THREE QUOTES IN PREPARATION FOR THE AUDITIONS, JURIES, PERFANCES AHEAD.

“ KEEP YOUR THOUGHTS AS SIMPLE AS POSSIBLE BUT NO SIMPLER”    (Albert Einstein)

“THE AUDIENCE HEARS WHAT IS  IN YOUR MIND” (Lawrence Brownlee)

“DON`T TRY – ALLOW”

ALL OF THESE MAXIMS CONFIRM THAT CAREFUL, EARLY, PREPARATION OF YOUR REPERETOIRE ALLOWS THE SINGER TO PERFORM WITHOUT ANXIETY. TECHNIQUE SERVES THE HIGHER PURPOSE OF TELLING A STORY .

“GREAT MUSIC WAS NEVER WAS MEANT FOR ITS OWN TIME ONLY, BUT FOR ETERNITY ” (Giuseppe Verdi)

As singers this quote must have special meaning as we are dealing with the Classical Vocal Vocabulary (Opera/Song) that spans over 400 years and developing well into the future.

Each generation has the responsibility to keep this truth alive. It requires belief in the particular repertoire we are preparing and performing . Not only is the performer responsible, but all of us involved and fortunate enough to call ourselves artists: teachers, coaches, directors, conductors, artist managers, etc.

It is our responsibility and honor to present what the composers and poets have left us with great respet. At the same time we must keep it fresh and vital in our own time by preparing and presenting these great works with knowledge, honesty and simplicity as well as imagination as though they were created for all of humanity in all times.

Of course the world is always changing but the human emotions remain universal and timeless.

BAD VOCAL HABITS ARE ACQUIRED. These habits are formed because of a lack of proper knowledge of the basic mental and physical coordination (Mind/Body) that produces the well trained singer of the Bel Canto School of Singing.

THE HUMAN BODY IS THE MOST PERFECT MUSICAL INSTRUMENT. We often fail to realize this as we pursue our vocal studies. Instead of a simple, organized knowledge of how the physical elements coordinate to produce to produce the demands and characteristics of this special vocal style. Instead we “try” to instantly achieve a vocal goal i.e. register blending, legato line, harmonized diction, dynamic, coloratura passages, etc. etc. There is no preconceived concept of how to go about achieving these skills.

THE BODY OBEYS THE MIND: Without this knowledge the body is confused as the directions from the mind are not organized. A confused mind is the cause of these bad habits being formed. As we cannot see with our naked eye the physical parts of our instrument or hear with our naked ear the sound we are producing another approach must be developed to produce the music and text we sing. The Imagination is the skill we must develop to do so (the singer`s inner ear and inner eye). We must know how we want the phrase to sound as well as what we want to audience to hear and feel.

DEVELOPING IMAGES AND DESCRITIVE TERMINOLOGY. These two elements, a well trained inner ear and eye as well as simple, clear knowledge are the keys to singing freely, with ease, intensity and beauty.

“WHEN I AM SINGING WELL I FEEL AS THOUGH I AM SINGING ONE NOTE AND ONE VOWEL”. (Jussi Bjoerling, tenor)

l

Singers who have

“SING ON THE GESTURE OF INHALATION” – When taking a full breath  (open throat, open body)  the  direction  of inhalation is in , down and  “away from the body”  .   Maintaining that sense of inhaling  when one begins the phrase (onset of tone) to the final note of the phrase (offset of tone) the singer is fulfilling the demands of each phrase , its length, range and dynamics . This approach to breath management (often called support) is the foundation of all classical singing.

“

MOST VOCAL BAD HABITS ARE CAUSED BY THE SINGER NOT BEING AWARE OF THE BASIC PRINCIPLES OF THE BEL CANTO ART AND CRAFT OF SINGING

A basic knowledge of these principles is essential to allow one`s vocal, musical, interpretive skills to develop according to the laws of mother nature. Without this knowledge and its development bad habits quickly form .

BREATH DISTRIBUTION (Balance between inhalation/exhalation muscles)

DICTION (Based on the characteristics of the Italian language)

LEGATO ENERGY. (Find the gesture of each phrase )

RHTHMICAL ACCURACY {based on the composer`s choice)

REGISTER BLENDING. (smooth movement between head, mid, chest resonation factors)

EMOTIONAL INTENT (knowledge of the literal meaning of the text)

DEVELOPED IMAGINATION. (developing the inner eye and inner eye)

“INHALE FOR THE PHRASE YOU ARE TO SING”

This well known terminology is often misunderstood. . If we visualize the length , the range and the dynamics of each phrase to be sung on rhythmical inhalation the body will obey the mind and distribute this settled breath to fulfill the demands of each phrase. The singer will never be out of breath . This is the essence of legato energy.

“DEVELOPING AWARENESS“

When a singer has a clear knowledge of the physical essentials of beautiful signing    (Open throat, open body, noble posture, breath management etc.) the body always obeys these clear intentions . This is the foundation upon which the singer`s musical, vocal, linguistic intentions will come to life for the listener.   

 LEARNING TO BE AWARE OF THESE PRINCIPLES BEFORE , DURING AND AFTER EACH PHRASE ASSURES THE SINGER COMFORTABLY AND ENERGETICALLY FULFILLS THE CHARACTERISTICS OF THE BEL CANTO ART AND CRAFT OF CLASSICAL SIGNING.

“THE INHALATION IS THE UPBEAT TO EACH PHRASE“

Taking the deep inhalation as a rhythmical part of the phrase to be sung ensures that the loose inhaled air has time to “settlle” and become compressed. (1.08th of a second). We now have a “cushion” of compressed hair on which to onset the first tone, beginning the legato energy to complete the phrase according to its demands. That first tone will be spontaneous, in tune and energized.

As we begin a new Fall Season of Performing , Auditioning, Competing and Teaching I will be sending out my Vocal Thought for the Week. This season we will take a look at tried and true vocal terminology (maxims, images, quotation) and their meanings.

They will not be categorized under specific principles of the Bel Canto Style. Nor are they technical advice. Rather, they will address the power the of Mind/Body connection so important to the development Art and Craft of Classical Singing.

Let`s get started:

“SINGING ON THE BREATH”. This time honored phrase describes the singer`s sensation that the voice is “riding on” the column of air throughout the phrase when the isometic energy between the inhalaltion and exhalaltion mechanisms are set in motion from the first note of each phrase. This is the essence of legato phrasing. The oppositesensation is that one is singing “with the breath” which means there is no balance of distribution to fulfill the demands of the phrase.

Your comments and suggestions of various terminology used in our studios and practice rooms will, of course, be welcome.