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Cultivating Tone with Your Middle School Choir

“re,” “mi,” “fa,” “sol,” “la,” “ti,” and “do,” referred to ladder (Figure 7) as you point to notes of the scale.
as “solfège.” “Do” is the tonic, or first scale degree for Continue encouraging everyone to sign as they sing.
the key represented by the key signature. The number Begin with stepwise movement only and gradually re-
system is similar but with the use of numbers for the move the solfège “words” or numbers from the visual.
scale degrees rather than syllables. Steven Demorest When the singers have mastered singing the scale using
explains: solfège (or numbers) without the written words, trans-
fer the scale to standard notation (Figure 8). Point to
The primary criticism of numbers as com- pitches from the notated scale, have students sing using
pared to moveable “do” is singability. While numbers or solfège, and then add short sight-reading
numbers represent the same relationships as exercises, such as those in Figure 9.
solfège syllables, the vowel-consonant combi- Over time, add longer and more challenging exer-
nations are harder to sing; three instead of mi, cises in various keys, transferring to standard rhythmic
four and five instead of fa-sol, and the most dif- notation. Before beginning any new melodic concept
ficult, se-ven—two syllables for a single note. 9 (such as singing skips), revert to echo singing, singing
from the pitch ladder or notated scale, and playing
When surveying choral directors about their preferred “Follow the Hand” before introducing the new con-
method of teaching pitch reading, two studies found cept into sight-reading exercises. The introduction of
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that movable “do” was the most used system. singing the natural minor and chromatic scales should
Very few students will enter the chorus room with come when students have mastered the diatonic scale.
perfect pitch. Before beginning any sight-reading activ- Daily singing of the scales will greatly improve intona-
ities from notation, it is important to spend time help- tion. Directors uncomfortable with teaching sight-sing-
ing students hear pitch and solidifying their intonation. ing might find published sequential methods helpful,
With inexperienced singers, start with portions of the and several are included in “Suggested Resources.”
diatonic scale and have students echo sing three- to
five-note melodic idioms. Introduce the Curwen hand
signs and have students echo sing and sign simultane- Seven.
ously. Incorporate exercises such as “Follow the Hand” Avoid Overuse of the Chest or Belt Voice
in which students sing the pitches you sign. Continue
this process until the entire scale can be sung in tune In unchanged voices, the chest voice is the lower
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and a cappella. Next, have students sing from a pitch range of the voice and typically the voice used when

D
T
L

S
F
M
R
D

Figure 7

14 CHORAL JOURNAL May 2025 Volume 65 Number 8