As singers, we were all “discovered” at some point in youth, possibly when we were children but more than likely when we were in our teens. There we were one day, happily warbling away, and someone noticed us and commented that we had a lovely voice (something extra special) and that we should consider taking voice lessons or possibly even pursuing a singing career. Obviously, even without formal vocal training, we were already doing something right – from nature. The innate physical co-ordination which produces that very unique vocal quality identifiable in trained (and occasionally the rare untrained) voices was already evident in our singing. I believe that, as teachers, it is our responsibility to identify that sound and explain to our students the natural physical process through which it is produced, ultimately helping them to identify, understand and reproduce it on their own – consistently, at will and with understanding and confidence. In other words, we must help students recognize just what it is that they are already doing correctly so that they can continue doing so. It is not appropriate to impose technical gimmicks, tricks or ideals, either imagined or real – but rather to clarify, explain and, if possible, to illustrate as best we can from the singer’s perspective (rather than that of the listener) what they themselves might expect to hear, feel or sense. Every student, at whatever level they might already have achieved, has a store or memory bank of vocal sounds and physical sensations. No matter how conscientious they may be in trying to produce or re-produce what is asked of them, they will always subconsciously monitor and “interpret” what a voice teacher or coach is saying in terms of their own personal experiences. How could it possibly be otherwise? With unending patience and tremendous flexibility, teachers must take the student someplace that they perhaps have never been – or, if the student recognizes having been there before, they may very well have thought it wrong and therefore rejected it. We must encourage them to accept “new” sounds and sensations as correct (especially when they are learning to extend their vocal range), in spite of what they may at first feel, hear or not hear. The “classical” quality of a trained opera, oratorio or concert singer is the extension of a well produced, projected speaking voice, as one might hear in a classically trained Shakespearean actor who would most likely sneer disdainfully at the mere thought of electronically enhanced sound (microphones and amplification). Musical theatre (as it is today), cabaret, pop and folk singing are an extension of what is essentially “unsupported”, conversational speech and would, in most cases, require enhancement. Both styles of singing are healthy when done correctly – nevertheless, one cannot help but hope that it is the goal of all serious singers that they will never need amplification, unless they are singing in Shea Stadium, Central Park – or the like.
It is important for the professional singer to build a healthy and reliable technique that ultimately produces clear vowels and diction, good projection, warmth and beauty of tone, performance stamina and absolute confidence. Toward these goals, after first explaining as best I can the breathing and “support” process along with clear and simple phonation, I employ a variety of scale-like and arpeggiated exercises. Order of vowels, starting pitch, direction (ascending or descending), range, dynamics, tempo and rate of repetition will vary considerably according to the specific needs and vocal issues of each individual singer and voice type at any given time. If the student runs into problems when they are switching from one exercise to another, I ask them to repeat portions of the preceding “successful” vocalise as a basis of comparison. Often I will invent on the spot an exercise or vowel order to deal with a specific problem. When assigning any exercise or vocalise, I will always explain to the student (either before or after) what it is meant to accomplish, correct, build or reinforce. I never take anything away (“Don’t do such and such.”) without giving something else in return (“DO THIS” instead). After all, a singer does “such and such” for a reason – in their own conscious or sub-conscious, what they are doing accomplishes something. If the result of their initial efforts is less than positive or effective, then it is only logical that they must find an alternative – it is my job to help them in this process. By striving to accomplish the “positive”, it is only logical that one will correct the “negative”, which eventually releases and falls away. The list of “DO NOT’s” is endless, while the list of “DO’s” is relatively short. In fact, good singing and good vocal technique are frustratingly and annoyingly simplistic when you get right down to it.
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