NEW YEARS IS ALWAYS A TIME TO REFLECT AND REVIEW.     THEREFORE MY FIRST BLOG OF 2019 IS ABOUT CHECKING INTO OUR OWN DEVELOPMENT AS CLASSICAL SINGERS.

ALL SINGERS  NEED TO CONSTANTLY BE HONING THEIR CRAFT AND SKILLS.  SO IT IS A GOOD IDEA  TO STEP BACK AND LOOK AT  THE MOST IMPORTANT TOOLS WE HAVE  THAT ALLOW US TO SING FREELY, MUSICALLY, EXPRESSIVELY AND DYNAMICALLY.

THERE ARE MANY APPROACHES TO DEVELOP THE SKILLS OF A HEALTHY VOCAL TECHNIQUE OF THE “BEL CANTO SCHOOL AND STYLE” THAT APPLY TO ALL CLASSICAL VOCAL REPERTOIRE. BUT THERE ARE ONLY A FEW BASIC TOOLS THAT WE NEED TO USE – AND TO BE ABLE TO CALL UPON THEM AT ALL TIMES.

UNLIKE INSTRUMENTALISTS, SINGERS ARE NOT ABLE TO OBJECTIVELY LOOK AT THEIR INSTRUMENT. THEREFORE THE DEVELOPMENT OF OUR IMAGINATION IS CRUCIAL TO HOW WE “PLAY” IT.

 

“WHEN YOU FIND A TECHNICAL TOOL THAT WORKS FOR YOU REPEAT IT WITH THE SAME MENTAL APPROACH EVERYDAY UNTIL IT BECOMES HABITUAL – DONT DEVIATE”. (Luciano Pavarotti)

 

DEVELOPING AWARENESS: THIS SKILL IS VERY OFTEN LEFT UNDEVELOPED. IT INVOLVES CONSTANTLY “CHECKING IN” TO BE SURE THESE BASIC TOOLS ARE IN PLACE IT IS BEST TO BE AWARE BEFORE YOU SING A PHRASE. AS WELL,
“CHECKING IN” AFTER YOU FINISH A SONG OR ARIA WHEN YOU ARE REHEARSING OR VOCALIZING WILL DEVELOP THIS SKILL. IT DOES NOT MEAN THAT YOU LISTEN TO YOURSELF AS YOU ARE SINGING A PHRASE.

 

HERE ARE A HANDFUL OF THE “TOOLS” WE WANT TO DEVELOP AND THEN BE AWARE OF :

POSTURE: (“FIND YOUR NOBLE POSTURE” – Richard Miller “The Structurer of Singing”

INHALATION: TAKING TIME TO PREPARE THE INHALATION FOR THE PHRASE WE ARE TO SING. (Inner Ear/Inner Eye)

MAINTAINING THE SENSATION OF AN OPEN THROAT ACHIEVED ON INHALATION THROUGHOUT THE ENTIRE PHRASE AND BETWEEN PHRASES. (“I OPENED MY THROAT WHEN I WALKED ON STAGE AND CLOSED IT WHEN I WALKED OFF” – Luciano Pavarotti)

MAINTAINING THE POSTURE OF INHALATION TO THE END OF EACH PHRASE.

LEGATO ENERGY. – ANTICIPATING THE NEXT NOTE AND NEXT VOWEL THROUGHOUT EACH PHRASE.

DICTION: CLEAR,HARMONIZED VOWELS AND WELL ARTICULATED CONSONANTS (“IN THE FIRST VOWEL ARE ALL THE OTHER VOWELS”. Nico Castel)

DEVELOPING A STRONG POINT OF VIEW ABOUT THE WORK YOU ARE ABOUT TO PERFORM.

