Laura B DYV 12

Laura B
Chapter Summary: What really makes a magical performance is the connection that the singer is able to make to the music and in turn allow the audience to make as well. In order to create this kind of experience, we begin by first interpreting the music in our preparation. We must figure out the tempo, dynamics, and so forth. We should think of why these things are the way they are. We begin to perform with emotion as we make a personal connection to the piece and then work to portray our feelings through our facial expressions and gestures. We can build confidence and show confidence as a performer as we look back on past successes and image ourselves succeeding as we sing. We express meaning and emotion through the color we put into the words we sing. Seeking to understand the composer's intent in the piece will help us to further the authenticity of our performance. As we put a program together, we should think of how each song will relate to each other and at the same time gives variety to the voice. Our performance should appeal to the modern audience which can be achieved by talking to the audience and adding surprise elements. We can seek help from our coaches in order to interpret an authentic and beautiful live performance.
Key Concept: Singing is more then good technique. It's the way you connect with the piece that enables you to move people.
Key Terms: interpretation, facial expression, color, empathy, composer's intent
Making Connections: I need to do more when it comes to interpreting the piece and preparing it for performance. I usually strive to make a personal connection with it but stop there. I need to take more time analyzing the composer's intent portrayed in the music as well as seek direction from others.

Sam Meredith Lesson Summary 11/25

I was well warmed up for my lesson today, but I feel like I would have been more prepared if I had practiced more over the weekend. First we did some vocalizes. We did a new one where I sang a 5 tone scale on the word 'ning'. It was hard keeping consistent space throughout the exercise, so Cindy told me that I should feel like the inner space is stretching throughout the duration of the exercise. It improved in that aspect, but once it did there were some other problems we noticed. My neck was tensing up and my tongue was retracting. Next we sang the words 'no never no' on a descending arpeggio. This helped me insert some emotion into the vocalize and also have a more speech-like quality in my tone. After that we sang the words 'may oh may I'. We started on scale degree five, went to one, then went back to five and descended down a five-tone scale. Next we did the same vocalize I did last week where I had to practice making the transition to my upper register gradually rather than making the change suddenly. After that we focused on my repertoire. We started with 'si tra i ceppi'. I feel like I have made a lot of improvements on this song, but there are still some things I need to fix. My entrance at the beginning of the piece, for example, still feels colored and is sometimes under pitch. This week I want to speak that line before i sing it in practice and also do some exercises to pitch my consonants better. I also need to release the tension in my neck, tongue, and jaw. At some points these things were keeping my timbre from having the spin that it needs to. Breathing was another problem I had. It was a problem today with all my pieces and not just this one. I was taking a lot of really gaspy sounding breaths. I need to focus on making my breaths silent, low, and inconspicuous. I'll have to do some good breath exercises this week. Next we worked on 'beau soir'. I'm still struggling a little bit keeping the tempo up, so Cindy made the accompaniment move really quickly. That way I really had to be on the ball to make sure that the vowels were all right on the beat. I was still have a little trouble with constriction on the ascending, climactic phrase near the end. I think to fix this I'm going to turn this line into a vocalize this week and practice it using the [i] and [e] vowels so that I can make the transition between registers smooth and released. Finally, we worked on 'wohl denk ich oft'. The problem I had with this piece was that all of the awkward jumps seemed really awkward and there wasn't enough of a legato feeling. I think when I practice this song this week I'm going to play the top note of each phrase while I sing just so I keep a more connected quality in my timbre and avoid rough-sounding changes from note to note. I also want to add more dynamic contrast into my longer notes.

Emily C.: Joint Practice, 11/25/13

Emily C.: Joint Practice, 11/25/13

For today’s session, we worked on mastering the rhythms in one of Brooke’s german pieces since she was a little shaky on it during voice recital hour last week. We clapped out the rhythms first, then spoke the rhythms with the claps, and then sang the rhythm, and then added the accompaniment (which turned out to be the hardest part). We made sure she was familiar with the auditory cues before she came in and got used to the “feel” of when she enters. I recommended practicing without using the voice and just clapping out the rhythms or saying the words on a primal sound so as not to wear out the voice. For me, we basically went over all three of my pieces and made sure that they were going okay. Brooke warned me to make sure I don’t get lazy on my ich-lauts on my german pieces and to stay relaxed when juries comes around. 

