As we begin a new academic year it is a good time to look to our goals and how we can best achieve them as singers – teacher, students, professionals.

Taking voice lessons is not the whole answer. It involves the singers attitude, musicality, readiness to absorb information from many sources, and then to mould it to ones own ideas – vocally, musically, and expressively.

Long before the world of voice science became a part of our vocal studies, the development of the singer`s imagination was the main way the characteristics of beautiful singing were taught. Neither the teachers nor the students really had much knowledge as to how the voice was produced physically. Yet great legendary singers came out of these studios and excelled on the international operatic stages. A great deal of it was developed through the use of terminology – maxims, descriptive imagery and helpful phrases. It was basically formed by training the imagination (inner ear/inner eye). Here are a few examples:

COMPLETE, SATISFYING BREATH : When one has this goal in mind the air easily enters the lowest part of the lungs without interference and allows the diaphragm to spontaneously distend .

ONSET OF THE FIRST TONE: When the singer mentally hears the first pitch, its color, its weight, the vocal mechanism adjusts automatically to spontaneously produce that preconceived sound.

PHRASING: When the singer, on inhalation, mentally sees the whole phrase to be sung, the tone from the first to the last tone will be sung with uninterrupted legato energy.

DYNAMICS: When the singer understands the emotional content of the text the voice will automatically produce the right emotional vocal color.

Does this mean a young singer does not need knowledge about the various physical components that are involved in the art of beautiful singing? Of course not. Knowledge is never a burden. However, to try to develop the characteristics of beautiful singing simply through direct focus on specific muscles is not ideal. The singer must have a highly developed sense of how they want to sound, what they want to say, how they want the audience to receive.

“IMAGINATION IS MORE IMPORTANT THAN KNOWlEDGE: KNOWLEDGE IS FINITE, IMAGINATION IS INFINITE” (Albert Einstein).

Here are a few of the time honored terminology and imagery:

THE INHALATION IS THE UPBEAT TO THE PHRASE: When one inhales with the music, it gives time for the air to settle and become a column of compressed air.

INHALE/INHALE: Continuing the sense of inhaling rather than exhaling allows the first tone to start spontaneously without wasting air or locking in in the throat. The first tone is therefore never “attacked” but is “contacted”.

SING ON THE BREATH: The sensation that the voice rides on top of the column of compressed air throughout the phrase maintains the position of inhalation which is so important to the breath management approach of the Italian School (Appoggiare)

PREPHONETARY TUNING: This is a pedagogical phrased that entails hearing the first pitch, breathing in the first vowel and seeing the last note of each phrase , all on inhalation. (inner ear/inner eye)

FIND THE MAJOR STRESS NOTE AND SYLLABLE IN EACH PHRASE: Every language has one major word in each sentence. Finding the stress note and syllable as set by the composer assures the shape of each phrase.

LISTEN TO YOURSELF BEFORE YOU SING, NOT WHILE YOU SING: Hearing and seeing the color, shape and dynamics of the phrase on inhalation keeps the singer from “listening” to themselves while singing, thus leaving the body to produce the desired sound.

TOP DOWN/BOTTOM UP: Focusing on the opposite direction in ascending or descending the scale stops the singer from “pushing up” to achieve higher notes or “pressing down” to achieve the lower range.

KEEP YOUR BRAIN AHEAD OF THE VOICE: Anticipating the following note to the one you are singing allows the physical elements involved in singing to easily coordinate from the beginning to the end of each phrase.

YAWN UP: This image of inhaling upwards causes the throat to spontaneously open before, during and following each phrase. (Open Throat)

IN THE FIRT VOWEL ARE ALL THE OTHER VOWELS: This phrase, coined by Nico Castel, allows us to sing harmonized vowels without jaw, lips or tongue manipulation.

INSIDE SMILE: This image prepares the entire vocal track for singing (resonators, speech mechanism, larynx. (open throat)

SING THROUGH: The concept of keeping the energized line from the beginning to the end of each phrase insures that the blending of the registers will be smooth.

CHIARA/SCURA (BRIGHT/DARK): One of the major characteristics of the Italian school is to have a bright/warm even tone throughout the entire voice.

DONT`T TRY – ALLOW: If the singer allows the organized thoughts to guide his singing the various physical elements will coordinate to produce the sound without “trying”.

IMPORTANT MAXIMS: Throughout the history of classical singing teachers, coaches, recognized classical singers, etc. have left and continue to leave descriptive sayings that prove very helpful in developing the art and craft of classical singing. Here are a few.

