How to Learn to Sing (Better)

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One of the greatest joys in my life is to teach gifted singers on a regular basis (in my studio at Westminster Choir College), several other wonderful artists periodically, and quite a few students in various master classes. Regardless of the frequency of these encounters, whatever learning and growth take place is dependent on what both teacher and student do.

To a very large degree, the effectiveness of a voice teacher is due to how well he/she motivates students. A good teacher is never too easily satisfied, and the focus of a lesson is seldom limited to resonance and support (though vitally important). One teaches artistry, musicianship, organized thinking, discipline…and responsibility. Various teachers have varying styles to help students work well and accomplish much; my own manner is to be respectful and considerate of the student, to be authoritative (after all, I do believe in what I teach!), but seldom to demand.

Having said the above, the one thing that is uniquely the responsibility of the voice teacher is to guide a student in the formation of his/her vocal technique. This is not the privilege or the job of the choral conductor or vocal coach, I hasten to add. In actuality, each singer must be the chair of his/her “vocal board” and the voice teacher is “senior advisor” and guide. Many students fail to assume their own privilege, due to the time and energy they spend with conductors and coaches, who give them specific input into musical performance. It is too easy for these students to mindlessly do as they are told—certainly not the intention of my colleagues.

As magical as vocalization in the studio may seem to be (it is thrilling for me to see eyes light up with new successes in vocalization!), and as enlightening as repertoire and text work may be, the real engine that determines a student’s progress is the student him/herself. Not only does a good teacher bring new instruction, information and advice to the student in a lesson, that teacher must affirm what the student discovers in practice and performance. Sometimes, that affirmation is quickly followed by introduction of alternative techniques that will be more beneficial in the long run. This kind of teaching moment does not happen unless the student has been working diligently and consistently.

Westminster (where I have been privileged to teach for quite a few years) boasts a large and highly-capable voice faculty. I have excellent colleagues; we share many basic values, preferences and techniques that characterize our teaching.

I am convinced that the determining factor of a student’s success is usually less about technical approach, and more about how that student responds and works between lessons—what he/she brings into the teaching studio. Even with benign or inappropriate technical emphases from voice teachers, smart and gifted students will largely find a way to “put things together.” I certainly enjoy teaching more when students come to their lessons with an agenda, questions and suggestions—balanced by their trust and willingness to accept my instruction. We all benefit.

Wolf on YouTube

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The first of six segments, providing the complete Italienisches Liederbuch of Hugo Wolf, has been uploaded to YouTube. I am joined by my excellent colleagues and friends, soprano Faith Esham and pianist J.J. Penna, in this recent recital at the Schubert Geburtshaus in magical Vienna–the very place where Wolf flourished, along with Mozart, Schubert,  Brahms, Mahler, Strauss and so many other prominent composers. The remaining segments of our recital are also now available.

Link to “The Focus Vowel”

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My friend, Daniel Shigo, writes/compiles an extensive, inspirational and helpful blog called VoiceTalk.

I recently read Daniel’s article on “The Focus Vowel,” which relates to methods of my own teacher, Margaret Harshaw. He is quite accurate in his comments about her teaching. We would usually vocalize in the order of [i,u,a] to find both core and focus (most often, with florid vocalises). We find brilliance and power in [i]. We find warmth and roundness in [u], and they combine in [a]. Each needs the other.

In the comments, Daniel makes the excellent point, to “think” about a vowel is the best way to positively impact your tone. As you know from my own writing, it is the imagination that brings about coordination and maintains the freedom to access flexible strength. Don’t “set” your primary articulators (tongue, jaw, lips) into a given vowel position. Rather, allow the thought of vowel to bring about subtle changes throughout the vocal tract. This is one place that support/appoggio and articulation intersect.

Bravo, Daniel, for this excellent post, and for your very interesting site!