Emily F. OB 15

Emily F. OB 15: Understanding the mechanics of sound can aid in the good production of vocal sound. For example, "If the notes are well produced, high tones need no amplification." This is important to know! If the frequency (pitch) is high, it will have more intensity (loudness) and requires less energy force than a lower pitch to get the same dB. So, singers needn't push or feel like they're singing as loud on higher notes. 
Key concept: "...the science of sound can enhance and facilitate the process [of vocal production]."
Key terms: sound, frequency, pitch, intensity, loudness, wave form, quality, time, hertz, condensations, rarifications, natural level, habitual level, decibels, Bernoulli effect, Venturi effect, fundamental frequency, overtones, sine wave, resonance
Making connections: So in church choir yesterday I was singing soprano and had to sustain a G for a while. I was trying to use the best, easiest technique I could, so I was trying to let my voice just float. I also thought about how higher pitches "carry" easier, so that took the pressure off of me having to sing that G so loudly. I'm the only soprano in my ward choir who can sing these notes, so the pressure is on me to carry the group. It's nice to know that I don't have to work so hard for those high notes.  

Sarah Brenay - OB - Ch. 13

Summary: It takes a specific set of skills to succeed as a performing artist. It take maturity and discipline. Many talented singers never make it because they lack one of those two things. And many singers who you would never think could make it succeed through hard work. Talent isn't everything. Brown gives a list of attributes of successful singers compiled by Joseph Lippman. It includes: Vocal ability, technique, gumption, interpretive ability, musicianship and musicality, physical appearance, stage personality, people skills, basic repertoire, dependability, experience, passion, physical and emotional health, good management and publicity, and timing. Singers also need to learn how to audition. The best attitude is to show your love for singing with confidence and share the meaning of your music with the audience without worrying about outcome. Never take music into an audition that you don't want to sing. Training is never finished, keep seeking ways to improve.
Key concepts: Of all the hopeful students who study the voice, only those with discipline, maturity, and a voice will make it.
Making Connections: I like Oren Brown. He's very gentle, but very practical too. It's true that the majority of those who study voice will not have a successful career in singing. And that's OK! The way I see it, I love the path I'm on right now. And if I stop loving what I'm doing, then I change direction. And that's OK too. Oren's tips for auditions and his list of skills were really helpful.

Sarah Brenay - OB - Ch. 12

Summary: "Your voice knows how to sing... better than you do." (I love that.) In order to express with your voice you need to train it to respond to what you are thinking and feeling. This takes a lot of training and a lot of trial and error. Interpreting music involves making  musical decisions about dynamics, tempo, diction, ling, tone color, pitch, and articulation. When we are "sensitive to the music and the meaning of the words," these decisions will be instinctive to us. In order to convey emotion in a piece, we need to relate it to our own experiences. Although we may not have an experience exactly like the one we are conveying, we can approximate it by thinking about similar experiences we have had. Oren Brown uses the example of a singer who has never had children singing a lullaby and thinking about baby sitting. It's not the same, but it's close. Scientific studies have shown that facial expression changes the tone of your voice. Audiences listen with their eyes as much as their ears, and so we must convey meaning physically as well as vocally. The composer's intent is also an important consideration in selecting repertoire and in performing selections. A study of the composer's background helps us decipher their meaning. When planning a program, consider thematic relationships between cycles. Selections should complement each other. Creating a connection to the audience is achieved by speaking to them (concert notes) and ensuring that they can understand you.
Key Concepts: To perform requires physical, mental, spiritual, emotional, and vocal investment. Special attention should be paid to the text. We need to relate to the song on a personal level. Singers must also be actors.
Making Connections: I really love all this stuff about connecting with the text. I think I definitely need to work on that this week. I already know that speaking the text while learning it has helped me enormously! I'm excited to keep working on it. I'm glad that I'm at the point in my pieces (for better or for worse) when I can focus solely on intent. That's the missing piece for my selections right now. This chapter had great tips! I also like the part about connecting with the audience. I think that when performers address the audience it 1) makes them more personable, 2) breaks down that wall between the performer and the audience, 3) helps the performer calm down, and 4) helps the audience understand and become a part of the performance.

