NSW
Chapter
anatsHSC WORKSHOP
PENRITH, NSW APRIL 2005.
A sunny April morning in outer Western Sydney
began an enriching day of information, fun and performance for
HSC singing candidates.
This review is the culmination of one successful
day that was the combination of a challenging process, enthusiastic
and committed people, interesting places and spaces, inspiring
content and a view to the future for all participants.
Eighteen singing candidates for HSC music (Units
1, 2 and Extension) took the opportunity to develop their performance
skills, further understand the assessment requirements, and respond
to performance anxiety and stress, in a workshop organized by anats NSW.
Reaching out to regional and outer urban areas
is an aim of anats NSW
and the committee decided to run a regular annual item on our itinerary
at the Joan Sutherland Performing Arts Centre in Penrith.
This new facility is in outer western Sydney,
accessed from the main freeway, leading west to the Blue Mountains,
and easily approached from the north, south and western corners
of Sydney.
The spaces available to us included a room comfortably
seating 60, which included participants, parents and observers,
and a new grand piano, which our accompanist, Mary-Leigh Hand played
sensitively for the young singers and their varied repertoire.
Also an adjacent large vestibule area was used for the movement
section of our workshop.
The first presentation was with Ron Popenhagen,
who is an actor, lecturer in stagecraft, and a director of plays,
musicals and opera.
Ron encouraged the singers to consider the relationships
in their performances, such as those between the music, text, character,
story and the space and conditions in which they were played out.
“Approach singing as if you are actors,” he
advised. Drawing the participants attention to their feet, shoulders,
sternum, face, hands, ears and skin he ask them to reflect on the
physical, respiratory and emotional relationships.
[Performers have] “a different energy
when being watched than in everyday life”, Ron reminded the
inexperienced singers. The performers now needed to make decisions
about the choices they had in relation to the text, music, silences
and gestures and to use those economically with in the structure
of the narrative and the space, he said.
“Be comfortable with the gaze of the audience,” he
reminded the singers, and create magic from the dynamic tensions,
all within the plan you have devised.
The second presenter was Jennifer King, a retired
classroom music teacher, HSC assessor, an adviser to the Board
of Studies, consultant to schools, students, music and teaching
organizations, private voice and music theory teacher.
Jennifer reminded the students that the examiners
were aware of their inexperience in this field and as such the
students needed to wisely choose:
- repertoire: “not too low, or transpose
it,”;
- styles: “folk songs or easy jazz are
most appropriate,”;
- dynamics: “use the softer moments skilfully,”
- memorization and word painting: “indicate
preparation to the examiners”.
Jennifer advised the students to review the
rulings and marking criteria for HSC music 1, 2 and extension.
A relaxation script, led by Carol-ann Bentley
was a practical way to finish the morning activities.
Carol-ann is a voice teacher, retired classroom
music teacher, hypnotherapist and outstanding ANATS member who
formed part of the team preparing the day’s program.
Students and observers discovered why anxiety
occurs, how it can be acknowledged and put to practical use. The
take away script was an effective way for students to practise
relaxing, focussing and becoming less distracted by the demands
of HSC and performance anxiety.
During the afternoon Years 10, 11 and 12 students
preparing for HSC practical music exams performed their songs.
Extension students sang songs such as: Prison (Faure), Breathe
Now(George,
Winter & T.Amos), Der Nussbaum (Schumann), Moon
Spirit (D. Mewes), I’m ok (Aguilera), In
torno all idol mio (Cesti), The Fairies Dance (Michael
Head).
Music 1 & 2 students sang a range of songs,
including: Be Here to Love me (VanZandt), Feed the
Birds, (Shermann), Cry me a River (Hamilton),Only
you can make an angel cry (Pettigrew - student composition), Just
Arrived (Capocabana).
Jennifer and Ron offered constructive feedback
for all singers, commenting on such aspects as: selection of repertoire,
phrasing, dynamic contrast, consonant clarity, general demeanour,
performance detail, exploring scat, registration and onset.