Salt

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His use of the language was surely better taken in by native German speakers. For me, it was not easy to understand much of the Sunday morning sermon in Vienna’s spectacular Augustiner-Kirche. The priest spoke considerably faster than those who had delivered sermons on previous Sundays. Come to think of it, even if he had spoken in English, I think the pace was a bit too quick. But that’s not the point.

The point is that I “got” a few essentials, largely because the woman who read the Gospel spoke more slowly. It also didn’t hurt that I already know the words of Matthew 5:13-16,  the lectionary assignment for that day. “You are the salt of the earth…”

The scripture speaks to what I believe is the chief reason we are here–to spice things up! But salt is more than a flavor enhancer. At least two other vital characteristics were highlighted in the sermon. Here’s where my thoughts began to turn towards singing…

Salt is a preservative. Before easy access to refrigerators and freezers, it was much more common for meats to be salted in order to keep them edible for months, not merely days.

Salt also melts ice. To melt ice and snow is essentially to destroy them. True, they actually only change form, but think about that the next time you want to build a snowman!

So, salt has the power both to preserve and to destroy–two dramatically different actions, yet both essential. Salt is less likely to destroy foods, and it certainly does not preserve the ice on your driveway.

Breath support/appoggio is a lot like salt. (Here it comes…you knew we would get around to vocal technique.) The basic nature of salt does not change, however it is used. The determining factor is how, when, where and in what measure it is applied. Likewise, the singer’s use of breath energy must be appropriate to the needs of each moment.

Active Passivity

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Just as the performing artist must not confuse relaxed with collapsed/disconnected–or engaged with tense/effortful, do not think for a moment that activity is always about obvious motion. Technique and imagination are able to empower each other when the artist confidently “gets out of the way” and allows them to coordinate. Key to that relationship is that the artist know what degree of control to exercise.

I often write in this blog about imagination and choices that the artist makes, based on technical ability and good preparation. There is certainly more to performing effectively than good intentions or positive thinking. Yet, too often we performers don’t trust our preparation or our skills; we try to exercise a level of conscious control that actually weakens–even sabotages–performance. Speaking from personal experience, this is a major challenge for all of us who teach and perform.

As essential as technical fundamentals are (choose your own ideal here: low larynx, high palate, legato, mastery of breath control, etc.), there are vital benefits to what I call active passivity. One who learns what it feels like to allow or bring about desired activities will find efficiency (therefore, less fatigue) and concentration that lead to more expressive, consistent and powerful performances.

My students quickly learn that I love the game of golf (readers of this blog can also figure that one out!). There is much common ground with sports–golf, in particular–and good singing. The golfer may have frequent lessons (it is not unusual that tour professionals’ coaches travel with them) but they know the difference between the practice tee and a competitive round of golf. No doubt, a comprehensive understanding of the mechanics of the swing should be helpful, but an excellent swing is not brought about through conscious thought of when to shift the weight, cock the wrists, square the clubface, pronate/supinate, etc. Things happen too quickly for that level of conscious control. However, it is typical that a golfer chooses one, possibly two, swing thoughts as they stand over the ball. This is not unlike positive imaging, whereby one sees the track of the ball’s flight before launching the swing, or imagines success with that difficult phrase or challenging aria prior to taking the stage.

Years ago, it was a revelation to me–the good Southern boy who tries hard to do the right thing–when a wonderful dramatic coach/director (James deBlasis) urged me to take it for granted that a certain dramatic choice was intact in my performance. I began to realize, this is how learning and growth work. “Big Brother” left brain has little responsibility when it comes to the moment of performance. Once skills and choices have become secure, second nature reality, the performer must take for granted that it all comes together. A plus B will always (OK…usually) equal C.

To be more specific, efforts to establish the low laryngeal position that most of us seek too easily lead to a depressed larynx. In this case, tongue/jaw tension is a problem; the neck tends to lock down, and mobility is lost. The ability to articulate pitches and text rapidly and effectively is hampered. One of the fundamentals that I was taught long ago is that a good, natural, deep inhalation releases the larynx down; it is not necessary to place or manipulate the larynx down, but we must commit to not moving it up. I now define low larynx as “the larynx that is not pushed or pulled up.” This balancing act is a prime application of active passivity.

