Page 22 - Mar_Apr23

Discovering the Magic of Children’s Voices Composing and Programming for Elementary Choirs

Dr. Mark Patterson is a composer, choral director, think about where a choral piece lives in the voice of
and sought-after clinician. Mark’s warmth and inten- the child. For example: we might assign a complete
tionality in working with singers, particularly develop- range of C(4) to F(5) for elementary choristers (ages
ing singers, is inspiring. He infuses that same spirit into 8-11). How much of the piece is spent at the bottom
his compositions for children. Because Mark lives in and top of the range? Within your established range,
both worlds—as a composer and conductor—I asked don’t spend too much time at the extremities. Seek the
him about his core belief when writing and selecting sweet spot in a developing voice. Choosing a comfort-
music for young singers. Mark responded, “Children able tessitura with a few challenging moments will lead
need opportunities to experience beauty. They deserve to enjoyable rehearsals and rewarding performances.
to sing artfully-crafted music that says something sig- Helen Kemp trained children and their teachers
nificant and meaningful.” As we seek out repertoire in the art of choral singing for six decades. A prolific
that allows our young singers to experience something composer, conductor, and clinician, she had this to say
beautiful, significant, and meaningful, let’s take a close about children’s voices:
look at three building blocks of a well-crafted anthem
for children’s choirs… To my ears, the most beautiful children’s vocal
range for tones that can soar and spin is from
A beautifully crafted line. C(5) to G(5). These notes are ideally written as
Harmonies that add depth. the climax of the singing phrases, and should
not be confused with the tessitura (the average
A message that resonates.
position of the notes) of the music you choose.
Most of the notes of children’s music should
lie in the comfortable range, but the wonder-
A Beautifully Crafted Line ful tonal beauty of the upper tones should
Whether you are composing music for children’s also be experienced and enjoyed. In choosing
voices or selecting music for your children to sing, we your music, observe how the high notes are ap-
need to start with what is essential. Reflect on the chil- proached. It is often easier to sing an interval
dren who will be singing the music and assess the fol- of a third or fourth or fifth up to a high note
1
lowing: than it is to ascend upward, step by step.

• What are my singers’ capabilities? So ask yourself: does this piece give the children a few
opportunities to soar?
• Where do their voices sound the very best? Composer and ACDA past president Tom Shelton
asked his young choristers to give him some advice for
• What topics will resonate deep within them? his next composition. One singer gave this solid coun-
sel:
• In what ways could this group of students show
musicality?

• What elements of a choral piece will help my singers
connect and succeed?

A beautiful melody becomes a stunning melody
when written in the sweet spot for children’s voices.
Be attentive to the age and capability of your singers
when establishing the vocal range. Within that range, Keep in mind that elementary singers are often

20 CHORAL JOURNAL March/April 2023 Volume 63 Number 7