Mariah Lesson Summary 11/21

Mariah Lesson Summary 11/21
   I could have been more prepared for this lesson by choosing an order that I want my songs to be in for my jury. I also could have been more careful with my voice this past week and practiced more lightly because of all the choir rehearsals.
   We started by talking about the mock juries Laurie is going to have at her house on December 6th and I signed up for a time. We did a lot of light warm ups since my voice was a little sore and I bounced on the ball to loosen up. Laurie had me do a descending scale on mm nice and easy and the sssigh exercise for quite a while and changed vowels. She had me lean over and take a noisy vacuum breath, do a primal uh and pant to help me with the "mi mi mi" exercise. She also advised to put the m right before the beat which really helped me with this exercise. We talked about juries and what I need to work on. I need to be confident about my high notes and really work to add more meaning to the pieces. We talked about an order a bit. I think I'm going to do "This Little Rose" first, then "Clair de Lune," "D'un Genio," and "Music for a While." We went on to working on "This Little Rose" and I did some poetic speaking. Then I added more dramatic inflection and projection. I worked on shaping the phrases more with dynamics and tempo and where to take pauses. For "Clair de Lune," I need to have more of an [a] instead of ah sound for masques and calme and a few other words. I need more of an [i] for paysage. Laurie also helped me with timing for some entrances. Laurie likes it when a singer has one foot slightly in front of the other to help have more stability so I need to practice that. On the phrases going into the high notes, I need to have a more lifted, internal space and connection. I need to have more line in "D'un Genio" and apply the meaning to my voice.
    I got self-conscious a lot working on the meanings for "This Little Rose" and "Clair de Lune." Part of it was that I didn't want to share what I was thinking about and part of it was that I didn't have a specific enough story in my head. So I need to work on being more vulnerable and having a specific image and story for each song.
    For my next lesson, I want to have an order and have all of my dynamics and meanings well rehearsed. I want to be confident and vulnerable and really specific for each song.

New Vocalizes
shoo on pitch descending
i e ah arpeggio wobble
holli lolli polli pop with snort

Emily C.: DYV, Ch. 21

Discover Your Voice: Chapter 21

Emily Cottam

Chapter Summary: Teachers should always be aware of how what they say can be misinterpreted. Each student is unique and learns in a different way. Don’t expect the same sound to come out of every student. “If you do not know the potential and the limits of the human voice, how can you tell how much or how little to expect from a student?” Teachers need to be well trained and have a sensitive ear--much of what is happening while singing cannot be seen, but heard. Oren Brown states that “the ideal for healthy, efficient phonation might be represented by 51% airflow and 49% glottal resistance.” The voice needs time to grow and develop; it’s just another muscle that needs strengthening and conditioning. Know the singing history of your student (past teachers, vocal problems, habits, etc.), their goals for the future in singing, and what sort of environment they live in. Try several types of music with them, and become familiar with their speech habits. Become aware of their practicing habits, and advise your students to rely on sensation, not sound, use mirrors/recording devices, and be a teacher to themselves when the teacher isn’t around. Group lessons are a great way to have students learn from each other, and they’re more economical. For those with vocal problems, frequent and short lessons may be better than one long lesson per week. Good teachers love what they do--they empathize with their students, genuinely care for them, and love helping others reach their higher potential. 

Key Concepts: Teachers of singing need to resourceful, inventive, flexible, knowledgeable, communicative, and have a genuine love for what they do. 

