Judgement
Image description: a black and white picture shows a couple pointing and viewing art in an art gallery. Below is the title Judgement.
I’ve realised my love for travel and food is linked to my nosiness to know and understand people, and why I really enjoy my job working with lots of different musicians and pupils.
When we travel, I enjoy figuring out these unique puzzle pieces. Every part of the journey gives away more clues, from the internet research before, to the airport and security queues.
What could be better than seeing how another ‘tribe’ of people describe themselves through the art they make, and the art they value? And all the arts count in this endeavour, tv, music, books, adverts, all helping to build a picture.
And so we found ourselves in an art gallery, happy to be welcomed into its smooth polished floors and air-conditioned rooms. A serene refuge from the hot, bustling, dusty streets for at least a quiet few hours with occasional benches to admire the art.
I used to visit galleries and treat every picture with equal time, trying to give it time and allowing it to speak to me, but now I’m much less patient and probably less pretentious! I’m happy to waft around and only stop at the pieces that really grab my attention for some reason. I let my gut reaction guide me, turning off any preconceived ideas of good and bad, not reading names, and choosing my personal favourites from the visit because they are unusual, because they capture a feeling or emotion like a forgotten summers day, describing an anxious wait, translating sunlight and shadows into oil paint.
At this particular gallery it seemed like there was one of almost every ‘famous’ historical painter you have ever studied at school. Some were recognisable and almost familiar in style, and some were not. As though ‘from the school of’ or ‘influenced by’ might lead you to stop longer and consider its’ merit. The paintings I might have tried to give more time to because of who they were by rather than how they made me feel. But the truth was many of the big names were not my favourites, and many were instantly forgettable. Their famous name might make you stop, but the painting was not particularly moving or descriptive.
It made me wonder if these great well-known names had any idea these pictures would one day be displayed in an art gallery as a prized possession? Were they sketches? Or maybe they hated them and didn’t get around to painting over it. Would they be horrified to know some of these made it out of the back of the cupboard? I read an account recently about an artist who regularly reconsidered a painting she was working on and painted over it. She chose to scrap hours of work because it wasn’t going the way she wanted, to the consternation of others who had watched the artwork being created.
We don’t just make good art. We make art, and sometimes it is judged to be good, and sometimes it is not.
“Don’t think about making art, just get it done.
Let everyone else decide if it’s good or bad, whether they love it or hate it.
While they are deciding, make even more art.”
In music -and singing- we are too often perfectionists who are judged harshly for less than perfect performances by not only ourselves but others. There is an old saying that ‘you are only as good as your last performance’ which is frankly ridiculous!
Our bodies and minds fluctuate with hormones, life drama, energy levels, illness and so on. So why are we not as good at accepting that these things happen and affect our art sometimes? Why are we aiming for perfection if it is unachievable?
If we restrict ourselves to only making ‘perfect art’ when our bodies and minds are truly ready or cooperative, how often would we perform? Would this be helpful to our artistry or enjoyment? Is good art achieved in a perfect environment?
I remind myself to be kind, and teach my pupils to be kind. We sing best free of the idea of ‘perfect’. The act of making art should not be done under the restrictions of deciding whether or not it is any good, but with the freedom and vibrancy released from creation for the point of communicating emotion and stories. These are the pieces of art that I find most move me, and the artists who I admire on the concert and opera platform.
A perfect performance technically and environmentally is not necessarily the one that moves me or that I wish to experience again. Lets all aim to be kinder.
perfume
It is helpful to think of and use all our senses when we learn to sing and perform. Perhaps one that is sometimes overlooked is our sense of smell.
There are many songs that describe scent particularly of flowers, but let’s explore some other ways we can use our sense of smell to help us.
Read ‘Surprising Facts about your Nose” in this link:
Memory
If you use a certain scent during studying, it may help you remember those facts later. You could try this with learning words and text, to see if it helps you recall the work you did in the practice room.
Resonance
Your nose and sinuses are used to help your resonance. This is why if you have a cold or suffer from hay fever which blocks your sinuses your speaking and singing voice sounds different, or sometimes it feels uncomfortable to make certain sounds that require resonance in the areas that are inflamed/blocked.
Resonance due to emotion
If you take a breath in when you laugh (let’s call this ‘true emotion’), you make sound resonance from different areas than if you are faking a laugh/not happy. Have a little experiment and see what feels different to you?
One way to access these resonance areas/areas that describe joy or love is through scent/imagining smelling a rose or similar. This may help you to act/sound with your voice a certain emotion.
The science says:
‘Spontaneous laughter is often higher in pitch, longer in duration, and shows spectral characteristics that differ from voluntary laughter; voluntary laughter, on the other hand, is more nasal than spontaneous laughter. Perceptually, spontaneous laughter is perceived as more authentic than voluntary laughter, and as more positive and higher in arousal.’