The day concluded with some follow up questions
and thanks to all those involved during the day and in the sometimes
frantic and frustrating weeks prior to the workshop.
The workshop was a rich opportunity for HSC
students to more deeply explore aspects of performance for singing
and consider the demands of their forthcoming assessment.
The NSW anats committee
and the subcommittee for this workshop set a challenge in placing
the workshop outside the CBD where few members reside in a wide
geographical area. We forced ourselves to network with organizations
who neither knew us nor we them. Liasing with busy Education department
officials, council officials, independent school officials, non
members, classroom teachers and students takes a deal of energy
and time, for sometimes little reward.
Having sought these networks, we need to maintain
and develop them, listen to suggestions and continue to pursue
our goal of seeking further opportunities to gather lovers of vocal
arts to increase knowledge and fellowship.
Kathleen Connell
March 2005
Welcome to yet another year of great fellowship
with ANATS NSW. The New South Wales committee is planning a year
of activity which we hope will inspire and inform our members.
Our new committee (listed in this edition of Vocaleyes) is full
of dynamic ideas, and we look forward
to presenting our program for the year.
Certificate of Recognition
But before we do that, it is a pleasure to announce that
at the AGM last November, Dr Jean Callaghan was awarded a Certificate
of Recognition for her distinguished contribution to the profession.
Singer, teacher, researcher, presenter of workshops, author and leader
of professional organizations, Jean is a model for many of us. Fortunately,
she continues to play a vital role in Australian musical life. We
applaud her work.
Rowena Cowley, NSW Chapter
President
NSW Chapter
2005 Event Diary
2005
Program
Taken
from the VocalEyes February
newsletter
We begin with a Teach-In, on Friday 18 March in Winmalee, Lower Blue Mountains,
at the studio of Sussane Towers.
Sussane and Peter Egan will present
the workshop, and have begun the important networking which is
part of the Teach-In concept. Any member is welcome to come and
observe, provided Sussane is notified (numbers are limited for
Teach-In days).
Teach-In
Sussane Towers and Peter Egan are planning a Teach-In on Friday 18 March from
7:30pm at Sussane's studio in Winmalee. All teachers are welcome to attend
and share ideas at:
"The Jessie McDonald Music Room"
56 Heather Road, Winmalee.
Phone: (02) 4754 4592, fax: (02) 4754 4328,
email: hartsong@mountains.net.au
Please contact Sussane on 4754 4592 by Friday 11 March if you're interested
in attending.
Come and join the discussion, or just come and observe.
Cost: $5
HSC Singing Performance Workshop
Sunday 3 April,
2005
VENUE: Orchestral Room, Joan Sutherland
Performing Arts Centre, 597 High Street, Penrith
[adjacent to Penrith Plaza] - Free Parking at Centre or Plaza
This is the first time ANATS will have presented in Penrith, and
we look forward to hearing students from studios and schools all
over Sydney. The workshop is an opportunity to perform HSC repertoire,
with feedback from the wonderful Ron Popenhagen and Jennifer King
on singing, text and performance presentation.
Carol-ann Bentley will give us some strategies for dealing with
music performance anxiety. Students from years 10 to 12 are invited
to perform in a supportive environment.
For full details, download
brochure (pdf)
or (word
document)
Winter Workshop
To be held on 9-10 July, 2005. Venue still
to be confirmed. A two-day workshop with Mark Meylan, London-based
Music Theatre specialist.
Mark will present masterclasses for singers and teachers, and
talk to us about the profession, particularly in London. Your students
can take part in masterclasses or take private lessons.
Other sessions will discuss the new
AMEB Singing for Leisure syllabus, present on English diction and
Dalcroze movement for singers. This will be a stimulating weekend
which will
answer many of your music theatre questions. Don't miss it!
There are three conferences this year which are not part of ANATS
program, but for which we offer support and encourage attendance.
These are:
AVA Symposium
15-17 September, in
Sydney (see Page 5 of VocalEyes Newsletter).
The Australian Voice Association is a
close relative of anats. We have many members in common, and anats
encourages your support of this conference and its distinguished
presenters.
