent generations, it would be more appropriate to sing that Christ had been made a temporary foundation. A dispirited generation built temporary housing for its Lord, and in the next millnenium, the ease of its removal may be looked back upon as its chief virtue.

— Fr. George Rutler (2016)

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