“Luck is where skill meets persistence.” - Robin S. Sharma
It is natural to want to sing a new piece of music as soon as possible, because you might have been inspired by hearing the melody or the words. Some people want to sight read the whole piece right away, but there is a logical and helpful process that comes first. To read the pitches, rhythms, dynamics, poetry, another language, and expressive markings all at once is a complex task. It resembles building a house with the walls, foundation, digging, plumbing, landscaping, roofing, decorating, painting, and electrical installations happening at the same time. There are just too many moving parts. There is no need to make the task more challenging than it needs to be. Building the song one layer at a time will strengthen all of your musical skills. Learn the music in layers, and each element will go together easily. There are eight steps in the process, and you will avoid the delay that comes from having to re-learn any sections of the music. This has helped many of my students to learn new music using a solid structure. “Those who have patience to do simple things perfectly acquire the skill to do difficult things easily.” - James J. Corbett 1) Background Learn about the composer and the time period during which the music was written. Learn about the poet, and the source of the lyrics. Were the music and words written together? What is the backstory? 2) Words Translate and interpret the meaning of the words. You may want to choose your own interpretation and character traits to fit the song. Work with your coach on clear pronunciation, since singing and speech require different breath and expression techniques. 3) Meter, Rhythm, Form Learn the meter, and look for meter changes. Find the form structure, verses, patterns of repetition, and contrasting sections. Understand note values and rhythms. Rhythm allows us to understand the meaning of the words. 4) Keys and Pitches Identify the key of the music, and notice any changing key signatures that might indicate shifts. Now is the time to identify all pitches and any modifications like accidentals. Pitch is a separate element from rhythm, so working with each layer individually streamlines the work. 5) Dynamics, Tempo, Expression This step is a layer that can make a big difference in expression and the overall shape of the music. Each song is a dramatic event that can include a moment when something important or surprising is revealed. The dynamics and tempo make these things clear, and the expression marks add intensity. 6) Words and Rhythm Together First, practice the rhythm using a hissing sound on"SSS" for each syllable. Then, recite the words, using only the rhythm. You will practice clear pronunciation and the breath needed to move through everything easily. Repeat, repeat, repeat. 7) Melody and Rhythm Together Take the words out of the equation. Sing the music using a neutral syllable like LA, MA, LU, TA, or whatever feels comfortable for you. Repeat the melody several times until you feel coordinated and proficient with the material. 8) Put it all Together Slowly Sing the music at half speed. Get a metronome app, and practice slowly until the words, melody and rhythm feel coordinated. Next, increase the tempo by one or two points each time you repeat the music. You should feel as though you know everything very well by the time you move through these steps. Some of these steps may seem simpler than others, but all of the steps are needed for any piece of music. Even instrumental music might be more interesting if you create a backstory, or find a piece of literature or art that may give you inspiration. Try exploring the layers next time you start learning a new song. V
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How do you feel when you read the following words? Practice Makes Perfect We all have different reactions to those words. You might feel encouraged, inspired, pressured, confused, or even terrified. This phrase can be an intimidating piece of advice. but well-meaning people say the words to inspire us to pursue excellence. Practice? Yes! By all means, yes. But I don't believe in perfection, so I will be suggesting some useful alternatives in the form of a "choice" mindset, and some creative practice. "Perfect is the Enemy of Good" - Voltaire Voltaire believed that the pursuit of perfection had the potential to obscure the value of work that was good. Perfection doesn't exist, but the pressure persists. In the arts, a kind of perfection culture has roots in competition. Some musicians measure their worth by comparing themselves to other musicians, whether they are preparing for auditions, listening to their favorite artists, or just hearing another singer in the practice room next door. Emerging artists are also in competition for scholarships, recognition, roles, or inclusion in ensembles and special programs. In the midst of all that competition, it is even more important to recognize the enormous value of the work being done by each of those individuals. Even though competition is a fact of life, it can be handled in a number of ways. I would like to mention two common ways people tend to operate when they are in a competitive atmosphere.