NEWZATS/anats Conference
12-15 July. Look at www.newzats.org.nz for
forthcoming information.
International Congress of Voice
Teachers
Vancouver, Canada, 11-15 August.
This conference is the major international forum for singing teachers, held
only every four years. A number of our members attended past conferences
in NZ, London and Helsinki. Look for more information by Googling ICVT on
your web browser.
Choir members
required for "Sydney Singers"
Founded & Directed by ANATS member Cathy Aggett
Richard Gill OAM -
Patron Sydney Singers, conducted
and founded by Cathy Aggett (Editor of Voice of ANATS), is looking
for singers with superior musical and vocal skills. The ability
to read and interpret music intelligently is a pre-requisite of
membership, as is previous musical experience. Sydney Singers rehearses
on Sunday afternoons at SCECGS, Redlands in the Cremorne Lecture
Theatre, Murdoch St, Cremorne from 3 - 5pm.
Anyone interested in
auditioning for the choir should contact Cathy Aggett on 9452 2049
or 0413 857 950 or at cathya@optusnet.com.au performance
plus September
2003 A New songbook for young
Australians PerformancePlus
was an event that produced a new and unique songbook especially
for child and teenage vocal soloists. 33 Australian Songs for
Young Singers contains musical theatre, classical, pop, jazz
and songs that combine different styles. Thirty-three composers
were approached and asked to write especially for both the young
voice and the young person, keeping in mind the constant search
most young singers and their teachers have for new repertoire for
performance, exams, singing competitions, class assessments, and
HSC (Higher School Certificate in NSW) Australian Composition of
the last 25 years performance components. The composers represented
contain an even mix of very established composers, recent composition
graduates from Australian universities and talented teenage songwriters
and composers. These songs received an outstanding reception at
PerformancePlus hosted by ANATS Young Voice and
ANATS NSW on Sunday 21 September, 2003, at SCEGGS Darlinghurst.
They are all high quality songs for piano and voice only. There are only approximately
150 of these books remaining, so I encourage you to buy one soon
as there will be no reprint at this stage. You can order them by
sending a money order or cheque for $50.00 plus $5.00 postage and
handling to Greatest Song Centre and send your order to Tim Collins,
3 Myall Crescent, Strathfield, NSW, 2135. Don't miss out on this
fantastic offer! Dr Jean Callaghan presented
a summary of the voice from in utero to adult stage. It was a fine
presentation that offered an expert distillation of the best young
voice information and research available. Finally, about 30 young
singers from major studios and NSW school music departments presented
a wide range of popular and classical solo vocal items. We could
certainly hear many outstanding young vocalists who are singing
very well by any standards. Two choirs also performed, The Cambiata
Choir of Sydney Grammar School (20 Singers who are in the newly
settling stage of voice change) and the Cantare Choir of SCEGGS
Darlinghurst (14 girls aged 10-12). Both choirs sang most beautifully
under the batons of Mr Chris Shepard and Ms Anne Bischoff respectively.
Thanks to Dr. Rowena Cowley
and the NSW ANATS Committee who supported this event and made sure
it was a success. Thanks also to SCEGGS, Darlinghurst who offered
the venue and programs free of charge! Both ABC National Radio and
the Australian Music Centre have taken great interest in the project
so keep and eye out for more developments there! The event made a profit
and brought together quite a number of non-member young voice singing
teachers, young singers, composers and their supporters. Here's
to more Young Voice events! Tim
Collins
For more information about future Young Voice workshops or the
songbook contact Tim on mob. 0414 537 415, or email Diary
of an Intern
In July 2003 ANATS NSW
Chapter held its first Singing Teacher Internship.
Six singing teachers were accepted from around the nation for this
inaugural event. The Internship coincided with the 2003 Winter Workshop
which was open to the public. This article chronicles
the personal experience of one of the interns, Leanne Hoad (an SA
Chapter member), throughout the four days. Wednesday
9 July 2003
I arrived in Sydney this morning for the first ANATS Singing Teacher
Internship being held at the Sydney Conservatorium of Music, starting
tomorrow.