Performance Practise
When you are performing a song or an aria, try to ground and build your character using the senses including sense of smell. Where is your character? What surrounds them?
Are they by a stream with the smell of wet moss?
Are you singing about a flower with a perfume?
Is your character in a hot dusty place?
Anserwing these sorts of questions and deciding on this in advance will help you more easily create a sense of place and setting from which to communicate your poem/emotion of the character.
Putting this into practise: Smell the Rose
One idea often suggested by singing teachers is to imagine you are smelling a beautiful rose before you sing a passage that is very beautiful/shows love/has warm and legato phrasing. The way we breathe in a delicious beautiful smell will open into different areas and therefor resonating areas than when we smell a horrible smell.
Sometimes I suggest a pupil thinks of something they particularly like - sweets, ice-cream, marmite… whatever helps them think of that nice slow breath in and helps change the resonance to colour the voice differently, and communicate the emotion needed.
As always, feel free to comment below and add your experiences of using smell to improve your singing and performance communication.
birds
Learning to float and soar with your voice.
Birds are a continual fascination and inspiration to us - hardly surprising in music when their birdsong is so admired!
In particular, I’ve found that some people wish to emulate the soaring feeling of a bird in flight in their own singing. They enjoy the feel of ‘soaring’ or floating through the music they are singing, like a bird does. So what is that, and how can we create that in our voices?
“The birds are the opposite of Time...They are our desire for light, for stars, for rainbows and for jubilant outpourings of song!””
When you see a bird soaring above, floating almost effortlessly above the earth, what are you really seeing?
The bird has flown from a perch on/near the ground, risen to a height where it feels the support of the wind that allows it to stay in the air. The view we have is of no effort, when actually some rather complicated physics and effort has helped the bird get there.
Here are the things I suggest pupils think about and use to achieve this with their voice:
Mind
Support
Breath
Reduce the feeling of weight or pushing
Repeat and experiment
Know where your strong beats/words are, and therefor the lighter beats and words
An inflexible voice that is pushed or feels heavy will not float or feel light. How much ‘play’ and ‘give’ do you have at your disposal? Could you find more?
As ever, if you have questions get in touch below, book in for a lesson, or work with your teacher to discuss some of these and how they work in your voice.
“Birds have always had the ability to bring me out of a dark space and provide relief in bad times.”
warm up
warm up and get ready to sing
Here I am, in my sunglasses, ready to help you warm-up your body and voice to sing. Are you ready to start work?
Here are my top tips for a successful warm-up that will help you sing your best.
Schedule
Begin by scheduling in the time to warm up and practice. Make sure you leave yourself enough time to fit in what you want to achieve - or change your practice goals for that day.
Make sure you know how many times you want to practise this week, or even just to warm up your voice. Too much or too little will affect your goals and your muscle memory.
Prepare your space
I can't concentrate in an untidy room. Maybe you don’t have this problem - but I like the room to be clean and tidy, so I have as few distractions as possible! This helps create a calm space to work and I always feel more relaxed about my work.
How are you?
Before singing, take a moment to check in with how you feel today. Do you have a headache? Are you getting over a cold? Maybe you ache from exercise? All these things may affect how you will warm up and practice. Make sure you are making realistic and safe goals for the voice you have woken up with and not overdoing it.
Stretch, and Connect
We want our voices to be produced from a warmed-up neutral body that has no tension, pain, pulled muscles, or illness. We want our whole body to feel energised and yet relaxed - so begin with your favourite stretches. Choose a few positions that you may know from yoga or pilates, like roll-downs and Downward Dog to focus your mind and body.
I ask my students to do the same stretch I do. Reach up to the ceiling and pause, then gently lower your arms back down, feeling your shoulder blades slide down their back. This with a few gentle back rotations really helps me with my shoulder tension. Be aware of your own body and what it needs today.
Start at the very beginning
Be like Maria in The Sound of Music, and begin with gentle exercises of a few notes, before working up to longer and more complicated exercises. The voice should be treated gently.
Expand
Once you have completed the gentle exercises you are ready to expand and sing higher, and lower. You want to warm-up beyond the lowest notes and highest notes of the pieces you are working on in your practise session.
Add emotions
Even though your scales and arpeggios may be without words, experiment with adding emotion and meaning. Sing a scale as though very happy, very sad, angry, in love. Spot how your voice changes. Do you have a favourite emotion? Is the scale easier in one of these emotions than the other?
Isolate
Finally, you might want to take a phrase from your pieces that needs technical work and work on it in isolation from the whole piece.
Or, you may have a favourite piece/part of a piece you sing really well and you feel helps ground your voice in the right place. You might find it useful singing this before heading into the main part of your practice.
