Bass-Baritone Approach


▪ Posits that mutation is rapid—during summer or a few weeks
▪ Voice will drop one octave at onset of mutation for 30–40% of eighth & ninth grade boys
▪ States that basses are quite common in junior high with limited range
▪ Contrabasses are possible if encouraged
▪ Seventh grade usually trebles; mutation starts in eighth grade
▪ True tenors are rare, but not unknown among teenagers

States that mutation may be very rapid—that voice can mutate during one summer or even within a few weeks. Believes voice drops at least one octave at onset of mutation for 30–40 percent of eighth and ninth grade boys. States that basses are quite common in junior high, albeit with limited range of AA to G. Some boys can become contrabasses if encouraged. Seventh grade boys are usually still trebles; eighth grade is when first mutation occurs. True tenors are rare, but not unknown.

Voice pivoting approach


▪ Keeps boys with mutating voices within most comfortable range by pivoting him to other voice parts
▪ Classifies adolescents into four voice parts, not confused with adult counterparts
  • First tenor
  • Second tenor
  • Baritone
  • Bass
▪ Difficulty matching pitch comes from early or rapid mutation

Keeps boy with mutating voice within most comfortable range by pivoting him to other voice parts. Advocates using quality, multivoiced literature in which the boy sings a combination of voice parts according to his current vocal range. Classifies young adolescent boys into four voice parts: first tenor, second tenor, baritone, and bass—not to be confused with adult or post-mutational counterparts. Relates that adolescents who have most difficulty matching pitch are those whose voices changed at an early age or at an advanced rate