”Look,” he says quietly, slowly, ”at a certain point, something is musical. And beneath that point, it’s not musical. You can’t sing out of tune, you can’t play out of rhythm, you can’t play your instrument that isn’t tuned, the tempo has to be right. I don’t know, is that perfection? I don’t say that once you reach that point, you must keep going to the sky — although I do think, Hey, you got this far, why don’t you see how far you can go? If you want to call that perfection, O.K. But it’s not anywhere near perfection, it’s just musical.” Paul Simon
Hello, dear students (and honored guests). You notice that I have not written a post here in a long time, but today I am inspired to give some guidance. Since you are here now, I urge you to look around after you read this post, as there are others that you will find helpful.
Many of you face voice juries, recitals, auditions, or other imminent performances. In the days leading up to such opportunities, here are a few not-quite-random thoughts to consider.
1. Worry or extreme anxiety may be a clue that you are not well-prepared. Yet, it is never too late to increase your chances for a stronger performance, although it is surely true that inadequate preparation does not allow your very best work.
2. With humans (that would include most of us!), the mindset of “all or nothing” is generally not a helpful approach to performance. You will never achieve the dream, “ultimate” level that you strive for, but you must move towards it. If you are ever convinced you’ve hit a perfect 10 on your personal scale, then re-calibrate that 10 to 8 or 9, and keep progressing. Don’t worry, this will happen very rarely (or never) if you are honest. As with good body management, we are not after place or position, but direction.
3. Obsession with perfection is an inhibiting, negative, destructive, damaging, limiting, damnable energy-drain for performers.
4. Obsession with perfection is an inhibiting, negative, destructive, damaging, limiting, damnable energy-drain for performers.
5. Obsession with perfection is an inhibiting, negative, destructive, damaging, limiting, damnable energy-drain for performers. It is never a good thing. Don’t try to be perfect; be truthful, open, communicative, skilled, confident and grateful for the opportunity to perform.
6. Here is a short list of some fundamentals in vocal technique:
a. balanced, deep, and accessible breath support (appoggio),
b. easy availability of energy to articulate tone and language, avoiding “support” from the upper body,
c. freedom to inspire physical processes with mental/emotional “performer energy,”
d. Etc. [Add your favorite fundamental here.]
7. As the word implies, a “fundamental” rests securely deep within you, at your core, your foundation. It is not at the top of your thought process, a mental effort to make things happen. Fundamentals allow/empower things to happen, they don’t exist for their own glorification. Every desirable action is allowed or inspired by the imagination, not by “manual override.”
8. Fundamental technique is a result of both learning/understanding and training. It happens over time. One of my wisest teachers told me that a talented singer should be able to learn and embody a solid vocal technique in two years of study. I think she was right, given consistent and dedicated work by that student. Once the essence of technique is incorporated, your continuing study is towards refinement, making specific application and choices, improving your abilities, etc. This work is done with your voice teacher, with trusted coaches, and sometimes independently–above all, through consistent practice.
9. All of the choral/ensemble/non-classical singing that you do is potentially limiting to your own progress. This is why your own personal practice must be sufficient to keep your goals clear. As I have said many times, you must be the Chair of your own Vocal Board, and your voice teacher is your Senior Advisor. No conductor, coach, director, parent or friend, has the right/responsibility to either of those positions (Chair, Senior Advisor).
This is not a comprehensive list of values or processes, but I must at least mention that it is never too late to review texts, translations, dramatic subtext, poetic thought, etc. Musical score study is never inappropriate. It is a good idea to refresh your memory. Additionally, the more you live with a song or aria, the more likely you are to find new connections on the printed page that will enhance your performance. This may relate to musical or textual phrasing, new insights into why the composer made some of his/her choices, etc.
Bottom line, do not panic. Do not give up. Make the time to be as well-prepared as possible, building on what you have already done. Choose to present yourself confidently and give a valid performance that represents your most truthful and committed work on that day. Choose to be on the up-escalator, progressing even through the performance itself.