Working with young singers can be such a fun and rewarding experience, but it can be challenging to teach a new song or anthem to children who aren't yet reading (words, let alone music!). What do you do? How do you teach something new, quickly and effectively?

For children who are not quite reading, teaching by rote is the way to go.

What is Rote Learning?

Rote learning is based on imitation and repetition (source). This is how young children learn best! Hearing, seeing, and experiencing things over and over again.

If you've spent some time around young children, you know one of their favorite words is "again" - "do it again," "read it again," "sing it again," etc. This is how we learn.

When teaching music (an aural art form), it's important to help children develop their listening skills and auditory memory from the beginning. Teaching by rote is a great way to do this.

Earlier this week, I shared Part I in a new series called "The Church Choir's Guide to Vowels. Part I included everything you need (and ever wanted) to know about vowel production, vowel placement, tone, and diphthongs and triphthongs.

Today, I'm sharing Part II with some of the most common "problem vowels" and helpful strategies for fixing them in rehearsal.

But, before we can get talk about problem vowels, we need to talk about what they look (and sound) like and how to diagnose them.

Here are some common choir problems you may have faced:

Problem #1: My choir has a tendency to sing flat or sharp.

This might be related to a lot of things - breath, posture, vocal production, etc. But, it might also be a vowel problem. If that's the case, manipulating the vowels a bit might do the trick.

Whenever I think of vowels, I think of this scene from Singin' in the Rain:

Any other Singin' in the Rain fans out there?

All jest aside, vowels are a vital component of the English language - spoken and sung. We talk a lot about consonants with our choirs, particularly with words like "God" and "bread" and "heart" that have strong beginning and/or ending consonants. But, what about vowels? How do we talk about them?

For those of you who studied voice or have read up on vowel production, you might know the difference between pre-, post-, and medio-palatal regions off the top of your head. For the rest of the world, the subtleties of vowel production, tongue placement, tone, and IPA symbols are a little more vague and mysterious.

And when it comes to talking about these things with your choir? Well, you can imagine how that might go (and all the jokes the basses will make).

But, no matter your background or the level of your choir, vowels are a significant and vital part of choral-singing. In fact, "Vowels are just as important for intelligibility as are consonants." (source) 

Remember those clapping games we used to play as kids? Between the silly (or nonsense) lyrics and the fast-paced sequence of claps, taps, snaps, and crosses, clapping games provided hours of entertainment. It might seem like just fun and games, but there's actually more to it than that. Clapping games can be beneficial to children's development.

Dr. Idit Sulkin has conducted research on the topic of children's hand-clapping games, noting:

"These activities serve as a developmental platform to enhance children’s needs — emotional, sociological, physiological, and cognitive. It’s a transition stage that leads them to the next phases of growing up.” (source) 

Clapping games are a great way to incorporate rhythm and movement into your choir rehearsals while reinforcing gross motor skills, rhythmic concepts (such as steady beat and subdivision), coordination skills, and the concept of sequencing (source). If you're working with a younger group, try modifying the clapping sequence to fit their ability level (scroll down to the bottom of this article for a few helpful tips).

Working with a youth choir can be a fun, inspiring, rewarding, and deeply meaningful experience.

As a director, you balance the responsibilities of building community, integrating service, sharing meaning, inspiring purpose, and fostering musical development.

But how do you approach musical growth and development for adolescent voices? How is it different from working with children's voices or adult voices? What do you do when voices begin to change?

Here are a few helpful tips for working with 6th-8th grade singers:

This fall, SD and I are starting an intergenerational (youth and adult) choir at our church. The church has a strong children's choir program (through 6th grade) and a good size adult choir (30-40). Our program is a short, 8-week session designed for people who love to sing - no prior experience necessary. We meet once a week for an hour and at the end of the session, we'll combine with the adult and children's choirs to sing an anthem in worship.

We created this group for people that like to sing but feel uncomfortable jumping right into the adult choir, those who can't make Wednesday night rehearsals or don't feel they can make the year-long commitment, and those who've never formally sung in a choir but want the experience.

It sounded good on paper.

We gave the invitation by email, print mailings, and the weekly bulletin. We made an announcement in church one Sunday. We shook hands with people we didn't know at Coffee Hour.

One week before our first rehearsal, we had four people signed up.

How do you write a lesson plan?  How do you know how long things will take in rehearsal?  Is it best to start with something new or something familiar?  What do you do when they stop paying attention? These are some of the questions I had in my first years of teaching and I'm sure they resonate with many of you, as well.

The answers to these questions really depend on what kind of teacher or director you are or want to be and what kind of group you're working with.  After a few years of working with children's choirs, I found a quick pace with lots of music and related activities seems to keep everyone's attention while still working toward my learning goals for the ensemble.