Needless to say, the venue and its location is fantastic and I'm
looking forward to the master classes, learning from world-renowned
experts and mixing with fellow singing teachers from around Australia.
The program will be held
over the next four days consisting of practical learning by teaching,
observation and feedback from Master teachers, backed by foundation
knowledge in vocal function. It aims to extend the skills of experienced
teachers, and to supply a solid foundation for early career teachers.
We (the Interns) will teach
two students, a male and a female for forty minutes each, observed
by a Master teacher. The Master teacher will then provide feedback.
I will primarily be working with Diana Hunter on the Contemporary
Voice. Each day will also include classes on vocal function and
health, repertoire and performance presentation.
Tonight is a 'get-to-know-you'
drinks and nibbles night for everyone involved. The first formal
session is Thursday morning; the whole event runs through to Sunday
night. Thursday
10 July 2003
ANATS Internship: Day 1
Last night's get together was in the apartment of ANATS NSW Chapter
President Dr. Rowena Cowley. We had a glorious view of the Opera
House. It was drinks and nibbles and lots of chatting with interns
and lecturers.
There are 6 interns in
total: 2 from SA, 2 from NSW, 1 from WA and 1 from Tasmania. They're
a friendly bunch and it was settling to know that I was not the
only one to be slightly nervous with the concept of having our teaching
viewed and constructively criticised. I am reminded yet again how
difficult it is for novice singers to sing in front of us (their
teachers) for the first time!
This morning was spent
in lectures on posture and breathing with Dr. Jean Callaghan. She
addressed the correct way to breathe in terms of what happens physiologically.
Also covered were the pros and cons of the "belly out" and "belly
in" methods used by teachers. My understanding is that these methods
are derived from empirical approaches, mostly handed down from teacher
to student and consequently taught to their students. Empirical
methods, if incorrect, can have their disadvantages.
I really appreciated how
Jean was solid with her teaching due to thorough research and scientific
findings where possible into all her subjects. She was able to give
an educated opinion on everything she taught.
Rowena Cowley followed
this session with the subject of Performance Preparation. This included
the most effective ways to learn words/text and rehearse for memory
retaining. Apparently, it takes 7 repetitions to learn something
and 21 to undo!
In the afternoon, each
intern gave a lesson to a volunteer student while the lecturers
(in my case, Diana Hunter) watched and gave feedback.
My 'student' was 23 year
old Lin Chen. She had a beautiful, classically-trained voice. She
also enjoyed singing music theatre and was currently trying her
hand at jazz. She sang "In His Eyes" from the musical "Jekyll &
Hyde."
Although I saw this musical
in New York a few years ago, I could not remember the style it required.
Therefore I showed her how to apply techniques to create a contemporary
sound, giving her various options to sing it in future. These included
not dropping the jaw as much or 'opening-up', or enlargening, the
pharynx so the physical factors associated with the 'speech-like'
quality could kick in. This 'speech-like quality', a term coined
by singing teacher and educator Jo Estill, is used in all contemporary
music.
It's been very helpful
and informative so far. I must say that I'm impressed with the architecture
of the Sydney Conservatorium of Music. It oozes grandeur and style.
Tonight will be an early
night. I need some sleep to kick off a cold/cough that is lingering!
I'll take in some Sydney music theatre tomorrow night. Friday
11 July 2003
ANATS Internship: Day 2
This morning's lectures covered phonation as it applies to the singing
voice. Dr Callaghan explained this process in detail and concluded
with a video showing the vocal folds (and larynx) in motion while
making various sounds. It was interesting to note what the vocal
folds were doing when a tight or 'pressed' (constricted) sound was
being made.
Rowena Cowley then covered the subject of Resonance and Articulation.
An interesting observation was made: how we hear ourselves is different
to how everyone else hears us. We hear ourselves with our inner
and middle ear (the sound is heard from inside our head).
When listening to ourselves
from a cassette or video tape, or through a loudspeaker when using
a microphone, we are hearing the sound via our 'outer' ear. The
unfamiliarity (to us) of the sound, compared to what we're accustomed
to hearing from our own voice, seems to explain why we find it strange
listening to ourselves.