“A BEAUTIFUL FIRST TONE IS NEVER AN ACCIDENT” (Thomas Hampson)

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

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

‘INFORMATION IS NOT KNOWLEDGE. THE ONLY SOURCE OF KNOWLEDGE IS EXPERIENCE” (ALBERT EINSTEIN)

“KEEP YOUR THOUGHT SIMPLE AND STRONG” (MATHILDE MARCHESI)

“THE SIMPLER THE MECHANISM THE SMOOTHER AND MORE PERFECT ITS FUNCTION” (Enrico Caruso)

I will share more of these images, terms and and maxims in future blogs. Please feel free to send in others you fine useful to singingwithmanyoices@gmail.com.

Best wishes for a great year ahead.

Joan Patenaude-Yarnell

(Curtis Institute of Music – Manhattan School of Music – Bard College Conservatory)

“THERE IS ONLY ONE THING A SINGER HAS TOTAL CONTROL OVER AND THAT IS THE PREPARATION OF THEIR REPERTOIRE”

THERE ARE MANY VARIABLES IN  HOW SUCCESSFUL A SINGER IS IN THEIR PURSUIT TO BECOME A SUCCESSFU SINGER OVER WHICH WE HAVE NO CONTROL –  the success of an audition; the winning of a competition; scholarship award; good or bad reviews, etc.

the one thing we do have control is how we prepare.

there is no one approach  to go about learning a new aria, song, role, etc.   but it requires an orderly  way of  organizing the speciic  elements that make up a piece of music.  A disordered mind results in a disordered performance.    

each singer will choose what approach  works best for them.   but it cannot be emphasised enough that the successful singer is the prepared sing.

maria callas had a method when learning new works which she called “the wedding cake”.   it required

her to learn the various layers of the piece – rhythm,

vocal line, text, dynamics, etc.   .

one  way of using this concept is to look individually and slowly at all these  elements  that make up the music and text.

Here are some possibilities to consider:

first layer:    learn the rhthym of the piece – not only your vocal line but the entire piece – prelude, interlude, postlude.   there is no need to sing it.   one could just mark it or humm it.  but finding the metronome within you is important. it is the overall rhythmic structure of the work that you must solidify.  you will become your own conductor

second layer:   what key is it written in?  learn the notes correctly right from the beginning.  it is a waste of money and time to have to always go back to correct a wrong note or notes.   learn it right the first time and you will move on to the next layer with a sense of security .

THIRD LAYER:   THE LANGUAGE –   THIS IS A TWO PART PHASE:

FIRST – THE EXACT MEANING OF THE WORDS AND THE SYNTAX OF THE PHRASE (TIME CONSUMING WHEN SINGING IN A LANGUAGE THAT IS NOT YOUR MOTHER TONGUE).

AND SECOND:  THE CORRECT PRONUNCIATION OF THAT LANGUAGE.   AGAIN, THIS TAKES ENORMOUS PATIENCE AND

TIME TO GET IT RIGHT FROM THE BEGINNING OF YOUR PREPARATIONS. 

THE NEXT LAYERS ARE NOW READY TO BE PREPARED:

FOURTH LAYER – DYNAMICS.   THIS IS  A STEP THAT IS OFTEn NEGLECTED BY THE SINGER.   TOO OFTEN WE DO NOT KNOW THE MEANING OF THE DYNMIC PHRASES SET DOWN BY THE COMPOSER, I.E.  MESSA DI VOCE;  SUBITO PIANO; SFORZANDO; COLLA VOCE, ETC.    EVEN IF WE DO KNOW THE MEANING OF THE DYNAMIC PHRASEs TOO OFTEN A SINGER DOES NOT PAY ENOUGH ATTENTION TO OBSERVING THEM.

A TRIED AND TRUE way OF MOVING ON IS TO SING THE

MELODY LINE ON ONE VOWEL AND TO SAY THE WORDS ON ONE NOTE, OBSERVING THE CORRECT RHYTHM OF THE COMPOSER . IE.   WHERE ARE THE UPBEATS, THE DOWNBEATS. ETC.

“FIND THE MEANING BEHIND THE WORDs” was also a maria callas philosophy.  the emotional content of the music and text will come to life for the audience and, of course, for the singer.  

BY THIS POINT THE NEW WORK WILL BE CLOSE TO BEING MEMORIZED AS YOU HAVE BEEN STUDYING ALL ITS ASPECTS CAREFULLY . 

IT IS ONLY THEN THAT A SINGER IS ABLE TO “TAKE OWNERSHIP” OF THE PIECE.  

this type of careful patience in preparing a new work, or relearning one`s  current repertoire, allows the singer to face all the other variables of auditioning and performing with a sense of security and freedom. 

it is well worth the time and effort.  it is what makes the truly successful artist.

I would like to welcome you to watch the fifth episode of the new web video-series based on the blog: “Singing With Many Voices”, in which I discuss many of the topics related to the art and craft of the classical singer. Click on the video below to watch, and visit the YouTube Channel to subscribe and be notified when new episodes are released.