One more fundamental that I will address here only briefly (arguably, the most basic element in singing) is breath support/control, appoggio, etc. We often worship at the Shrine of the Low Breath, and “the breath” becomes an object of mystery. I say we must demystify the whole process to master the specifics of breath management for singing. After all, as my favorite Alexander Technique colleague (my own teacher) often points out, it is toddlers who have mastered body management. They make a lot of sound, for a long time, without hoarseness, etc. In fact, the healthy baby makes a conspicuous entrance onto the world stage by breathing very deeply, then crying out with great power!

Through refining talent/instinct into an effective technique, the athlete–whether engaged in golf, another sport, or singing–discovers that mind, body and spirit must be in sync to perform at a high level. Learning to access technique fluidly and imaginatively is vital.

About Practice

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In looking through some old documents, I ran across the Practice Guide that I give my students at Westminster Choir College of Rider University. It offers direction on what good practice is, and how it can helpful. A portion of this document was posted on this blog a couple of years ago, but I think it bears repeating:

WHAT is practice? According to Merriam-Webster, practice is “systematic exercise for proficiency.” Practice must involve experimenting/improvising (creative energy), but it is primarily to channel that energy into training. Practice is the investment of hours and years to build a resilient, dependable technique (method of carrying out a skilled activity). Practice is what one does to bridge the gap between his/her best intentions or dreams, and reality. In other words, practice is making consistent the application of desired choices; one practices making choices, so that they become “second nature,” automatic, as natural as breathing.

WHY practice? Learning without application is of questionable value; in a skill such as singing, learning is arguably worthless—unless validated by consistent practice. One does not learn to sing only in the voice lesson; vital concepts are introduced there, but the student builds with and upon those concepts/techniques in the practice room (studio class, the coaching studio, the opera rehearsal, the choral rehearsal, in performances…). It is important that techniques introduced in the lesson be promptly, thoroughly and regularly supported by generous amounts of time in practice. Much influence comes from teachers, coaches, conductors, colleagues, etc., but the student must embrace his/her right and responsibilities as Chair of the Vocal Board.

Practice is also about rediscovering and affirming choices that have previously been identified as desirable. This truth is essential for continuing progress, as one builds a cohesive network of choices that make up technique. As a singer develops and matures, it is critical to rediscover earlier choices and make subtle adaptations.

Perhaps the most important reason to practice is to develop confidence. If one does not “work out” the technique that is ostensibly being developed, he/she must depend on over-effort and luck. To come to a voice lesson or performance without effective and frequent practice—thus to be constantly “on guard,” often second-guessing oneself—does not allow the singer to make valid, true artistic choices. He/she will not develop the technical freedom that empowers expressive freedom, and will quickly lose faith in the technical approach.

Any activity (such as singing) is more rewarding and fulfilling when one is well-prepared, and has therefore earned the expectation of success. Besides, practicing well is often exhilarating and always good for the soul!

WHEN to practice? In short, at least three times a day, for a minimum total of 75 minutes; it is better to practice frequently in relatively short segments. Make practice sessions a priority in the daily schedule; enter them in the daily planner. The length of time in daily practice (six days a week, with a “vocal Sabbath”) may often be more than 75 minutes, in addition to ensemble or opera rehearsals. If more repertoire is in process (or if the student learns music/text slowly), more time will be needed in practice, as well as in research. Be certain not to actually sing for more hours a day than freshness and vocal health can be maintained; on days of heavy rehearsing or performances, some of the practice should be silent. (Ask me for suggestions on silent practice.)

WHERE to practice? Listening to recordings, even while in the practice room, is not actually practice; it is preparation for practice. Though one must not learn music from any recording, an initial hearing can be helpful, with occasional listening to the same or different recordings of the same repertoire. The library or the computer desk can also be excellent places to prepare for practicing, as the student researches texts and sources.