The afternoon was another
session of interns giving classes to students and getting feedback
from lecturers (Professor Janet Delpratt for me today).
I had a lovely young man,
Lee. He is an actor who is also learning to sing. He sang a song
from the musical "Company." We covered the posture position to give
him more 'presence' and a sense of domineering the stage, which
I thought he needed for his choice of song.
We lifted the soft palate
(by applying a 'genuine' smile) to help with the singing of the
higher pitches. Back bracing or "torso support" gave him the 'physicality'
to produce a stronger sound and also equipped him for the high pitches.
Lastly, we looked at the
'interpretation' of the song with the need to establish a character.
I borrowed the principle from the method of acting used by actors
- the "Stanislavskian method" - to achieve this. As an actor, I
assumed Lee would be familiar with this method, and be able to apply
these principles to the character he was singing.
The highlight of my evening
was seeing the hit musical, Mamma Mia, which was showing at Star
City. I thought the Sydney cast was superb. I saw the same show
in Melbourne during its Australian debut season and this Sydney
version was even more fresh, energetic and exhilarating. A must-see,
especially if you were singing to "Dancing Queen" and "Fernando,"
as I did as a kid, pretending I was Agnetha (we blondes stick together).
Saturday
12 July 2003
ANATS Internship: Day 3
Today, the interns joined around 40 other ANATS members and delegates
for the first of two days of the ANATS Winter Workshop.
Morning sessions included
a masterclass by Adrian Barnes and Pat Wilson. Originally from Adelaide,
both now reside and work in Sydney. Pat specialises in preparing
singers for professional music theatre auditions, and Adrian has
worked and lectured professionally as an actor and dancer. They
took 2 acting students and gave them a musical theatre piece which
they learnt in a few days. Both young ladies courageously sang the
songs and Adrian and Pat showed them techniques, mostly derived
from the acting genre, to improve the interpretation of the song.
An interesting point I
picked up this weekend was the notion that there are two aspects
to a song; the technical and the interpretive. From my experience
they can take as long as each other to master, but both are crucial
when performing in public.
I believe that singers
can use acting techniques, to develop the 'character' when interpreting
a song. As previously mentioned, I find the "Stanislavskian method"
very helpful as a source to access a character and improve the interpretation.
A prescribed "method" taught effectively in a systematic manner
can be easier for the student to understand and, in my experience,
produce a quicker, more effective outcome with less frustration
for the singer. I found what Pat and Adrian had to say in terms
of applying acting techniques to achieve the 'interpretive' outcome
very enlightening.
The morning concluded with
a session on 'The Child's Voice" by Elizabeth (Beth) Willis. I always
enjoy listening to Beth because her insight into the child's voice
is well researched and she presents her material with such clarity.
I attended my first session with Beth in Sydney in 2000 and she
revolutionised my way of approaching children when teaching. Among
other things, she has given me an understanding of the physiological
changes involved with the growing child' s voice - crucial to know
as a singing teacher.
Beth was joined by contemporary
singing teacher Lisa Gardener who provided further insights into
the contemporary repertoire for children. She offered a list of
songs, ranging from easy to hard, for the child who wishes to sing
contemporary songs.
I like her suggestions
for easier songs including Eternal Flame by Atomic Kitten, Runaway
by The Corrs, Beautiful in my Eyes by Joshua Kadison, and Colours
of the Wind from Pocahontas. Some advanced songs were Vision of
Love by Mariah Carey, Chains by Tina Arena, I'm Outta Love by Anastasia
and Stop by Sam Brown.
The afternoon was filled
with master classes given by Diana Hunter (contemporary singing).
The half dozen singers who performed should have been applauded
for their courage in singing in front of a collection of singing
teachers, professors and doctors in the field. They were each given
tips from Di to take away with them.
I noticed that 'physicality'
(including correct breathing and 'torso support') was the technique
that needed attention from most of the singers. This reinforced
to me the importance of these fundamentals in singing in both classical
and contemporary genres.