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TWO IMPORTANT MAXIMS THAT SUM UP DEVELOPING OUR AWARENESS:

“I COULD TEACH YOU THE BASIC PRINCIPLES OF BEAUTIFUL SINGING ON THE FINGERS OF MY HANDS – IT WILL TAKE A SINGER PATIENCE AND AWARENESS TO HONE THEM. “. Maureen Forrester, Canadian contralto

 

“KEEP YOUR THOUGHTS AS SIMPLE AS POSSIBLE BUT NO SIMPLER”. Albert Einstein. TAKING A GOOD LONG LOOK AT THESE PRINCIPLES AND FORMING SIMPLE BUT STRONG THOUGHTS WILL DEVELOP THE “AWARENESS” WE CAN “TUNE INTO” AT WILL.

A WORD OF CAUTION: YOU CANNOT DEVELOP AWARENESS WITHOUT KNOWLEDGE. A SIMPLE, CLEAR UNDERSTANDING OF YOUR INSTRUMENT. (RESONATORS, BREATH MECHANISM, SPEECH MECHANISM) IS ESSENTIAL.THIS IS USUALLY DEVELOPED WITH THE TEACHER UNTIL THE STUDENT IS ABLETO TAKE OWNERSHIP OF THESE PRINCIPLES. BUT WE CANNOT TAKE THE PRINCIPLES FOR GRANTED. THEREFORE WE CONTINUE TO BE “AWARE” THROUGHOUT OUR WHOLE PERFORMING CAREER.

 

 

 

 

 

 

 

 

 

 

       

 

 

 

 

“HE WHO KNOWS HOW TO BREATHE KNOWS HOW TO SING” (Manuel Garcia)

For centuries volumes have been & continue to be written about the classical singer’s use of the breath – usually referred to as support, breath control, breath management, balanced breath, etc. Yet there remains a great deal of confusion on the subject.  

Several followers of SINGING WITH MANY VOICES have asked me to address this important topic.  I am happy to do so, based on some of your questions.  However, this is not meant to be a “How To” blog but rather a look at our breath mechanism and how it functions, with an emphasis on the classical singer’s skill.

QUESTION:  Is there a  difference between “The Singer’s Breath” &  normal speech?ANSWER:  Singers & non-singers alike have the same breath mechanism.  But the  classical singer must develop it to its fullest capacity for the demands of the repertoire:     1) Long sustained vocal line   2) A  wide vocal range (2 and 1/2 octaves)   3) Balanced registration (chest,middle,head)   4) Dynamic control   5) Agility   6) Diction &  7) Expressivity.

These principles of the Bel Canto School require us to look more specifically at the breath mechanism itself:   INHALATION MUSCLES:  Diaphragm & Rib Cage (Outer Intercostals).  EXHALATION:  Lower Abdominal muscles and Rib Cage (Inner Intercostal muscles).

INHALATION (Support):   For everyday speech we do not need to be too concerned about how we inhale  – nor does the throat need to be “open”.   The singer, on the other hand, must always inhale completely, comfortably and deeply.   We often take this kind of satisfying, complete breath in real life when we:  Begin a Yawn; Deeply inhale the perfume of one rose;  Express joyful surprise; and, yes, when we sneeze.  Therefore this way of inhaling is not foreign to any of us.   For singing,  this “complete” breath prepares the whole instrument:   THE VOCAL TRACK (larynx, speech mechanism & resonators) &  THE TORSO  (Diaphragm distends & rib cage opens (outer intercostals).  The lower abdominal muscles release to make room  for the descending diaphragm.  The air goes easily, completely and noiselessly into the lowest part of the lungs (open back).                                                                    SUSPENSION:  This is a sensation we feel when the deeply  inhaled air “settles” in the lungs.  It is one of firmness and stability in the torso, often described as a “Column of Air”.  It is this phase of the breathing cycle that we often do not pay enough attention to as singers. But it is a very important part of the dynamic control of the breath flow for each phrase to be sung .   

