The Child-Voice in Singing

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Excerpt: ...is in supposing that it consists of a limited number of quite low tones. It has its origin in the sole use of the so-called chest-voice of the child, and when the evident strain under which a child of six or seven years labors to sing up is observed, the conclusion seems safe that they cannot sing high. While, on the other hand, they manage with apparent ease to sing down even as low as This conception has in divers ways so imbedded itself into the musical literature for little children, that all efforts to uproot it have so far been apparently futile. There are, however, very many supervisors of school music, and the number is growing, who have recognized that this treatment of little children's voices is a vocal barbarity, and the device of 74 pitching songs higher than they are written to overcome the difficulty is more common than might be supposed. There can be no doubt that in a short time the practice of carrying the tones of little children three and four notes below the first line of the staff will not be tolerated. The common, even universal, tendency of primary classes to drop in pitch when singing with the usual thick tone might show anyone that the voice was being used in an abnormal manner. Furthermore, the intonation of children of any age is something horrible when the thick voice is used. Even carefully-selected and trained boy choristers, if they use this voice, are frequently off the key even when supported by men's voices and the organ. So in addition to other reasons for using the thin register may be added this, that habits of faulty intonation are surely fostered by the use of the thick voice. Picture to yourself the short, thin, weak vocal bands of a child of six or seven years attached to cartilaginous walls so devoid of rigidity that in that dreaded disease of childhood-croup- 75 they often collapse. That is not an instrument for the production of tones in the contralto compass. No wonder the pitch is...