Training boys vs girls

[Guest]

A friend recently lent me a CD from a UK Greater Church fortunate enough to boast both a boys and girls choir. I was greatly struck by the difference in quality between the boys and girls (the latter top line being vastly superior in terms of tone quality, intonation, and diction). Of course, age must be a factor, in that the maximum age for a girl chorister is dramatically higher than that of boys. I have also heard on good authority that boys tend to need very regular rehearsal to a greater extent than girls in order to attain the same level of quality, and I presume there are both educational/mental and physiological reasons for this (I note that the church choir in question rehearse once a week and sing twice on Sundays, but that the boys also have an extra mid-week rehearsal). I also know that some cathedrals looking into the possibility of starting a girls choir hesitate because it may mean taking singing time away from the boys, which would effect the quality of their singing in general.

But when that rehearsal time can be achieved, my goodness it is worth it! My personal favourite choral sound is probably that produced by Westminster Cathedral Choir, but I recently listened to a webcast from Truro and thought their boys sounded exceptional - warm and exquisitely controlled (and it is this control of tone and intonation that seemed to be lacking in the boys of the church choir I heard on the CD I mentioned). Of course it is all so subjective - I have been so struck reading this list on how much opinions can differ - some broadcasts that receive glowing reports often leave me entirely unimpressed and vice versa. Such is the wonder and mystery of music, of course!

I would be fascinated in the opinions of the experienced choral trainers who read this list. I would be so pleased if this thread, which concerns the differing demands and training methods required for boys vs girls, did not degenerate into a discussion of "who is better, boys or girls?" (which so many threads seem to!); similarly, if replies did not include the curt, dismissive responses that also so frequently appear from some contributors, so much the better!

Positif

[muticus]

I have had the pleasure of singing in choirs with both boy and girl ( and indeed mixed) top lines for many years, and also have both a son and daughter who sing in cathedral choirs. It has, I hope, become clear in recent years that the original fears (back in the early days of Salisbury et al) that 'girls would drive out boys' in church and cathedral music were essentially unfounded. Almost all foundations now look to providing a choral experience for their young singers of both genders, and there are few who would wish to return to the days when high level choir work was something that was only available to boys. What is interesting, I think, is that the debate still rages around to the different qualities of the two types of choir. The perceived 'purity' of the boys, the greater maturity and longevity of the girls etc. I would agree that boys do seem to need a little more input than girls, although I would be interested in the opinion of those few DOMs who have exactly age-equivalent cohorts on this point. I like the tone of a good girls top line, but it is certainly rarely indistinguishable from an all boys lineup, although there have been occasions when even the expert denizens of this forum have been at a loss to tell the difference. Equally I love the wonderful effortlessness of a great boys choir. On the whole I would be very reluctant to try and describe one as better than the other - but rather would rejoice in the differences that bring added depth and breadth of beauty to our wonderful choral tradition. And, in passing, thank you Positif for your comments - I heartily agree!

[DracoM]

Members interested in this discussion might care to catch up on last week's services from St Thomas, Fifth Ave, New York, available live via their website.

http://www.saintthomaschurch.org/music/services

The resident and exceptionally distinguished choir is boys and men, but every summer they run a Girls course and this year it was led by Sarah Baldock from UK. They sing as girls only until the final Eucharist [Aug 5th] when they are joined by the men. This time Howells / Coll Reg.

For those of us who listen to the Men and Boys regularly, it was very interesting how differently the girls sounded in similar repertoire to that sung by the boys in the same acoustic.

[Magnificat]

I would be so pleased if this thread, which concerns the differing demands and training methods required for boys vs girls, did not degenerate into a discussion of "who is better, boys or girls?"
Positif

Positif

All I would say is that it is no use comparing a boys top line of the usual age range 10/13 with a 'girls' top line that includes young women i.e 'girls' up to age 18 as many cathedral 'girls' choirs do. You have compare what children of the same age range can produce in terms of sound quallity and singing technique when trained using the same methods otherwise it is a completely false excercise.

VCC

[terratogen]

I wonder what it is that makes some girls' lines—and I do mean, since we're making the distinction, 'girls'' lines, with age profiles similar to typical boys' lines—sound 'like girls' and others 'like boys.' For that matter, I wonder what it is that makes some boys' lines sound 'like girls' and others 'like boys.' I've heard services and/or recordings from all four examples—as have, I'm sure, most members who fairly regularly listen to CE—and haven't really been able to pin down a pattern (e.g. equal training/performance versus unequal training/performance; boarding versus day choristers; dedicated choir school versus local schools). It can vary cathedral to cathedral or even within a single foundation; and some cathedrals' boys and girls sound extremely similar, while others' couldn't sound more different.

I've done a bit of research, but I'm not a choir trainer by any stretch of the imagination, and I'd be very curious to pick the brain of anyone with a more in-practice understanding of children's voices.