I would like to welcome you to watch the fourth episode of the new web video-series based on the blog: “Singing With Many Voices”, in which I discuss many of the topics related to the art and craft of the classical singer. Click on the video below to watch, and visit the YouTube Channel to subscribe and be notified when new episodes are released.

I would like to welcome you to watch the third episode of the new web video-series based on the blog: “Singing With Many Voices”, in which I discuss many of the topics related to the art and craft of the classical singer. Click on the video below to watch, and visit the YouTube Channel to subscribe and be notified when new episodes are released.

I would like to welcome you to watch the second episode of the new web video-series based on the blog: “Singing With Many Voices”, in which I discuss many of the topics related to the art and craft of the classical singer. Click on the video below to watch, and visit the YouTube Channel to subscribe and be notified when new episodes are released.

Please feel free to send me your questions and any topics you would like me to discuss in subsequent episodes by emailing singingwithmanyvoices@gmail.com.

I would like to welcome you to watch the premiere of the new web video-series based on the blog: “Singing With Many Voices”, in which I discuss many of the topics related to the art and craft of the classical singer. Click on the video below to watch, and visit the YouTube Channel to subscribe and be notified when new episodes are released.

 

Please feel free to send me your questions and any topics you would like me to discuss in subsequent episodes by emailing singingwithmanyvoices@gmail.com.

In February & March our entire world changed carrying us to “the summer of our discontent”,  abruptly closing down the performing arts  world both for the artist and audiences.

Each artist  must face these realities individually and collectively.  Of course, there are many ways to do this.  The most important  of them  is to be more dedicated than ever in assuring that great music will be heard, be it virtually or realistically, by todays artists  .  ​The question to ask ourselves is:  How am I using the pandemic in order to be prepared to take my place when the new reality begins to move forward.

“IT I S NOT ABOUT YOU IN THE ART – IT IS ABOUT THE ART IN YOU”   (Constantine Stanislazski (Stage Director).  This important distinction will make the difference between feeling sorry for ourselves or help us keep alive the momentum of our art and craft in order to be an important part of the new reality that will, without doubt, come.  It is already beginning to happen.

Music cannot be completely silenced. It has always been and always will be one of the essential things we need to endure life`s complex journey.

THE CLASSICAL SINGER`S ROLE:   The sound of the fully developed,  classically trained singing voice is the most powerful instrument to profoundly express all the dynamics of human emotions.  And that is why singers  of the magnificent classical repertoire have a special responsibility.   This takes total dedication to continue developing technically, musically, linguistically, expressively.  

NEW CHALLENGES:  It is apparent that the major, international opera companies of the world will be the last to come back to what they were up until March 2020.  It makes sense that smaller works will be performed.   It will be chamber music, the song literature, operas with 2 or 3 characters, accompanied by piano or small ensemble.   

New works will abound.   Throughout history creative artists have produced great works during pandemics, wars, freedom fighting, natural and man-made tragedies.   And this will happen in our own unique time in history.    

The young singer will need to be able to encompass vocally and musically an ever wider variety of musical styles in many languages. 

The use of microphones, speakers, cameras will be a part of the performance world.  Singers will need to be technically savvy  in order to be their own technicians in making audition videos, etc.     

INNOVATION FOLLOWS DISRUPTION:    There are  advantages to the inevitable changes that are being developed as we speak.  A singer  will reach a much larger audience when  performing virtually as well as realistically.  Many more people will be able to hear  great music  sung and played by important new and established artists.  

New audiences will find they have developed an appetite for the vast range of classical music available in their own homes.   Classical music  will no longer be considered only for the “elite”.  With the skillful use of YouTube, Facebook, Zoom, etc. a singer performing  in New York,  London,  Bejing  or in some small town somewhere in the world is able to reach an international audience.

IMAGINATION & INNOVATION:   There will be no end to the many new and innovative ways we will bring music to the public.  The evolution from pre Covid-19 to the virus free new era is inevitable and exciting.

Developing one`s imagination in many  directions will be essential.  More intimate venues, virtual or in smaller spaces will be the order of the day for quite a long time to come.  All it takes is imaginative programming and performing.

There is no end to the amount of repertoire you are able to perform.  Look to no only the tried and true, but rather to various styles:  Folk Songs from the lands of your ancestors,  The  American Song Book.  Neglected Composers in all languages. America is made up of so many cultures that there is a treasure trove of music to be performed.  Doing programs that are not of the traditional format also will be  popular with the music loving audiences.  You are able to match poetry readings and song performances.   There virtually is no end to what we can put together that will represent our new era.  

The highest performance standards must always be in place before presenting anything virtually or realistically.  It is tempting to put “something” online just to keep performing.  That will not do if the classical music world is to survive in a healthy way.  Remember – it is not about you – it is about the music.

