I'm all about lofty goals and high standards. I can spend an entire lessons
picking at little details that need to be improved in a student's song. But sometimes we have to give ourselves and our students permission to be bad. Sometime that is the only way we grow.
This week a student expressed concern that her voice just isn't sounding as good as it used to and that she didn't feel like she could do things that she used to be able to do. Anytime a student comes to me with these concerns I want to make sure that both of us know exactly what is going on with the voice and determine if there is something I need to send him/her to a doctor for. The first thing I have a student do is keep a voice journal recording what they do, what it feels like and how it sounds. For this particular student, I also made a check list of technical things that she could check when she wasn't happy with her sound. And finally, I gave her a list of things that can affect the voice and how it sounds and feels. We didn't have to go far into the list to discover the reason her voice wasn't happy. She has a very tough schedule this year at school, and her stress level is really high. I know from personal experience what that can do to a voice. So we talked about doing what she can do and understanding that it won't be good, but she can learn and progress.
Tonight, my practice session was a perfect illustration of that. Today I was dealing with a lot of pain and tension, which is bad news for a singer. As I started to work on my songs, it didn't feel good and I could feel and hear lots of things I wanted to change. But, since I knew how hard that would be on a night like tonight, I gave myself permission to be bad and focused on checking my memorization. Because I gave myself permission to be bad, I didn't stress over those things I didn't like. That just adds more tension. I focused on what was working well. By the time I finished, I was actually making pretty good sounds, but I wouldn't have arrived at that place if I'd freaked out over the details tonight.
There are some practice sessions where you need to pick things apart and really do the detail work. And sometimes, you need to go for the big picture, allow bad sounds to happen, and be open to whatever good comes. I'm learning that about my own work, and I'm planning to be more conscious of it in the work I do with my students.
Wednesday, September 30, 2009
Tuesday, September 29, 2009
Monday, September 28, 2009
Practice Journal 9/28/09
Did a little warming up today when a student didn't show up. The voice is still not happy, but it is getting better. In addition to my usual memorization and listening work, I played through most of the Brahms songs. I like to play the accompaniment because it helps me to be aware of what is going on there in a way that I don't get by just listening. I also find new ways of shaping the phrases as I pay attention to the harmonic rhythm.
Myths and Misunderstandings
Not long ago, a fellow voice teacher's status on Facebook told us about a new student of his that thought she was a good singer because she "sang with her diagram."
The beginning of the school year is always a fun time for finding out which kids are completely confused but are confident that they know everything. And it's not just the kids new to my studio. Some of the returners are a little confused too.
Most kids are clueless about the diaphragm. Their choir teachers told them to sing with it, but either they didn't explain what that meant, or the kids weren't really paying attention. (And yes, not paying attention could be the real problem here.)
Here are some of my favorite things I've heard from kids:
"When you breath in, you need to fill up the diaphragm."
Will someone please explain to me how to do this? You can't put anything in it. It descends. Time to talk about anatomy and pull out the cool pictures.
"For singing, you breathe into your stomach, not your lungs."
OK, I can understand how this misperception got started. It's because we refer to the entire abdominal region as the stomach and teachers are trying to get the kids to take low breaths, not shoulder breaths. However, once again, it's time for the anatomy discussion. The only place you can breathe into is your lungs. If you breathe into your stomach, it doesn't make you sing better; it makes you burp!
"But my last teacher said it didn't matter what it sounded like if the technique was right."
(Sounds of me screaming and pulling out my hair!) Technique is a tool to help us create beautiful sound, not the goal itself. If it doesn't sound good and feel good, the technique is not right.
Now, just to be fair, I'm sure that there are kids out there right now telling their new college teachers that I told them to sing out their eyes. And for some of them it is true. I use a lot of imagery and movement to help my students find their best sound. Most of them are high school students and don't need to know all the technical information about what is really happening. However, when I have them do something like singing out their eyes, I make a point of explaining the physical changes that that mental image helps to create. I make sure they know it is just an imagination game, not literally what happens.
So, fess up. What things do you say to your singers that they may misinterpret or mistake for actual technique? How do you go about fixing students misperceptions without saying, "Your last teacher was an idiot," or "You weren't really listening, were you?"
Also, I want to hear the wonderful quotes from your students!
The beginning of the school year is always a fun time for finding out which kids are completely confused but are confident that they know everything. And it's not just the kids new to my studio. Some of the returners are a little confused too.
