Singing in class - the next step

Richard Frostick gives some progression tricks and tips for you and your class

Since the beginning of Sing Up, thousands of teachers have been taking their first steps leading singing in the classroom, and are surprised and delighted by what they've achieved in a fairly short time. Anyone in singing education knows how much determination it takes to 'make a start', and those who galvanised themselves to do this deserve our thanks and congratulations.

But what's next? You've overcome your own reluctance to sing in front of the pupils, you've organised a collection of sure-fire games and songs that engage them all and they've even performed a song in an assembly. So where to now? How do you move beyond this stage and start to build some progression into their learning so that there can be a steady improvement in the quality of their singing?

Tuning in

Let's take an imaginary class of 30 year 4 pupils who have been singing with you for two terms. When you started, only 15 seemed able to pitch with any consistency. Towards the middle of the spectrum, a further seven moved in and out of pitch according to which part of the voice they were using. The other eight found it very difficult to perceive any pitch change at all. Over six months you've noticed a general improvement. Four of the middle group have become far more consistent and three from the pupils who were finding it very difficult are now pitching some notes accurately. This has occurred just through singing, without you taking any specific action.

What can you do at this stage to encourage more pupils into the consistent group? Try the exercises below, but before you start point out that all singers, from beginners to professionals, sometimes have problems with pitch - don't let anyone tell you otherwise! Make it clear to them that there is always another level to aspire to and that you are going to try some fun activities with them that are aimed at improving their tuning.

• Blending with other singers helps individuals to come into pitch. Hum a mid-range note - G or A - and walk around the class, passing the hum to each child. Tell the children to breathe when they need to. The action of passing it is very important. Put your own hands to your mouth and lift the hum out. Pass it to the pupil's hands, humming all the time. They must then put the hum into their own mouths. The actions help to concentrate the child's listening powers. You'll be amazed at the result. When all the children are humming, encourage them to open up to an 'Ah'.
• Good tuning requires intense concentration. During some call-and-response exercises ask them to lightly cup (not clamp) their hands over their ears, as if they were a pair of large headphones. Point out how you can hear your own voice more clearly. Work on a few middle-range notes and see how this helps to improve tuning. Make it clear that this is only an exercise and is not to be used while they're singing a song!
• Simple harmony singing can also help to improve tuning. Just take a major third - F and A. Ask all the children to sing the notes one after the other and then divide the class down the middle. One half sings the F, the other the A. Encourage them to hold their note while being aware of the other. As they try to preserve the major third they will bring their own note more into tune.

Extending range

You will often hear singing teachers talking about 'chest voices', 'head voices' and 'belt voices'. There is much disagreement over the application of these terms.

All you really need to know is that when you sing, different parts of the body resonate. Terms like 'chest' and 'head' voices are indicators about where specific notes are likely to resonate best. Many children will not have realised that by using different resonators they can increase their range. That is why it's often a struggle to get them to sing higher notes comfortably. It is best not to take too much direct action on increasing range with young children. Vocal health must be our prime consideration. But there are some fun exercises that will gently encourage them to be aware of their higher voices. Try this:

• Diving board. Imagine you are on the top board at the swimming pool. Stretch your arm and finger as high as you can to indicate this. Find the highest gentle note in your voice, and dive off the board, sliding the voice down as you approach the water, using the full range of your voice. Add a deep 'Splash' at the end. Imagine you've recorded this on a camcorder. Reverse the film, starting from the 'splash' and ending up back on the board.
• Yoo hoo! You've just spotted your best friend over the other side of the road. All together now...'Yoo hoo'! Point out that the top 'Yoo' can be turned into a 'proper' high note. Show them, if possible.

All singing requires breath support, but if you can point out the particular link between diaphragm support and higher notes then you will plant some good seeds. Get them to place their hands on the lower part of their rib cage, with some of the hand below the bottom rib. Then do a stage laugh - Father Christmas is a good example to mimic (if they all crack up, that's good - you want them to laugh!)

• Do a 'Yo ho ho' and ask them to tell you what's happening to your hands. Take some higher notes and 'Yo ho ho' on those, getting them to see the link with your breathing. Then drop the consonants and sing 'ah,ah,ah'. Ask them to join in. Don't try to sustain the notes at this stage - just touch them briefly.

These are just a few activities to get you going. In the next issue of the magazine, we'll discuss some more progression activities and ideas including breathing, tone and style.

Words: Richard Frostick

Richard Frostick is based in London, where he has eight choirs, and works across Britain and overseas as a animateur. His books are published by Faber Music.