Learning to sing for the camera and the microphone is a  skill to be developed,  The distance between  live performance on stage and the audience is greatly diminished.   When in a virtual performance style the singer, who is used to singing in large halls, will  learn to do what the stage actor does when making a film.  What the camera requires is greater specificity of gesture.  We do not change our vocal technique to acquire this new skill.  In fact, the challenge is to use the principles of the Italian school of classical singing.    The microphone is sensitive and that means the technical skill must be honed and secure.   

We are indeed deriving from the past to prepare for the future.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

\

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

\

 

 

 

 

 

 

    Due to the long summer ahead and the need to have stimulating courses and programs available to  singers that want to keep moving forward, I have decided to offer  a series of virtual sessions on Zoom based on my blog “Singing with Many Voices” – focusing on past blogs I have published as well as future blogs.   

The series will  be on topics related to the Classical Singers Art and Craft.  It will be free to all participants.   There will be a Q & A for each session. 

To sign up send an email to:  patenaudestudio@gmail.com.  You will be sent the link to Zoom.  Feel free to send topics you would like to have discussed. 

The weekly  series will be open ended through August, beginning June 1st, 2020:   Mondays  at   6 pm  (Eastern Standard Time)  &  Tuesdays 9 am (China) – 10 am (South Korea).

I look forward to having you participate in this, my first virtual presentation for “Singing With Many Voices”.

 

 

 

 

Every performer, be they a singer,  an instrumentalist, an actor, is  considered an interpretive artist.    The composer and librettist/poet  are the creative artists.    Indeed, the singer`s responsibility is to bring to life the wishes of the creative artists. But they also are able to bring a unique distinction borne of their own life experience, personality, intelligence and imagination.

No two performances of a work are ever exactly alike, even though each performer is executing what is on page.      In order to  bring  individuality to a performance   the singer must first have  a complete understanding  of what has been left to us by the composer and the librettist.  It is the intensity of this preparation that makes the difference between a merely  good  performance and a special  performance.

 Maria Callas, one of the most distinctive artists of the 20th Century,  always referred to the singer as the “servant” to the creators.  It was this approach to her craft and art that allowed her to bring such truth to every role she performed.  

“How do you find the emotional intensity we hear in your performances?” she was asked.   She spontaneously replied “I study the score”.  And study the scores she did.

WEDDING CAKE:  She would begin  by carefully  studying all the elements that go into a new opera. aria, duet, song, etc.  The various “layers” began with rhythm followed by  notes, vocal line,  key,  range, literal translation &  idiomatic pronunciation of the text.  Two of the most important layers  of the cake  were phrasing and dynamics.  By the time she brought the score to her coach, conductor, director she was already very well prepared to bring her own point of view, life experience, imagination to the words and music.   The bride and groom sat atop the many layers of learning.

In our eagerness to “sing” a new piece, we often neglect some of those layers..    Usually a young singer will  learn the notes, the rhythms, the vocal line.  But the remaining elements are often skimmed over or entirely neglected.  They are:  Language (translatIon & pronunciation),  phrasing and dynamics.    

LANGUAGE:  “Get behind the Words” (Callas).  Only then will the singer be able to get to the real meaning of the text.  This involves  an exact literal translation and an awareness of the structure (syntax) unique to the language you are singing.    Even though the audience may not understand the literal meaning of the words being sung, the  singing   voice will take on the colors and timbre of their meaning. due to the preparation done by the singer.  The classically trained voice is the most potent of all musical instruments in expressing the deepest of human emotions. 

DICTION:   Good diction in any language one sings has  two qualities:  clarity and harmonization.   This requires a serious study of diction for singers,  based on the characteristics of the Italian language (open throated singing;  pure, harmonized vowels;   voiced/unvoiced consonants, etc.)  This skill is one of the most important  characteristics of Classical  Singing (Bel Canto).   We “tell the story” through the clarity of text and beauty of voice.

PHRASING:  In all languages  there is always one stress word.  For instance we can say:       HOW are you today?    How ARE you today?  How are YOU today?  How are you TODAY?     Most composers, because they set texts written in their  mother tonuge,  build  their phrases according to the stressed and unstressed words in a sentence..   The strong word in a phrase will most likely  be on a strong beat and the weaker words on weaker beats.  The word chosen to be the most important of the sentence will very often be at the end of the long arch of the  phrase.   Paying attention as to how the composer chose the strong and weak beats in any phrase is your guide to finding the “contour” of each phrase as the composer intended.  In fact they have done the work for you.   

DYNAMICS:   The dynamics are the final  layer of the wedding cake. and often the most neglected.    The verbal and non-verbal dynamics on the printed page will only be brought to life by a singer who has carefully and patiently studied all aspects of the score.  They are a guide to the intelligent, well prepared singer. 

Only this combination of intense preparation and imagination will bring to life the intention of the creators.   It will be the difference between an “ordinary” performance, as skilled as it may be technically, to an emotional and memorable experience for the public.