Most kids are clueless about the diaphragm. Their choir teachers told them to sing with it, but either they didn't explain what that meant, or the kids weren't really paying attention. (And yes, not paying attention could be the real problem here.)
Here are some of my favorite things I've heard from kids:
"When you breath in, you need to fill up the diaphragm."
Will someone please explain to me how to do this? You can't put anything in it. It descends. Time to talk about anatomy and pull out the cool pictures.
"For singing, you breathe into your stomach, not your lungs."
OK, I can understand how this misperception got started. It's because we refer to the entire abdominal region as the stomach and teachers are trying to get the kids to take low breaths, not shoulder breaths. However, once again, it's time for the anatomy discussion. The only place you can breathe into is your lungs. If you breathe into your stomach, it doesn't make you sing better; it makes you burp!
"But my last teacher said it didn't matter what it sounded like if the technique was right."
(Sounds of me screaming and pulling out my hair!) Technique is a tool to help us create beautiful sound, not the goal itself. If it doesn't sound good and feel good, the technique is not right.
Now, just to be fair, I'm sure that there are kids out there right now telling their new college teachers that I told them to sing out their eyes. And for some of them it is true. I use a lot of imagery and movement to help my students find their best sound. Most of them are high school students and don't need to know all the technical information about what is really happening. However, when I have them do something like singing out their eyes, I make a point of explaining the physical changes that that mental image helps to create. I make sure they know it is just an imagination game, not literally what happens.
So, fess up. What things do you say to your singers that they may misinterpret or mistake for actual technique? How do you go about fixing students misperceptions without saying, "Your last teacher was an idiot," or "You weren't really listening, were you?"
Also, I want to hear the wonderful quotes from your students!
Sunday, September 27, 2009
Why I keep doing these practice journals
If you've been reading this blog over the last couple of weeks, you're probably wondering why I continue to post about my pathetic practice attempts. Shouldn't I be horribly embarrassed? I post because I want my students to know (and I want to remind myself) that:
1. I know it's hard to find the time and energy to practice.
2. I know that even a little bit keeps me moving in the right direction.
3. I know that there are days that I don't think I have what it takes mentally or physically to practice, but when I try, sometimes I have major break throughs and insights.
4. I know that there are wonderful moments and I want to remember those.
5. I know that showing up is half the battle.
So, if the post looks short and boring, feel free to skip it; it probably wasn't one of my good days. But, I will keep posting and when those wonderful moments come, I'll keep sharing. I also have several great blog ideas that I hope to get to soon. I don't intend for JMR Voice Notes to be just about my practicing or lack thereof).
1. I know it's hard to find the time and energy to practice.
2. I know that even a little bit keeps me moving in the right direction.
3. I know that there are days that I don't think I have what it takes mentally or physically to practice, but when I try, sometimes I have major break throughs and insights.
4. I know that there are wonderful moments and I want to remember those.
5. I know that showing up is half the battle.
So, if the post looks short and boring, feel free to skip it; it probably wasn't one of my good days. But, I will keep posting and when those wonderful moments come, I'll keep sharing. I also have several great blog ideas that I hope to get to soon. I don't intend for JMR Voice Notes to be just about my practicing or lack thereof).
Practice Journal 9/27/09
More memorization and listening. I know, boring post. I'm hoping my voice is up to some real work tomorrow. If not, I need to find more interesting ways of memorizing and listening and reporting about them.
Saturday, September 26, 2009
Practice journal 9/26/09
More memorization and listening today. Found a spot I memorized wrong. That's why it's important to keep listening and reviewing the score even when you think you've got it down. I do pretty well with the nouns and verbs, but I really have to watch that I'm not changing articles and prepositions. Since I'm not fluent in German, sometimes it it's hard to remember which article to use.
-- Posted from my iPhone
-- Posted from my iPhone
Friday, September 25, 2009
Practice Journal 9/25/09
More listening and memorization. Voice is still weird today. I can't decide if it's totally allergy related or also just tired from talking so much at lessons this week. A lot of kids were sick, so we did more talking about technical things than actual singing which means my voice got a lot more use.
Thursday, September 24, 2009
Practice journal 9/24/09
Did a little singing today, but my voice clearly needed rest more than practice, so once again I just have listening and memorization.
-- Posted from my iPhone
-- Posted from my iPhone
Wednesday, September 23, 2009
Practice journal 9/23/09
Worked the end of "An die Nachtigall" concentrating on solidifying memorization.