In the evening, the interns,
NSW ANATS Committee members, and lecturers were invited to Pat Howes'
place for dinner, this time overlooking the lights of Sydney. We
were truly spoilt with the superb food, generous hosts and the company
of all attending.
I enjoyed chatting to Pat
Wilson about developing the business (commercial) side of our Studio
in Adelaide including the advantages of a website.
After a couple of days
together, everyone is a little more relaxed now and it's great getting
to know them more and understanding how what we do at our Studio
(Leanne Hoad Singing Studio) fits in with the wider community of
singing teachers.
There's also lots of useful
feedback being generated in terms of how these internships can be
developed and improved for future interns. Sunday
14 July ANATS Internship:
Day 4
The final day yesterday, similar to the day before, involved the
Interns and about 40 others, the majority of whom were singing teachers,
at the Winter Workshop.
The first session of the
morning was taken by David Hall. Based in Sydney, he is a practitioner
of both the Alexander Technique and the Feldenkrais Method. We did
a series of hands-on exercises which left us all feeling extremely
relaxed.
I then had a final one-on-one
session with masterteacher, Diana Hunter. To get the most out of
this session we mutually agreed to cancel the scheduled masterclass.
We felt we would get more value out of a tutorial-style discussion
on areas of specific interest to me and our teaching at the LHSS.
I mentioned a few topics about which I would like more understanding
and Di offered me her insights.
One subject covered was
that of the 'belting, 'belt' or 'belt voice' quality in singing.
There has been little research done in the area of 'belt.' Diana's
views reinforced my thoughts on this subject in that:
- there are different types of belt depending on the song and
desired effect.
- the singer's voice type, and their ability, determines the amount
and type of belt attainable.
- every voice is different and not everyone can belt. Singers
with 'big' strong voices are more likely to produce the belting
quality as we know it.
We briefly covered the
sound called 'glottal fry.' It is the gravel-like sound heard mostly
in rock music. It is used as an embellishment and is expected in
this genre of singing. It can also be damaging to the voice.
Jean Callaghan concluded
the morning with a session on how to teach singers. We looked at
different teaching methods, feedback options and intelligence types
among other areas.
She outlined two broad
extremes of singing teachers:
- The Singing Police
e.g. keep the rhythm, better pitch, sing higher, that's not right!
- The Mother Hen
e.g. how was your day today? what is happening in your life at
the moment, are you keeping fit, eating, drinking, jogging, sleeping?
It was not a surprise
to hear that neither extreme is recommended in preference to the
other; a balance of both is healthy and necessary, depending on
the gender and personality of each student.
Upon reflection I gained
a lot of knowledge that will improve our Studio's teaching. I also
met, networked with and learned from many amazing people, most of
whom are the best in the field of singing pedagogy in Australia.
The knowledge gained from
this will not only help me as a teacher, but will be passed onto
the teachers and students in our Studio.
Leanne
Hoad Principal and Director
of the Leanne Hoad Singing Studio, Adelaide, South Australia.
Winter
Workshop July 2003 The "all-styles winter
workshop" provided participants with a wealth of informative material
and informed opinion. Songs for Young
Voices The session entitled "Songs
for Young Voices" was, I believe, of particular significance to
the teaching of singing. I imagine that throughout the teaching
fraternity, the importance of selecting appropriate material for
singers at all stages of development and experience is a priority.
To me, this session was one of the focal points of the workshop
as it not only provided a reaffirmation of the importance of suitable
repertoire but the presenters also shared with us many insights
into the methodology used in selecting and matching repertoire to
the student.
The session aligned well with the dual theme of the workshop in
that Elizabeth Willis and Lisa Gardner
presented us with information on repertoire from both the
classical and the contemporary viewpoints. Elizabeth Willis
Elizabeth presented her session first, and gave us a comprehensive
view of the topic by suggesting that, in selecting repertoire, teachers
of singing should include a holistic approach to the selection process
by considering the student's attributes such as age, gender, personality,
physical appearance, health and commitment to studying singing.
