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Singing
can be enjoyed and experienced in several ways, either in a
solitary setting or with others; this is a matter of
individual taste. Some people find it more rewarding to
participate in chorales, opera choruses, chamber ensembles,
or voice classes, while others are interested solely in the
study of private voice.
As a
listener, one might choose to put on a favorite CD in a
comfortable environment, eyes closed, enveloped in a world
of music, lost in personal thoughts, feelings, and
impressions—or one may prefer to frequent the symphony hall
or opera house for the excitement of live performances. The
benefits of musical experience are enormous either way.
But how
does one get involved in the wonderful world of voice? How
does one make the best choices? What might one possibly be
qualified to do? The situation for the amateur or
recreational musician is freer than for the aspiring
professional, but the criteria obviously overlap. Most
situations require that the participant possess a vocal
“instrument” to work with, be able to read music, and have a
musical ear—meaning that the person is capable of repeating
musical motifs, scales and exercises. Foreign languages are
also an advantage.
Most
people who find themselves interested in performing as
adults have usually had some desire in childhood as well,
and may have begun their studies at that time. Music is a
language to be learned, a language that contains concepts
and vocabulary that are universal and essential—such as how
to read music notation, key signatures, intervals, tempi and
dynamics. Most voice teachers encourage students to learn
piano, and for good reason. Basic first-year piano
techniques transfer easily and are extremely helpful in
learning to pick out a vocal line. Fortunately, many
children get this opportunity in church or school choirs,
and learn some basics of sight reading and ear training
then.
So, how
to find the right place for one’s musical expression? There
are avenues available in almost every community for students
and performers, amateurs and professionals. Many performing
groups such as choral societies, chamber groups, jazz
ensembles and theater groups advertise and hold auditions on
a regular basis. Usually they will be specific about what
they are looking and listening for. On the other hand,
church choirs are normally much less stringent about
auditions, and apart from soloists or section leaders are
glad to have anyone join—and one does not have to be
religious to enjoy singing in a church choir. Most often, in
a choral situation, one would need to sing a song, hymn, or
popular piece, followed with a bit of sight reading. The
biggest commitment is time.
Another
option available is the extension course level at the
community college or the university: the opera workshop,
chorale union, community choir, or voice class. All of these
are group oriented classes, involving less solo opportunity.
The performances usually take place one or two times a
semester. In many cases, the university chorales will
perform seasonal concerts of large works, involving
orchestra and major soloists. These groups usually are very
popular and have participants who choose to re-enroll year
after year. People usually find themselves making new
friends who share their interests. Often these groups will
tour, even to foreign countries on occasion. For those who
can afford it, this is a wonderful way to travel with
friends, making music in some of the great halls and
churches of the world, and expanding horizons in a well
planned and safe way.
Voice
classes and opera workshops by nature require the most
individual participation and are for the more advanced
student. They also can be found at the community college or
university level and require an audition. Voice classes can
be a terrific way of expanding musical horizons, social
circles, and personal ability, while providing the comfort
of a group. The classes may involve group vocalization, song
study, performance of ensembles or choral works, listening
to recordings of great singers of the past, or watching
videos of current performances. They may require that you
also attend concerts and report on them as well, which is a
great learning experience. Students in opera workshops
usually study privately too, and often perform with local
opera companies either as choral singers or in smaller,
comprimario roles.
This
leads to the most difficult challenge: finding a voice
teacher who is right for private study. The relationship
between teacher and student must be based on understanding
and commitment. The teacher must respect the efforts of the
student, and the student must trust in the knowledge of the
teacher. The student must be able to understand the language
the teacher uses to explain vocal technique. This is an
extremely important point, because the voice cannot be
directly touched or accurately heard by the person singing.
The teacher must be supportive and clear in his or her
instruction, yet able to make corrections or criticisms
without sounding offensive. Aside from the obvious need for
the instructor to be knowledgeable in language, style, and a
healthy technique of singing, they must take a genuine
interest in the progress and development of the student and
be honest and realistic with the student concerning their
ability and potential. A good voice teacher is someone of
great integrity and high standards, who can and should be
trusted. Unfortunately, many times this is not the case.
Many instructors are neither qualified nor particularly
capable. For this reason, anyone interested in private study
must make the effort to search carefully for the person who
is most qualified to teach them before making a choice.