-- Posted from my iPhone
-- Posted from my iPhone
Tuesday, September 22, 2009
Monday, September 21, 2009
Practice Journal 9/21/09
I had planned to do lots of practicing tonight since I was scheduled to be done with lessons at 3:15. However, I was so frazzled by that time that I went home and took a nap. So...once again, I didn't get to the singing. But, I did work on memorization and I listened to the Brahms songs again.
Sunday, September 20, 2009
Practice journal 9/20/09
Mostly just sang through my songs tonight. I did stop and work a few spots, but wanted to just get the big picture.
-- Posted from my iPhone
-- Posted from my iPhone
Saturday, September 19, 2009
Practice Journal 9/19/09
Have I mentioned that I love singing? Practice went well tonight and the things I've been working on are becoming more and more consistent. I took a break part way through to work on some school stuff and when I came back it was even better. I had forgotten that my voice likes to warm-up, take a break, and then get to the real work.
Friday, September 18, 2009
Practice Journal 9/18/09
The original plan for today was to stay at school after lessons and practice. But, by the time I finished all the things I couldnt' avoid, I was just too tired to try to focus with all the craziness still going on at school. Musical auditions were tonight, so there were still a lot of kids around. Instead of practicing, I came home and did a little memorization and listening. I'll try to go in to school tomorrow when it is quieter to get some practicing in.
Thursday, September 17, 2009
Practice Journal 9/17/09
Good practice tonight. Nothing much special to report except that I did practice (mostly singing) for nearly an hour and a half. I also played through the accompaniment to several songs.
Flexibility
As I mentioned in a previous post, in order for me to sing my best, I need to do warm-ups that require a lot of flexibility. Flexibility is not one of my vocal strengths. In fact, if I see a song with lots of 16th notes, or bouncing around all over the place, or even sometimes slower melismas, I know that it's not going to be a good fit for me. So why do I torment myself with exercises that focus on that kind of stuff? First of all, you can't just avoid the things that are hard. Yes, my voice likes long, drawn out lines much better, but occassionally for whatever reason, you have to sing some melismas or faster notes and the exercises help prepare me for those times. The second reason these warm-ups are essential for me is that in singing all those long lines, with rich full tone, I tend to get a little heavy. Flexibility exercises keep the weight out of the voice and help me to find a high vowel placement. When I stay light and high, I can do these exercises. If I get heavy or the vowel drops, they are impossible. When I can do several flexibility exercises in a row, I know that I am warmed-up enough and that I have found the place my voice needs to be. Then I sing my long, drawn-out phrases and I can add warmth without getting bogged down.
But all of that is not the real reason for writing about flexibility. Even more important than working flexibility in my voice is working flexibility in my life and practicing. I'm loving the fact that I have so long to prepare this music. When I was in school and knew I had to sing a song for my next lesson, I would work it, even if it didn't feel good that day, and I think that led to more frustration than success. Now, I have a general plan for what I want to do in practicing, but if something isn't going well, I can move on to something else and come back at another time. Here's what happened last night:
My voice had been quirky during lessons that day, so I took about 15-20 minutes to warm-up before starting songs. I was feeling pretty good, so I decided that it might be a good day just to run through all the recital rep since I haven't done some of the songs in awhile. I started with Strauss' "Ich trage meine Minne" since it's usually the song that sets me up for good singing. It was awful. Instead of helping me find my place, it was just totallly tight. So obviously, this was not the night for a sing through.
I left the Strauss and tried a little "In quelle trine morbide" just to see how it was feeling. Even though it is harder, it worked much better. I did a work through instead of a sing through, stopping whenever I got tight. I love the B flats in this. The approaches, especially with the first one, make it so easy.
After the Puccini success, I went back to the Strauss and worked through it this time. As I checked for tension and went through my checklist of the things most likely to make it better (start in the space of the highest note of the phrase, high consonants, etc.) everything started to fall back into place.
I like to work technique and interpretation all at the same time, but there are days like yesterday that I just have to break it down to simpler components again. I had to give up the interp and thinking to the end of the line and just worry about getting the vowels to line up high.
By the time I had worked through the Strauss, I was ready for more. I worked a little on each of these songs--Dein blaues Auge, O kuhler Wald, Allerseelen, Ach lieb, ich muss nun scheiden, and Schlechtes Wetter. I also played through the accompaniment to them listening for how the piano interacts with my part. I also had some great intepretive break throughs. I figured out who I need to think about for Dein blaues Auge. It totally changed the song and I found the tonal color I was after. Those same blue eyes also made "deiner susse Blicke" in Allerseelen really click in.