I hope you’ve enjoyed these tips - which do you find useful? As always, feel free to comment below, or share with your friends.
Learn to Sing
Learn to sing - what happens in singing lessons?
In my blog post today I’m going to take you through the benefits of taking singing lessons, and what happens in lessons with me. I’ve rarely met anyone who hasn’t dreamed of having singing lessons or working on their voice - but what do lessons entail? What happens in a lesson when you are a pupil, and what will you gain from lessons?
“The only thing better than singing, is more singing”
Why do people take singing lessons?
There are a number of reasons people take singing lessons, here is a list of some of the main ones I’ve encountered.
For enjoyment. Singing is enjoyable, and it makes us feel good. Many pupils take lessons simply because they enjoy the chance to sing and make music together. This is something I love sharing with my pupils.
To improve confidence. Many people feel vulnerable or self-conscious when performing, but lessons can help to give you confidence. Some people use lessons to help them learn and have more confidence to join or audition for choirs, musical theatre groups, sing with their guitar, or to join their local opera or Gilbert and Sullivan groups.
Sometimes pupils feel more confident presenting and public speaking in their jobs through their practise performing in singing lessons.
To gain qualifications through exams - school exams or College/University/ABRSM/Trinity/etc exams that progress through grades.
To learn more about technique. The human voice changes throughout our lives, so even the most experienced singer will continue to work on their technique. Lessons can help to ground your warm-up and practise with up-to-date information and ideas to help you with whatever stage you are at.
To explore different sounds. We all have the capability to make different sounds with our voices - and make different decisions about how certain phrases or songs should sound to communicate what we want to the audience. In lessons we can explore different sounds and choose which one you would like to use.
To problem solve. Some pupils have experienced difficulty doing something with their voice, or conquering a certain technique or repertoire. Lessons can help you work towards your goals. Maybe you have noticed a change in your voice and wish to work out what is going on.
To work on performance or repertoire. Having a second person in the room can be useful to give you another perspective on your performance. Your teacher can guide you through portraying a character, showing journey, and making musical choices to ground that portrayal.
What happens in my singing lessons?
Firstly, I’ll invite a new pupil to sit and we will have a chat. I’ll introduce myself a little, and I ask about your previous experiences learning music (if any), your understanding of music, the body, reading music, and your goals. I may make notes to remind myself - for instance if you can read music a little I know you can find your own note to practice. If not, we will find other ways to help you.
I will ask how your voice feels today, check you have no illness, allergies, or feel tired. All these things may affect our lesson and what we sing together.
I will sit at the piano because I can play/accompany you for your lesson. Sometimes I use recordings for you to listen to/sing with, but for live performance practise and technical work I prefer using the piano as it gives us more freedom to stop and experiment.
Warm Up. We will sing a general/easy warm up of several exercises aimed to gently warm up your voice, and introduce the sung sound into our session. I know this can be a nerve-wracking thing for a new pupil (I’ve been there too!) so I will explain that these noises are for ‘play’ and experiment. They are not meant to be judged - in fact that isn't really my job at all!
I will choose exercises depending on your voice type, how comfortably you are singing in our lesson, and if you mentioned something in your goals you wish to work on.
If you are a singer-songwriter you might perform one of your own songs, and accompany yourself. We will work on your technique and performance together to help you make the most of your performance.
We will sing a song. Either you will have brought music to sing together, or I will have music for you to learn. In regular lessons you may work on more than one piece for each lesson. The pieces you are working on will probably contrast - different emotions, different characters, different languages, different historical style etc. This avoids singing with the same style as it makes you sing out-with your comfort zone and make new muscle memory, helping you grow as a singer.
What will I gain from singing lessons?
This will depend entirely on you, and your goals!
You will enjoy singing with a live accompaniment, learning a song from an unknown piece of music up to performance standard
You will learn new ways to use technique and your voice to alter the sound you make
You will learn how to negotiate different phrases to make them sound the way you want them to
You will learn a variety of repertoire, including songs you may never have heard of before, broadening your knowledge and understanding of your voice
You will learn to think about the interpretation and performance of your music, and develop your skills as a communicator
You will become more confident in the sound you make from gaining better understanding of your voice
You will learn a skill, with many different aspects that shows development and skill attainment. This will give you a sense of achievement and pride, regardless of whether you sit exams or learn for your own enjoyment
You will learn a skill that you can share with others whether at home, with your friends or family, or taking part in performances
You will learn the skills of how to use your voice so that you can problem solve technique and work on music yourself
I have a broad experience of teaching and have taught people with different learning styles and approaches, so please let me know if there is anything you would like to share with me about you before your lesson.
I always aim to teach in a way that helps each pupil achieve and succeed in their own goals, and I am open to altering our lessons to help you do this.