Changing voices in elite choirs: a rite of passage
As Christmas approaches, the serene atmosphere surrounding the traditional carol service at King’s College, Cambridge, underscores the poignant moment for many young choristers, particularly as their voices begin to change, reports BritPanorama.
Oscar Preece, a 12-year-old chorister at Exeter Cathedral, is acutely aware of his shifting vocal range. “I’ve not been able to sing quite as high as I was able to last year. Last year I could just about sing a top C, and this year it’s come down to As and Gs,” he reflects, highlighting the profound impact of this transition. His experience is not unique; many young boys in choirs face similar challenges as they approach puberty.
The change can be emotionally taxing for these young singers. Oscar expresses a sense of loss, noting, “I feel quite sad. It’s led me to not being able to join in with some of the music.” This sentiment is echoed by experts who acknowledge that the status and identity tied to being part of a prestigious choir are significant for these boys.
Choirmasters are tasked with navigating the complexities of vocal development. Martin Ashley, an academic specializing in the intersection of puberty and voice changes, emphasizes that boys at this age are elite musicians, mastering repertoires well beyond the capabilities of adult amateur choirs. Timothy Noon, musical director at Exeter Cathedral, draws attention to the captivating quality of boys’ voices just before they change, describing this as a precious moment in musical development.
Despite the beauty of treble voices, there remains controversy over the exclusion of girls from specific choir roles. Ashley argues for inclusivity, recognizing the distinctiveness of a boy’s voice at this transitional stage while calling for the recognition of talented female singers.
The transition from treble to baritone does not occur without challenges. Ashley points out that during puberty, boys experience rapid voice changes, affecting pitch and timbre. The various stages of voice development can be prolonged and complex, often leading to instability. Techniques like falsetto may provide a temporary solution, but they can also lead to poor singing habits, complicating the developmental process further, as noted by Ashley.
Richard Eteson, a notable former chorister, reflects on his own experiences, recalling the awareness of impending vocal changes while witnessing peers struggle to maintain their positions within the choir. Tales of disappointment reinforce the need for sensitive management of young singers’ transitions, with some choirmasters not adequately equipped to support them through these changes.
Fortunately, modern practices in choirs increasingly prioritize the mental and emotional well-being of boys. Conversations between choir members, directors, and singing teachers can facilitate smooth transitions. This collaborative environment allows boys to understand their changing voices and participate in decision-making about their singing futures.
For boys navigating these changes, mentorship from senior choristers can provide critical support. As Oscar experiences this shift, he finds guidance from older choir members who offer to mimic parts or assist in various capacities, fostering a sense of belonging despite the limitations of shifting vocal abilities.
As choirmasters like Noon emphasize the importance of dialogue, they create an environment where boys feel enabled to explore new musical avenues, whether through playing instruments or participating in different choir formats, such as cambiata choirs that accommodate changing voices.
Ultimately, while this Christmas may mark the end of a certain vocal era for choristers like the boy at King’s College, it represents not an ending, but a transition into new opportunities within the world of music.
‘Carols from King’s’ is on BBC Two today at 5.45pm.