Find a room with a piano, where disturbance and eaves-dropping are unlikely. The room should be well-lighted, with good circulation. When entering the actual practice room, turn off or completely silence the cell phone. Distractions cripple one’s efforts to improve and grow. Lack of an ideal practice room will not stop the committed student from working, however.

WHAT to practice? The lesson is a guide for practice. The notes/recordings that are made in lessons must include vocalises. Be creative in adapting those vocalises in helpful ways.

The typical practice day should have a warm-up vocalization session, a second, hybrid vocalization/repertoire session, and a third session to emphasize repertoire. The warm-up session lasts approximately 15 minutes, early in the day, preferably before much talking—certainly before singing in classes or rehearsals.

Vocalization will include both florid and sustained patterns, though the emphasis will vary. Two or three pieces should be the center of the repertoire work each week. The assignments that I make at the end of each lesson must be observed, and are guidelines for the week’s practice.

HOW to best practice? It is important that the warm-up session, in particular, begin in the middle or lower middle range, eventually moving up and down in pitch; there may be several minutes of breathing exercises before vocalization begins.

Set realistic goals for each session; e.g., one session may focus on greater awareness of deeper, more settled breath, on memorization, or a specific technical concept. Obviously, significant time is invested in learning musical and textual accuracy. A Practice Journal (brief notes describing what was attempted and achieved in each session, and how time was used) can be helpful. In fact, I require some students to include it in the Voice Notebook, particularly if preparation is not good. Record a practice session at least once or twice a week, particularly when the accompanist is present; later review can be informative and inspiring.

Each singer has unique gifts and unique challenges. Do not measure progress merely by comparison with others; the important comparison—one that each of us can affect—is today’s self, compared to yesterday’s.

Recital Retrieval

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An informative article in The New York Times (January 20, 2011) caught my eye. The title is “To Really Learn, Quit Studying and Take a Test,” reporting on a study that is detailed online at the journal, Science.

The gist of the study was this: Three groups of students were asked to read a passage of scientific information. One group re-read the material several times. Another group engaged in “concept mapping,” (a method I often use) in which diagrams, lines, notes, color-coding, etc., are created to help organize one’s thoughts. The final group took a test on the reading material, to discover how much recall they had with what they had just read.

One week later, each of the three groups was tested on the initial passage. To everyone’s surprise, the final group (those who had been given a written test after the reading) did much better on the test–about 50% better. In other words, the relatively passive exercise of simply reading was not as effective, nor was the more active approach of creating a visual “map” to identify the conceptual relationships.

The study actually was a bit more involved than what I describe. The Times article includes comments from several scientists (some of whom were not involved in this study), on how the mind seems to reorganize material through testing, making it easier to access in the future. “I think that learning is all about retrieving, all about reconstructing our knowledge,” said the lead author, Jeffrey Karpicke, a psychologist from Purdue. “I think that we’re tapping into something fundamental about how the mind works when we talk about retrieval.” I highly recommend that you find the newspaper article to learn more; some of you may want to study the entire article in Science. If you do that, please leave comments here for all of us.

For performers, I see several implications in this study. Actually, many of us already know some things to be true that are validated or explained by this study. (Yes, that’s a subtle way of saying, “I told you so.”)

First and foremost, the activity of performing is itself a major piece of the learning/growing process. Who among us does not recognize the value of rehearsal, dress rehearsal, “studio class,” preview performances, “taking it on the road” before the reviewed performances are given, etc.? In the practice room and in the studio, it is vital for the performer to gather his/her “performer energy” and make a performance–often at the end of a session, perhaps at the beginning of the session. Many of us who teach like to occasionally bring colleagues or other students into the lesson to hear what a student is doing, e.g. In reality, this is a sort of test for the student that gives him a chance to put some things together. Very often, one may find that she is actually more together than previously realized!