If I had just become discouraged with the first bad time through the Strauss, I would have quit practicing and missed out on all those other wonderful moments. But, since I'm becoming more flexible, and go-with-the-flow in my life, I was able to let it go and move on to something that was more successful.
One more observation for the night--When I exercise, there is a moment that occurs somewhere between 30 and 45 minutes into the work-out when my body just relaxes (plus all those cool endorphins kick in). I think I have a similar thing going on with singing. If I'm struggling, but keep going and concentrating on staying loose, there is a spot somewhere after 30 minutes, where my voice quits fighting me and the beauty kicks in. So to get myself through the rough times, I just have to keep reminding myself of how much I love it when it is good.
But all of that is not the real reason for writing about flexibility. Even more important than working flexibility in my voice is working flexibility in my life and practicing. I'm loving the fact that I have so long to prepare this music. When I was in school and knew I had to sing a song for my next lesson, I would work it, even if it didn't feel good that day, and I think that led to more frustration than success. Now, I have a general plan for what I want to do in practicing, but if something isn't going well, I can move on to something else and come back at another time. Here's what happened last night:
My voice had been quirky during lessons that day, so I took about 15-20 minutes to warm-up before starting songs. I was feeling pretty good, so I decided that it might be a good day just to run through all the recital rep since I haven't done some of the songs in awhile. I started with Strauss' "Ich trage meine Minne" since it's usually the song that sets me up for good singing. It was awful. Instead of helping me find my place, it was just totallly tight. So obviously, this was not the night for a sing through.
I left the Strauss and tried a little "In quelle trine morbide" just to see how it was feeling. Even though it is harder, it worked much better. I did a work through instead of a sing through, stopping whenever I got tight. I love the B flats in this. The approaches, especially with the first one, make it so easy.
After the Puccini success, I went back to the Strauss and worked through it this time. As I checked for tension and went through my checklist of the things most likely to make it better (start in the space of the highest note of the phrase, high consonants, etc.) everything started to fall back into place.
I like to work technique and interpretation all at the same time, but there are days like yesterday that I just have to break it down to simpler components again. I had to give up the interp and thinking to the end of the line and just worry about getting the vowels to line up high.
By the time I had worked through the Strauss, I was ready for more. I worked a little on each of these songs--Dein blaues Auge, O kuhler Wald, Allerseelen, Ach lieb, ich muss nun scheiden, and Schlechtes Wetter. I also played through the accompaniment to them listening for how the piano interacts with my part. I also had some great intepretive break throughs. I figured out who I need to think about for Dein blaues Auge. It totally changed the song and I found the tonal color I was after. Those same blue eyes also made "deiner susse Blicke" in Allerseelen really click in.
If I had just become discouraged with the first bad time through the Strauss, I would have quit practicing and missed out on all those other wonderful moments. But, since I'm becoming more flexible, and go-with-the-flow in my life, I was able to let it go and move on to something that was more successful.
One more observation for the night--When I exercise, there is a moment that occurs somewhere between 30 and 45 minutes into the work-out when my body just relaxes (plus all those cool endorphins kick in). I think I have a similar thing going on with singing. If I'm struggling, but keep going and concentrating on staying loose, there is a spot somewhere after 30 minutes, where my voice quits fighting me and the beauty kicks in. So to get myself through the rough times, I just have to keep reminding myself of how much I love it when it is good.
Wednesday, September 16, 2009
Practice Journal 9/16/09
I finally got to do practicing that was more than just listening. In fact, I sang for 1 hour and 15 minutes today. Things started out a little rough, but it turned out to be a really good practice session overall. Watch for more details in a post that I hope to get to in the next couple of days, titled "Flexibility."
Tuesday, September 15, 2009
Time and changes
10 years ago, I was starting what would turn out to be my last semester as a grad student, although I didn't know it at the time. I was dealing with all sorts of health issues including hormones and neurotransmitters being completely out of whack. I suffered from a lot of anxiety, particularly when it came to singing. I loved to sing, and had a lot of respect for my teacher and wanted to sing well for her. But the more I wanted to do well, the more anxious I became and the worse things got. For several years after I left school, I would still get sick anytime I went near the university. I even had some minor anxiety when I saw my teacher this summer in a more social setting.