Elizabeth places emphasis
on the issue of a student's health. She advocated that the teacher
be aware of any health issues which might ultimately affect the
student's vocal endeavours. In addition, the teacher should consider
the balance of emotional development, intellectual development,
physical development and musical development.
Elizabeth discussed the importance of acknowledging the ethnicity
of the student as part of selecting repertoire. For example, an
Indian student would be given Indian songs, perhaps folk songs which
would emphasise the ethnicity of the student. Doing this might well
assist the student in future study of music of other cultures for
the Higher School Certificate.
The repertoire should address music selected for the student's technical
development and vocal health.
This includes consideration
of:
- foundations: correct body alignment and diaphragmatic-costal
breathing.
- tonal development: phonation/registers/range, resonance/projection,
colouring and shaping the tone (vowels/diphthongs/consonants)
placement and dynamics, legato technique, phrasing and agility.
- Musical Interpretation: expression/meaning/mood
The choice of music should
also be selected to extend the student's musical language through
experience of different musical styles, eg Folk, Medieval/Renaissance,
Baroque, Classical, Romantic and 20th and 21st Century music encompassing
Music theatre, Jazz, Contemporary etc.
The outcome of considering these factors will allow teachers to
choose repertoire which:
a. Suits the student and the student likes;
b. Addresses specific technical problems the student is experiencing.
Elizabeth's summary of
the process is that - "singing teacher serendipity is when 'a' and
'b' are addressed in the one song."
Elizabeth provided us
with 7 succinct and useful tips on repertoire selection:
- Begin with melodies of limited range (6th to 8va) and then
songs with more extended range.
- Carefully select the key that will keep the melody in the range
of the adolescent voice.
- Consider the song's phrasing requirements.
- Begin with songs that have easy intervals, and good preparation
for note pitching after rests.
- Choose repertoire to extend the musicianship of the student.
- Choose repertoire appropriate to the emotional range and experience
of the student.
- Use songs in different languages to extend the student's listening
skills (e.g. Italian, then German, then French)
Elizabeth provided several case studies involving students of different
ages and at different stages of development, which illustrated her
approach to repertoire selection. In all cases, the chosen repertoire
provided the individual student with a range of musical experience,
encompassing technical selections from Concone and Vaccai, folk
songs, and songs from various musical periods up to the contemporary
repertoire.
To illustrate, in one
case study in which the student was a 13 year old female who was
experiencing difficulty in singing high notes which were "light
and breathy", the recommended repertoire was as follows:
Technical: Whole step/Half step (an exercise which Elizabeth
provided to the workshop and we were cajoled into singing); Vaccai
- Thirds; Concone Op.9 No 11.
Folk: O No John!
Medieval/Renaissance: L'etoile du Matin
Baroque: Paisello: Nel cor piu non mi sento
Classical: Mozart: Wiegenlied, Tragic Story
Romantic: Schubert: Heidenroslein, Brahms: Wiegenlied (Lullaby),
Franz: Gute Nacht
20th and 21st Century: Copland: Simple Gifts, Williamson:
Sweet and Low
Australian: Brumby: Here Lies a Tree
The discussion went on
to provide useful information and comment on the changing male voice
in particular through the 12 1/2 to 14 year age group. Where young
male students may find difficulty in producing sound in the middle
voice range, Elizabeth recommended the use of spoken exercises which
concentrated on vowel sounds and clear word beginnings and endings
(consonants). For students in this situation, she recommends diction
work and rhythm exercises. Lisa Gardner
In her session on contemporary music repertoire, Lisa Gardner entertained
and educated us with snippets of the songs which she recommended
for inclusion in the repertoire.
Lisa made several points
which distinguished the approach to contemporary singing from that
taken towards the classical style. She commented that contemporary
music is largely "text dominated" and that in performing contemporary
repertoire, a "naturalness" and "individual expressiveness" is required
of the singer. This style of singing also allows the composition
to be adapted or changed by the performer. Lisa made mention of
the various technical challenges posed by the variety of musical
styles that fall under the heading of "contemporary". These challenges
make significant demands of the singer.