Every public performance–particularly those that we call Junior Recital or Senior Recital–is a means of learning and moving ahead. Those tests must not be mere “Look at me!” photo-op attempts to validate what has already been achieved. The artist must actively engage in each performance, so that retrieval can support the moving ahead/growing process.

Far too often, the immature student (even a chronologically-advanced artist!) seems to think that public performance is merely a vehicle to display accomplishment–an occasion to gain the approval of family, fellow students, the public, even God–eagerly depositing a dead mouse on the back doorstep to establish “top cat” status.

A primary benefit of performance is the strengthening of the performer’s relationship with the repertoire. That success empowers the next performance to be even more textured, more effective!

True Imagination

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I remember reading a comment by golfing great Severiano Ballesteros. In his playing days, Seve was known for an unmatched ability to get out of trouble on the golf course–hitting shots from unusual lies, parking lots, trees, etc. (Of course, one must first get into trouble to be able to get out of it…That could be another post, another day.)

As I recall, the quote was something like this: “People say that imagination is looking at somebody else, wondering what that person looks like naked. I say imagination is looking at somebody, and knowing what he/she looks like naked.”

Seve is telling us about creativity on the golf course, but also in the arts, in any kind of activity, like singing.

Curiosity and dreams can awaken imagination, but they’re not the same as true imagination. Neither are positive thinking and confidence the same. (See the Trevino quote in “The Confident(?) Performer.”) Distinctions are to be made between wild, untried choices, and those possibilities born in reality, discovered in practice.

A similar difference exists in the art of musical improvisation. Whether in jazz, 17th/18th Century, or other music, the performer must know tonality, rhythm, essential rules. In this way, improvisation won’t lead the performer (the listener, too!) down a dead-end road, with no way to get back home.

Through lessons, practice, observation, research, conversation, and/or earlier performances, the serious performing artist discovers effective choices, ideas, possibilities. Wishing, hoping, and wildly dreaming are not enough. Performing “without a net” is best done by seasoned veterans with a lot of data in their imaginative computers. Amateurs tend to perform without a net rarely, if more than once.

In the long run, foolhardy carelessness and insufficient preparation steal the performer’s confidence. True confidence steels true and productive imagination. Ask Seve.

Extreme Balance

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Liberal, conservative. Democrat, Republican. Blue, Red. Us, them. Right, wrong.

Wasteful, managed. Uncontrolled, contrived. Offensive, defensive. Public, private.

Left, right. Hot, cold. Up, down. Forward, back. Bright, dark. Loud, soft.

Left brain, right brain. Spontaneous, planned. Allowing, making. Instinct, calculation. Imagination, discipline.

You get the point. These are pairs of apparent opposites, at least strongly contrasting. Consider further:

Clear, veiled. Focused, spread. Chiaro, oscuro. Onset, release. Resistance, flow.

Florid, sustained. Dynamic, static. Principal, interest. Expansion, compression. Give, take. Talent, technique.

Balance. Balance is found not only through compromise. Sometimes it exists because of independent, complementary qualities or activities.

Balance is not always a 50/50 equation. Sometimes it may seem different from day to day, or moment to moment.

In the human and political arena, it is increasingly difficult to find moderation or balance, as people are grouping themselves at the fringes. Balance is not always a matter of  right or wrong; sometimes it is “how much” or “when.” I often say in lessons and classes, “never say never.” (To quote Captain Corcoran in HMS Pinafore, “hardly ever.”)

Not only politicians, voters, and institutions around the world negatively label others and their views. Singers and artists often do the same. Sometimes, as we mature (not simply chronologically!), we learn to respect “the other” and learn from those who advocate it.

The singer/student must not fear exploring new and apparently contradictory techniques. The wise teacher will encourage the student to experiment.

Specific application of truth and technique may change, as specifics of the situation change. Yet, if one is diligent and honest in his/her work and practice, basic truths will be more deeply comprehended and trusted.

We must not approach today’s opportunities with yesterday’s stale understanding of valid techniques and concepts.

Update your relationship with the truth. Don’t be afraid. Truth is not limited by time.