Caitlin Craig SS Chapter 11 Summary

Chapter Summary: After mastering the inventions and finding the naked voice, the next step in singing is to pursue a professional career.
In this journey, it is important to be true to oneself.  Smith argues that those who don't stay true to themselves in the professional world have shorter and less fulfilling careers.  In order to perform repertoire with sincerity and integrity, we must be in touch with our true sound.  To be in touch with our true sound we must know we are.  If we are in touch with this, we will be able to make the best decisions in our careers.  In regards to choosing rep, singers must find music that they connect to, and that moves them (Chime in Eloise).  "When we sing music that speaks to us we reconnect with our original source of utterance."
Positive visualization is a tool we can use to help promote good singing experiences, but first we need a correct model of healthy and true singing.  If we haven't freed our voices, or had positive singing experiences before, we can't properly use positive visualization.  There are three elements of positive visualization: visualizing the atmosphere of the audition space, the song's text, and the music and how it feels when our voice is truly free. After we visualize these three elements it's time to "have church"; in other words sing, and communicate your soul.  It's no longer time to think about technique; it's time to let your voice free and to be yourself.
5 Steps for learning rep efficiently:

1. study the text -- before the music was written, there was text. This is where we must start. 
2. speak the text -- peform a dramatic reading.  This helps us maintain the simply speaking place.
3. speak the text in rhythm -- begin with rhythm.  Then speak the words in rhythm.  Avoid being punchy, and be musical and expressive.
4. get the pitches in your ear -- this includes not only the vocal line, but the accompaniment also.  In order for a singer to sing a note they must get the pitch in their ear.  This is call audiation.  Playing your pitches on the piano helps you to see, feel, and hear the intervals and contour of the melodic line, and is the best way to learn notes.  
5. sing it -- We sing last in order to program free singing, rhythm, text, and musical details beforehand.   

Things he discusses that I don't agree with:
We should use marking as much as possible in rehearsals.
Whilst singing, we convey the intentions rather than feel the emotions. ---->How can one be true to oneself, or have integrity in a performance if they aren't feeling the emotions?
He does however say that we simply need to mean what we say when we say it.  That could be a useful tool. We need to know what we are singing about.

On performance day, do what makes you feel calm and collected.  Don't tire your voice, but rather do warm-ups that will promote free flowing air, and opening the resonators.

Time management is an important skill to learn.  It is also important to know yourself, and know how long it will take to memorize music, when preparing for a role or performance.
Financial management is also a skill worth developing, because performers' salary can be sparatic.

Key Terms: positive visualization,"Have church!", audiation, marking, time management, financial management.
Key Concepts: Being true to oneself, It isn't so much about what rep we sing, but how we sing it.  There is power in positive visualization.  Say what we mean, mean what we say.  Know yourself, and what you are capable of.
Making Connections: I liked what Smith had to say about picking rep that you connect with, and that moves you.  I often feel like that is a major problem in voice lessons for me.  Although, I may enjoy listening to a certain song, I don't necessarily feel an emotional need to sing it.  When I sing music that I desire to communicate with, it fuels my ignition to learn and improve.