We were reminded that in
contemporary music, amplification of the sound is presupposed and
this in itself adds a further dimension to the performance of the
repertoire. The choice of repertoire
in contemporary music is vitally important as generally people attempt
songs which are much too high for them. Lisa suggested that these
people would be better off showing what they can do rather than
what they cannot do. The teacher must determine
the correct level of song relative to the circumstances and development
level of the student. The challenges presented by the song must
be identified and the scope for using the song must be considered.
Within this context the teacher might consider whether the songs
will be used for examination purposes or whether the songs allow
the student scope for a degree of improvisation. One indicator of
complexity is the degree of difficulty and speed of the chord progressions
as well as the complexity of those chords.
Repetitive chord progressions
and patterns in a song will make it easier than one with very fast
changes to chord progressions. The degree of difficulty increases
where students have to pitch the tune against chords which contain
added notes. A student's general musical ability (awareness/experience)
plays a part in this process - a student may have a good voice,
range etc but if the student is not used to hearing those sorts
of things they will find it difficult to cope with the material.
As the student progresses the repertoire will introduce material
with wider intervals and sustained higher notes - "high belted".
Lisa commented that there is nothing worse than hearing a student
sing quite well and then when building up to the climax of the song,
they go into a head voice at half the volume - this loses the dramatic
impact of the song. Transposing can help but it is not always the
answer. The student's ability must suit the degree of difficulty
of the material attempted.
It is expected that at the more experienced level the student will
be able to 'deliver' the lyrics - also the student should be able
to change the vocal quality through the song and not just belt it
out all the way through. The performance should be flexible and
sensitive to the lyrics, the tone should vary as required by the
song.
For those of us (myself included) who might at times agonise over
what material ought to be used in the studio to cope with the wants
and needs of the young and impatient student who is focused on a
career of stardom on the stage, Lisa provided a useful, structured
guide for the selection of repertoire.
BEGINNER
· Simple, repetitive chord progressions (patterns)
· Melody with relatively narrow range
· Melody without difficult/chromatic intervals
· Simple melodic variation rather than improvisation
· Rhythmic simplicity (especially syncopation)
· Emotional content suited to age/gender/experience
· Best to have a relatively limited emotional scope within
the song, presenting less challenges. For example, not ranging from
anguish to ecstasy and back again. Repertoire could
include:
Disney song - Colours of the Wind - it has a limited range
(A and Bb above middle C)- it introduces young voices to speaking
voice - a good starting point to learn the sound without getting
pushed.- still allows scope for developing the head voice because
they need flexibility and options.
Nora Jones -Don't Know Why - good starting song because
in jazz a little bit of melodic variation is required. You can change
the phrasing and the melody - gaining confidence in experiment.
Use of head voice and chest voice
Nina Simone/George Michael - My Baby Just Cares For Me
- predictable chord progression and they can sing any number of
blues notes against the progression. INTERMEDIATE
· Repetitive chord patterns are still good as this allows
for first attempts at improvisation in addition to melodic variation
· widen the melodic range
· introduce some difficult intervals
· introduce syncopation, especially in phrasing
· widen the emotional scope and expect more personalisation
of the lyrics - allow the student to suggest expressive devices
Repertoire could include:
Mulan - "Reflection" - chorus is pretty comfortable - can be sung
in the lighter voice or with the built up chest voice (extends to
a D) - there is room for personalisation with this song.
ADVANCED
· songs with complex chord changes
· wide range with difficult intervals, key changes
· expect syncopation, especially with phrasing
· expect improvisation/scatting and melodic variation
· expect a wide range of expressive devices and vocal qualities
to be used - if suited to the lyrics
· introduce belted sustained notes Repertoire could include:
Mariah Carey - Vision of Love, Hero
Delta Goodrem - Born to Try
Jazz - Lullaby of Birdland, Round Midnight
In summary, I found Songs for Young Voices informative
and extremely useful in a truly practical way. Elizabeth and Lisa
were delightful and engaging presenters who freely shared their
wealth of knowledge and experience with a very receptive and appreciative
group.
Michael
Politi
|
