Some of the
NSW Chapter Members |
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Corinne Smith |
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Carol-ann
Bentley
Vice
President
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Susie Wang |
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Wes Eggins
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| Prue Dunstone |
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Rowena Cowley,
NSW Chapter President |
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NSW Chapter News Update
The
Mark Meylan Music Theatre special
NSW Chapter
of ANATS
July 9 & 10
at the Opera Centre, Sydney
This winter workshop attracted a huge turnout of students
and teachers keen to improve their skills in the genre of Music Theatre. At
9am we all gathered in the movement studio to move our bodies, count, wave
our arms and sing. Andrew Davidson, movement presenter for this session, was
keen for us all to have a practical understanding of music as a physical experience
and not just an intellectual one. Many of us were challenged as we crossed
the floor in pairs, stepping out a 5/4 rhythm to the jazz standard ‘Five’.
Then after a catch up with colleagues from all over Sydney and NSW, and other
states in Australia we gathered together to listen and learn from Mark Meylan
as he worked with beginning and advanced music theatre students. Mark told
us that he had a reputation for being tough but fair in his studio, so after
each singer performed their song, he would ask; “How tough can I be with
you?” It was great to see that every person wanted the tough and honest
approach.
The workshop was a great opportunity to see music theatre
vocal technique applied to all kinds of singers at many stages of development.
We dealt with posture, support – including expiration and inspiration,
vocal registration, tongue and jaw tension, text and meaning, as well as some
ideas to improve acting while singing.
Some highlights were:
- Mark spoke of the importance of release on inspiration
and told us that he begins every one of his lessons by asking his clients
to lie on the floor in semi-supine (lying on the back with knees up and feet
on the floor).
- He teaches the accent method as a way to connect breath
to the body and uses Chapman’s ‘diamond’ image as a way
for students to understand support.
- During the weekend he worked a lot on releasing tongue
root tension in singers, particularly over the ‘breaks’ between ‘chest’ and
middle voice, and middle voice and ‘head’ voice.
- He demonstrated ways to improve consistency in air flow
through support and by singing on a lip trill.
- His work on belt was influenced by the work of Jo Estill.
He stated that belt is a vocal quality that is always loud, with a bright,
edgy sound, requiring relatively little air flow which works best over register
breaks. He felt that it was best to work a belt sound in the middle or mix
voice rather than in the heavy registration of chest since this was less
effortful for the voice and allowed for greater agility.
- When working on a song, Mark emphasised that students
needed to go through a process with each song rather than trying to get it
all right at once. He recommended that singers work on breath first, then
technical work, then words/text, then check that the notes are right, and
then finally on the emotional journey (ie; acting)
- He always goes through an extensive assessment interview
with every new client before he decides whether to take them on. This is
to assess previous vocal history (including training) and health issues as
well as determining the goals of the client. He also conducts an appraisal
with each student after every 10 hours of lessons to check up on whether
the training is satisfactory to both himself and the client.
Mark’s professional approach to his work was an inspiration
to witness. He was able to demonstrate the breadth of his knowledge with all
kinds of singers singing all kinds of repertoire over 2 very concentrated days.
It is heartening to see that much of his work is not so different from current
practise in Australia as demonstrated in many ANATS masterclasses and conferences.
After the many hours of teaching in isolation, it was a great pleasure to get
together with other talented teachers to share knowledge and gain new ideas
to old problems. Thanks to the NSW chapter for organising this event, especially
to the convenor Anne-Marie MacDonald.
Tracy
Bourne (Vic)
NSW
Winter Workshop Report
Reported
by Robyn Wells (NSW)
AMEB
Singing for Leisure Syllabus: Classical to Music Theatre and
Pop
(Session
held Sunday morning, 10
June 2005)
Lisa
Gardner (who
chose the syllabus repertoire) and Beth Willis (AMEB
Adviser for Singing) presented an explanatory session on this new
pilot syllabus. Lisa explained that the new syllabus aims to “provide
a structured and systematic progression of vocal study” with
clear technical and artistic goals, across a broad range of popular
repertoire, which gives recognition for achievement in this repertoire
area. The syllabus repertoire lies between the standard and CPM
syllabi.
Lisa
described the brief for her choice of repertoire: she was asked to
provide a very small number of songs for each grade, covering
classical, musicals, movies, jazz and popular styles in every grade.
This syllabus is following the format used in the present piano and
saxophone “Leisure” syllabi, and she felt its repertoire
restrictions were too limiting. This meant that the choice in any
one style is extremely limited at every grade, which may reduce its
usefulness for particular voices and people.
Lisa
pointed out that the AMEB will be glad to hear any comments from
users on the syllabus, including the repertoire, as it is in a pilot
stage, and therefore open to amendment. She encouraged teachers to
send in comments and suggestions, especially on repertoire issues – now
is the time to influence the final shape it will take!
Beth
focused on the syllabus structure and assessment. She made comparison
with the standard syllabus we all know and love: this syllabus starts
at Preliminary grade and proceeds through the grades to a Certificate
of Completion which lies between the standard Levels 2 and 3 (the
Diploma level). Candidates present technical work plus 3 songs (instead
of 4) and an own choice is always possible. Candidates may
choose AuralORSight Singing Tests.
This syllabus requires performance from memory at all stages.
Lisa
also spent time discussing the standard of performance expected at
different grades, given that the same jazz or popular sing (for example)
may be performed at 5 th or 7 th grade level (for example) depending
on the technical, musical and interpretive accomplishment displayed.
Anthea
Parker, from the AMEB Central office, was there with copies of all
relevant publications for anyone to buy, and to help with any further
questions. We thank Beth, Lisa and Anthea for a session which was
clear, informative, lively and very useful for all of us who have
students wanting to sing this broad range of repertoire.
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NSW State Chapter
Office Bearers |
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