The Singers Thread

[Tessar]

Tonight during my dress rehearsal I got a complement from a very hard-to-please director who has not seen me act before, so I was grateful for the complement. I've worked particularly hard on that scene because the person who is directing it has given me so much help. It's the Figaro duet.

Geeze. I really just wish I could have a class like this at my school, because this is all of the technical stuff that no one ever bothers to tell you. Things as 'simple' as "start your movement just before the musical phrase begins," or, "gesture at what you're talking about just before you actually say what it is."

The biggest thing I'm having to work to break is that I want to make double handed 'expressive' gestures... which of course just come off as silly and comical rather than expressing what I want to show.


The greatest encouragement I've received is to learn that someone with a voice like mine CAN sing at the Met... but I have to learn to become a fantastic actor. The coach pointed out that it doesn't matter whether you have an okay voice or an extraordinary voice. Once you get to the Met EVERYONE can use what they've been given to its maximum potential. The deciding factor is whether you can make people believe what you sing.

I feel as though I'm getting new doorways opened to me for success. Before I thought I worked hard... and now I know that not only was I not working hard, I didn't know HOW to work hard and effectively. All of the rehearsal and practice techniques that I've learned for memorizing and performing music have helped me SO much already and I can say with some confidence that I will probably never be the same musician that I used to be.

For instance last Friday I practiced some music for a half hour and I improved to a degree that would have taken me at least an hour and a half previously.

One of the coaches has also helped me with my posture... I'm concerned because I don't think I'm doing it totally right, but basically she took my (hard worked for!) ability to expand/float my ribs when I sing and then jammed them up an inch higher so that they actually stay fully off my lungs and it seems to allow me to support much better. She called it the 'greyhound' position. I'd been putting my sternum up too high and it was causing my ribs to collapse just enough to cause a difference.

I'm very excited to get back to work on my voice when I get back home on Monday and have a lesson on Wednesday, because the biggest thing I've discovered is that the technique I have perfected is the technique I'll be using. All of the experimental stuff my teacher and I were working on does nothing for me when I'm having to watch the director out of the corner of one eye, keep my mind on my blocking, be aware of the set around me, listen to the music, sing my part, AND keep half an eye on the pianist to make sure that I'm not behind his beat. It's only the stuff that I've perfected that works automatically.

It seems to be a common thing, too... some of the girls are WONDERFUL singers when they're practicing in a room before they go on stage. But the minute they have to focus on everything else that's also going on their voice gets breathy and loses its focus and placement.

So much more to talk about... but now I have to hit the hay because it's almost 2 a.m. here and I have rehearsal at 11:30 tomorrow. I probably should've gone straight to bed when we got home an hour and a half ago, but I needed some time to unwind.

[Voronwen]

Originally Posted by Tessar

Tonight during my dress rehearsal I got a complement from a very hard-to-please director who has not seen me act before, so I was grateful for the complement. I've worked particularly hard on that scene because the person who is directing it has given me so much help. It's the Figaro duet.

Wonderful!

Geeze. I really just wish I could have a class like this at my school, because this is all of the technical stuff that no one ever bothers to tell you. Things as 'simple' as "start your movement just before the musical phrase begins," or, "gesture at what you're talking about just before you actually say what it is."

I'm so glad you're getting this! Most have to pick it up through experience.

The greatest encouragement I've received is to learn that someone with a voice like mine CAN sing at the Met... but I have to learn to become a fantastic actor. The coach pointed out that it doesn't matter whether you have an okay voice or an extraordinary voice. Once you get to the Met EVERYONE can use what they've been given to its maximum potential. The deciding factor is whether you can make people believe what you sing.

Acting is so important! We tend to overlook it while on the quest for "perfect technique" But truly, it's what sets a singer apart.

I feel as though I'm getting new doorways opened to me for success. Before I thought I worked hard... and now I know that not only was I not working hard, I didn't know HOW to work hard and effectively. All of the rehearsal and practice techniques that I've learned for memorizing and performing music have helped me SO much already and I can say with some confidence that I will probably never be the same musician that I used to be.

A teacher of mine used to say "Work smarter, not harder" It's so true. But it does take guidance. I'm so happy that you're getting that! Again, not everyone does.

One of the coaches has also helped me with my posture... I'm concerned because I don't think I'm doing it totally right, but basically she took my (hard worked for!) ability to expand/float my ribs when I sing and then jammed them up an inch higher so that they actually stay fully off my lungs and it seems to allow me to support much better. She called it the 'greyhound' position. I'd been putting my sternum up too high and it was causing my ribs to collapse just enough to cause a difference.

Isn't it amazing how tiny things like that can make a difference! I can relate, somewhat. I studied dance for years, and always had "good posture". But the posture (specifically relating to the ribcage) for optimal support in singing is slightly different. It is definitely more about having the ribcage supported in such a way that it feels as if you're holding it up, just slightly, and more open (i know i'm not explaining that very well, but i'm sure you know what i mean!). My teacher has worked with me on this too. She told me to imagine wearing a strapless gown that was ever so slightly too loose, and holding my ribcage in such a way that the gown couldn't fall off!

I'm very excited to get back to work on my voice when I get back home on Monday and have a lesson on Wednesday, because the biggest thing I've discovered is that the technique I have perfected is the technique I'll be using.

I am so happy for you, Tessar! Oh, this is such wonderful news! It's definitely not every singer who gets to this point at such a young age. Some singers, despite decades of study, never even get there at all! Congratulations!!!

It seems to be a common thing, too... some of the girls are WONDERFUL singers when they're practicing in a room before they go on stage. But the minute they have to focus on everything else that's also going on their voice gets breathy and loses its focus and placement.

See, this is exactly why it's important for good technique to become 'second nature', like breathing. Then in an instance where you're learning blocking, etc, you can put it on automatic pilot. Well, almost.

So much more to talk about...

I am so happy to hear about your progress. I can't wait to hear how the performances go!

[Voronwen]

Vocal randomness: Is it just *wrong* that i've discovered i can hum on high E (E6) ..????