EXHALATION (Breath Management):   When we Yawn & Sigh in every day life the body automatically takes a fuller, deeper breath.  But we  do not need to consciously control the exhalation  as the breath is “sighed” away very quickly.  The position of inhalation (suspension ) is not retained & the exhalation muscles push  the breath up to the larynx  without any resistance being offered.  The Yawn/Sigh is a wonderful way  to release tension or to relax after a long day’s work, etc.   But singers need to have a dynamic control over that column of  air.   The major difference, then, at this point in the breath cycle,  is that the singer will learn to set up a buoyant interplay between the inhale and exhalation muscles  by maintaining the position of inhalation (suspension) from the first tone,  continuing  to dynamically feel the isometric interplay throughout the phrase.    The buoyant control  of the breath changes the pitches, leaving  the larynx stable throughout the whole range (open throat).  There will always be a small amount of air in the lungs & the  singer never feels out of breath.  One  never sees a well trained singer inhale or exhale.  They are aware of this breath cycle from the moment they prepare to sing.  It, of course, all begins with the “noble posture” of our body (Richard Miller, The Structures of Singing).                                                             

QUE:  How does one know how much breath to take in & how to control it?              ANS:  The phrase to be sung will dictate all of this to the singer.  Therefore, “Breathing for the Phrase” is an important concept.  The inhalation becomes the upbeat for each mentally prepared phrase (Inner Ear/Eye).    Knowing in advance the gesture of the phrase, its range and its dynamics are all a part of mental preparation.  The body will follow the clear thought.

QUE:  Is there a name for this type of breath management?                                       ANS:   Yes, in the Italian School of singing it is called “Appoggiare” (To Lean/To Support).   Support is the air you have in your lungs upon inhalation and breath management is the buoyant, dynamic isometric interplay between the 2 sets of breathing muscles, assuring that the lungs will not run out of  this “support” before the end of each phrase.    Thus the use of the word “To Lean”.

QUE:  Why is there confusion about breathing for singers ?                                        ANS:   Two possible reasons:  A  lack of simple but clear knowledge about our own instrument  &/or  an over complication of the “process” – causing the breath flow to be static as opposed to dynamic.  We sometimes over emphasize one muscular function instead of balancing the whole instrument as one unit.  We need to keep the phrasing  as our guide at all times.  

QUE:   How may a student develop this skill?                                                                     ANS:  Each knowledgeable teacher has their way(s) of helping each student   to develop this part of the technique.  Each singer must take ownership of the information received from all sources  developing one’s own mental and musical concepts based on  correct information. 

HERE ARE SOME VERY DESCRIPTIVE MAXIMS FROM RECOGNIZED SINGERS & TEACHERS ON THIS SUBJECT:      

THOMAS HAMPSON:  “Keep the feeling of inhalation at all times”                       ENRICO CARUSO: “The art of breathing, once acquired will go a long way on the road to parnassus.”                                                                                                             LUCIANO PAVAROTTI:  “The throat does not change the pitch – the proper air pressure does.”                                                                                                                     PLACIDO DOMINGO:  “Be aware of your firm torso, onset your first note there and go away from your body”                                                                                               MATHILDE MARCHESI    (Bel Canto: A Theoretical and Practical Approach):  “The inhaled breath feels like a firm and supple column upon which we sing.”              “Sing in the position of inhaling”                                                                                   EMANUEL GARCIA :  “In a balanced onset (appoggiare) all shock is avoided.  Therein lies the germ of all good vocalism”                                                              RICHARD MILLER (The Structures of Singing) – “The breath quickly & easily renews itself if the posture of inhalation remains throughout the phrases”                 LAMPERTI:  “Feel the breath under the tone – not in the tone”.                                      MY FAVORITE QUOTE  “Keep it as simple as possible   –  but no simpler”(Albert Einstein)   

In my next Blog on “The Singer’s Breath”  we will look at accepted pedagogical phrases  and  what they mean, 

Please feel free to send in any questions or topics you would like to have discussed in SINGING FOR MANY VOICES.