Do boys suffer a disadvantage? - Page 3

Originally posted by: punjini

I have sometimes wondered...do boys suffer a disadvantage while learning vocal music because of the breaking of their voices during puberty? Don't they need to start practising all over again when their voices break? Here, girls seem to have an advantage (for once!) because their learning curve is continuous.

very good point, punjiniji...u really made me think...

however once a boy hits puberty isn't it only his voice which changes? all that he has learnt during his riyaaz still stays with him...his talent is still the same...he will sound different yes (could be better or worse!)...just my POV!

punjini di they do suffer from this disadvantage. well it might not become zero at all i mean their effort but yes they need some more practice and a period of time to make their vocal quality suitable for singing 😛

Originally posted by: punjini

Oh is that why Kamalahasan has a voice like something stuck in his throat?

Good Point Sahanaji, yes could be one of the reason... 😕 not sure

"Do boys suffer a disadvantage?"

haan, i think so. on one hand, i feel boys do suffer a disadvantage like you said. n some girls have all the luck. 😛 😆

Originally posted by: punjini

I don't know about guidance. When Sharib asked a question about voice breaking to Ust Ghulam Mustafa in SRGMP, the Ustad simply told him that he should just keep doing his riyaaz. I think a boy would need to start from Saregamapa all over again.

Well, Saregamapa is part of normal riyaaz anyway. I highly doubt he would have to re-learn everything because the knowledge is already inherent. But, a lot of times boys get discouraged that their voices sound strange or different and stop. Thats where a guru's encouragement to continue riyaaz counts the most.

An excerpt from "Boy Singers' Vocal Change: A Positive Approach"

http://www.21stcenturychorister.com/chorister/articles/boysi ngers.html


Mr. Leck believes however, that a boy should keep singing through the change; that his high voice is actually the foundation for his new, lower voice. A boy who stops singing altogether during the change may lose the ability to manage his voice. Leck advocates a boy using his high voice while his voice is changing, and continuing to do descending exercises down across the register break. He encourages boys to keep singing through the transition, because in addition to allowing the voice to continue developing while the new voice is settling in, it may even have the positive result of a singing voice without a break. In his mind, there are few reasons not to sing while the voice is changing.

Henry Leck does point out though, that continuing to sing in a high voice when the voice is changing can create unique challenges and frustrations, and so gives other tips on how to manage during this transition period. A boy may be psychologically uncomfortable regarding the unpredictability of his singing at this time. Mr. Leck suggests that it may put him at ease to vocalize with an older male singing instructor. It is very important to be open about the situation, keeping excellent communication between singer and director. This allows for an environment where both singer and director are aware that each other knows what is going on, and a unique plan for the particular boy can be designed. Tiring quickly when only the high voice is used for long periods is a reality, so continuing to monitor a boy's comfortable singing range and allowing him to rest when needed is most important. It is even desirable to allow him not to sing certain notes or parts of a song. This flexible approach, unheard of only a short time ago, is truly welcome to those who want to continue singing, even as their voice changes.