Making Connections: From my limited amount of experience with music teachers, I can honestly say that whether or not a teacher loves what they do has a measurable effect on how well their students progress and learn. If they are truly passionate about what they do, they are willing to try new approaches with a student that is struggling, and they more freely empathize and create genuine relationships with their students. 

Emily C.: DYV, Ch. 20

Discover Your Voice: Chapter 20

Emily Cottam

Chapter Summary: Functional vocal disorders can be from hyperfunction and hypofunction. Many voice problems come from not singing, but from speech. Hyperfunctional conditions: singing too loudly, overusing the voice, too much breath effort, straining for high notes, squeezing for low notes, shoulder tension, rigid posture, high breathing, too low breathing, neck tension, articulation muscle tension, facial muscles distortion, carrying chest voice too high, overuse of voice in speech, bad speech habits, imitation of “poor voice models,” pressing young voices, singing difficult music before technically ready. Hypofunctional conditions (these are less frequent than hyperfunction): not enough breath to finish normal phrases, tone lacks carrying power, audible breathy quality, notes die in middle of the range, really breathy high notes and low notes, loss of air in consonants, and psychological factors (emotional distress/melancholy leading to breathy quality in the voice). When treating the voice from disorders, it’s important to fix the causes, not just the symptoms, or else they will return. Treatment should be unique to the individual and should be followed with the utmost care if the individual wishes to recover faster. When considering surgery for a vocal fold disorder, it’s important to be aware of the potential consequences and the necessary voice therapy following the surgery. Try to keep yourself in a humidified environment and stay hydrated. Women’s menstrual cycles, pregnancy, and menopause can have an affect on vocal quality, so one should be aware of how their body responds in these situations so as not to develop compensatory habits. Don’t smoke or drink. It’s dumb for a singer. Be aware of the effects of prescription drugs on the voice. Know what you’re allergic to and how you can avoid/cope with them. 

Key Concepts: Functional vocal disorders should be addressed with the utmost care to prevent further damage and encourage early healing. The source of the problem should always be addressed, not just the symptoms. Sometimes, vocal problems can be prevented simply by adjusting our environment. 

Key Terms: functional disorders, hypo/hyperfunction, (chronic) laryngitis, edema, polyps, nodules, dysphonia plicae ventricularis, contact ulcers/granuloma, myasthenia larynis, cord paralysis, ruptured cords, nasal resonance vs nasality, 

Making Connections: I tend to lean towards being hyperfunctional in my singing, and after studying with Brianna, I’ve really learned a lot. I’m really grateful for the chance to study with her because she has had experience with many of the problems I used to (and still) deal with sometimes, so she knows exactly how to identify and help me fix the problems. 

Emily C.: DYV, Ch. 19

Discover Your Voice: Chapter 19

Emily Cottam

Chapter Summary: “Without courage, the spirit suffers, and so, usually, does the singing.” Our only competition is with ourselves. Stress has an enormous influence on our physical condition. Around 80% of severe illnesses can begin during a time of extreme stress. Take the time to identify the source. Biofeedback can be an effective means to create awareness of your body and what you can do to “control” undesirable responses. Not all throat doctors are the best for professional singers; when going through vocal trouble, it’s important to keep a level head, relax, and trust your healthy singing technique if you must keep singing. As a singer, our job is to “create the illusion of emotion so that the audience can cry [not you]” because this has an effect on our ability to sing. Sometimes, what we perceive as stage fright is the culmination of several physical responses on stress with the parasympathetic nervous system. 

Key Concepts: Stress can have a massive influence on your body and ability to sing. It’s important to be aware of why you’re stressed and ways to relax. 

Key Terms: enigmas, psychogenic, stress

Making Connections: For me, stress has a very strong influence on my singing ability because if I’m really stress out, my acid reflux comes back. When I’m relaxed and content (or when I manage to handle my stress well), my acid reflux goes away. I’m finding that as a music major, it’s really important that I learn how to cope with stress in a healthy way, because if I don’t, I suffer for it.