What will happen if you shift the focus of your practice away from things outside of your control? You will have creative freedom to concentrate on your unique talents and skills. By moving toward what you want, you will still be building the skills of a well-prepared musician. There is no reason to think that the quality of your work will suffer. On the contrary, taking the time to experiment with a full palette of skills, you will find the space to be even more creative. A combination of good work and some creative play will ultimately result in a feeling of accomplishment. It will result in progress. You will be preparing with a positive mindset, and great preparation also tends to coincide with good opportunities. "I think I am making progress." Pablo Casals was one of the greatest cellists in the world, and he had reached the top of the profession. Robert Snyder made a short documentary entitled, "A Day in the Life of Pablo Casals." At the time, Casals was 81, and the interviewer asked why he continued to practice four or five hours each day. Casals answered: "Because I think I am making progress." Creative Play Here is a list of a few of the elements of music, plus some communication-related items. You may already cover these areas in your practice sessions, but you can also use the list as a guide for ten or twenty minutes of playful, experimental, imperfect practice every day. Look for all the other ways you might sing or play the music. Everything adds to your experience. Everything you try contributes to your uniqueness. You will be communicating with your own authenticity, and by experimenting, you will make room for originality. Try alternative ways to use these familiar elements when you practice.
"The principal mark of genius is not perfection but originality, the opening of new frontiers." -Arthur Koestler Although perfection seems like a lovely idea, the fiction of it is something to consider. The ideal of perfection has the potential to limit your creativity and uniqueness. When all around you are competing against influences outside of themselves, listen to your unique voice. Excellence is still on the table, so try some creative musical play during your singing practice. Remember that you choose to make music. Make it your own. If you are interested in a book about perfectionism with some practical solutions for life, I would like to recommend How to Be an Imperfectionist, by Stephen Guise. Practical skills are very handy when you do your artistic work.
I have spent my life working with singers and actors. They are always looking for ways to grow and connect with everything they love about their art. In our sessions together, we do the work by finding the most creative and efficient approaches to the task at hand, and when a singer is going through a phase of growth and change, it can be interesting to revisit the ways they have done things in the past, versus the discoveries they are making now. Many of the ideas we discuss in the studio will appear in this blog. I will explore topics related to:
I will suggest ideas that you may find useful, because I have found that organization, motivation and independent inquiry are some of the tools that allow us to transform ourselves into better musicians. "The creative process is mysterious: a conversation, a ride in the car, or a melody can trigger something." -Alejandro González Iñarritu, filmmaker You already have plenty of life skills that you can apply to your artistic work. You may be the CEO of your home life, a problem solver, or an athlete. You may be an artist, a manager, a peacemaker and an explorer. You are a thinker, a doer, and an appreciator of music. In your day-to-day experience, you are a communicator, a teacher, and a student. There are lots of ways to apply practical skills to being a singer, and most of it comes down to ways you structure your practice. All of your life skills and talents have the potential to open creative pathways to learning something new. We all have demands on our time, so musicians constantly need to find efficient ways to set goals, make progress, and see results. The skills we use in our day to day can really make a difference. Once someone sees their work as a clearly defined set of small steps, with an appealing sense of unfolding events, the process is enjoyable. The steps are logical, and they will fit into the day as easily as any other item on your schedule. If you are in the early stages of your musical life, or you have limited access to professional guidance, the process may seem fuzzy and overwhelming. My goal in the studio and in this blog will be to suggest some ideas as you shape your singing practice. There are lots of tools to share. V |
AuthorVivian Dettbarn-Slaughter teaches and coaches professional and aspiring singers and actors. She has had a career as a professional singer, pianist, author, church musician, composer and radio announcer. Vivian taught in colleges and university music and theater departments for over 35 years. Her interests are centered around innovative motivation to practice, and creative approaches to making music. ArchivesCategories |