It is very important to speak with other singing students to
get impressions of their teachers. Singers in general
are rather extroverted people and willingly share their
experiences. The best approach is to go to several studios,
to teachers who have been recommended, and take lessons at
each. This may cost more initially, but it is vital in order
to judge for oneself, which in the end, one must do.
There are
several questions to ask at this point. Do I feel relaxed
with this person? Are they specific? Do I understand their
concepts of sound and the production of sound? Most
importantly, does what the instructor tells me to do make my
singing easier and does it sound better? These are extremely
important criteria; however, one should never expect to
immediately understand or to be able to reproduce sound in
the exact way instructed; this takes time and a good deal of
repetition and practice, as with any other skill.
Singing
should sound good and feel good. One should never experience
strain or pain in the throat or tension in the tongue or
jaw—although one may feel fatigue, specifically in the back,
rib cage or breathing apparatus. Pain in singing does not
equal gain! Sound should also be considered. Is the vocal
range expanding? Is it easier to sing throughout the
registers? Does the voice blend well up and down scales?
These are all things that should be considered. One should
remember that what one hears of one’s own voice is not what
the listener hears. Using a tape recorder is a good way to
hear oneself the way a listener does. Of course, the better
the machine, the truer the sound.
Each
teacher conducts lessons differently; no two will be exactly
alike. A typical hour lesson will involve 20 to 30 minutes
of vocal warmups—exercises to strengthen and expand the
vocal range, develop breath control and the flexibility of
the voice, and prepare the instrument for singing music. The
length of the warmup will depend greatly on the vocal
maturity and experience of the singer. More experienced
singers will prepare themselves for their lessons prior to
arrival. Novices may be instructed to warm up only in the
presence of the teacher, and discouraged from practicing
until the teacher is assured that they understand the
technical concepts fully. This is all subject to the
individual needs and level of development of the student as
well as the particular teaching style of the instructor.
Unless your teacher is an accomplished pianist, an
accompanist (and usually an additional fee) will be
involved. When practicing songs and arias, a good pianist is
absolutely necessary.
Many
teachers have favorite pieces of music and will recommend
what the student should study. It is best to err on the side
of conservatism and choose music that is within one’s
ability, no matter how tempting it is to sing every aria on
the latest Placido Domingo album! Professional singers work
for years to make their singing sound easy. But these rather
sophisticated arias, which we all know and love, are not
easy and take a good deal of time to master. Patience is not
only a virtue in singing, it is a requirement. It takes time
for the voice to develop, for the student to understand how
to “play the instrument,” to learn the languages, and
develop a sense of interpretation and artistry. So one must
begin slowly and carefully mastering each step.
Not
everyone can be a star on the world’s greatest stages. Some
music lovers must be in the chorus, others in the audience.
Those who choose singing as a vocation must know themselves,
their talents and their weaknesses better than anyone else.
One must have several assets as a professional singer: a
teacher who can and will help to produce a truly unique and
usable sound; a coach who will help one learn musical scores
impeccably; the ability to take a great deal of criticism,
both negative and positive; the financial security to pay
for years of lessons, travel, and auditions; and an
overwhelming desire to perform no matter what the cost.
But it
all begins with the voice . . . something we are born with,
which can be nurtured and carefully developed by the right
teacher or teachers. Anyone with a truly good potential (or
wishing even serious personal pleasure) must judiciously
search for the best instructor possible. Do not select a
school of music based on the reputation of the school, but
for the particular instructor with whom you wish to study.
Take the time to sing for the person or persons whom you are
selecting. Be honest with yourself about how well you work
together and how you sound as a result of the lesson.
However
far you go, to sing for yourself in your own living room or
for 20,000 people in the grandest opera house—the greatest
gift is being able to sing, to share your feelings and love
of singing with others. No matter how frustrating the
learning process for the beginner may sometimes be, or how
fierce the competition for the professional, one should
always keep on with it—the profound joy it provides will
overcome all obstacles.
Gail
Dubinbaum has performed leading roles at major opera houses
such as the Metropolitan and the Vienna State
Opera. Her most recent performance was at the John F. Kennedy Center in
D.C. She teaches voice privately in Phoenix.
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