All that anxiety about singing and my voice teacher makes what happened tonight really funny. These first couple weeks of school are usually high stress for me as I'm trying to recruit enough students to pay the bills, but condense my schedule enough that I'm not working insane hours. I'm a little stressed this week and my anxiety is higher than has become my new norm (but no where near what it was in grad school.) So...tonight when at finished lessons at close to 7:30, I was feeling frustrated that once again, there was no way I could get in actual singing practice. My body just didn't have that kind of energy left. I was frustrated and anxious and trying to figure out how to make everything work. As I did one last email check, I turned on a recording of my teacher. Guess what happened? I relaxed. I could feel the tension release in my body as I listened to the beautiful sound. What a great way to end the day! And what a great way to bring this relationship full circle. I met her through a recording and knew that I had to study with her. I studied with her; we had our ups and downs; and I moved on. Now I'm continuing to learn from her recordings.
All that anxiety about singing and my voice teacher makes what happened tonight really funny. These first couple weeks of school are usually high stress for me as I'm trying to recruit enough students to pay the bills, but condense my schedule enough that I'm not working insane hours. I'm a little stressed this week and my anxiety is higher than has become my new norm (but no where near what it was in grad school.) So...tonight when at finished lessons at close to 7:30, I was feeling frustrated that once again, there was no way I could get in actual singing practice. My body just didn't have that kind of energy left. I was frustrated and anxious and trying to figure out how to make everything work. As I did one last email check, I turned on a recording of my teacher. Guess what happened? I relaxed. I could feel the tension release in my body as I listened to the beautiful sound. What a great way to end the day! And what a great way to bring this relationship full circle. I met her through a recording and knew that I had to study with her. I studied with her; we had our ups and downs; and I moved on. Now I'm continuing to learn from her recordings.
Practice 9/15/09
Another crazy day when all I could fit in was listening. I'm hoping to find time and energy for actual singing tomorrow.
Practice Journal 9/14/09
With lessons, listening to Freshmen, running errands, and Parent Open House, I didn't get much practice time. I did do some listening, and wrote out the words to Verzagen.
Sunday, September 13, 2009
Practice Journal 9/13/09
Listened to several recordings of An die Nachtigall and worked on memorization. Also checked Holty's dates. He would not have known about Keats' "Ode" since he was dead before it was written.
I have an interesting recording of Kirsten Flagstad singing "An die Nachtigall". There are some quirky things that I don't really like, but I can't figure out if it is because of how the song fits (or doesn't fit) in her voice, or what. I think a lot of the vowels are not as lifted as I would like to hear. I have other recordings of her that I like more. I keep listening to this recording though, because even though I don't like some of what I hear, there are things I do like. Her tempo is a little slower than the other recordings I've listend to. I also like how she shapes some of the phrases and the longer notes. I love how she does "den Himmel". I also like how even though she takes the tempo slower she can get all the way through "und spend' im Nest der treuen Gattin Kusse" in one breath. Considering the opera rep she's famous for though, it's not surprising.
I also went to the school and practice for about an hour.
I have an interesting recording of Kirsten Flagstad singing "An die Nachtigall". There are some quirky things that I don't really like, but I can't figure out if it is because of how the song fits (or doesn't fit) in her voice, or what. I think a lot of the vowels are not as lifted as I would like to hear. I have other recordings of her that I like more. I keep listening to this recording though, because even though I don't like some of what I hear, there are things I do like. Her tempo is a little slower than the other recordings I've listend to. I also like how she shapes some of the phrases and the longer notes. I love how she does "den Himmel". I also like how even though she takes the tempo slower she can get all the way through "und spend' im Nest der treuen Gattin Kusse" in one breath. Considering the opera rep she's famous for though, it's not surprising.
I also went to the school and practice for about an hour.
Oops!
As I was turning off the computer last night, I realized that although nightingales show up in several of my songs, there are none in the one that Brentano wrote the words for (O kuhler Wald). I did nightingale reasearch and Bretano research on the same night and somehow had them stuck together. Holty was who I meant in the last post (and will edit it to show that.)
Saturday, September 12, 2009
Practice Journal 9/12/09
I was hoping to do a little practing at school tonight, but because of the marching band event, parking was crazy, so I skipped it.
I did listen a little this morning and tonight I read through the nightingale research. My job now is to figure out what Holty thought and knew about nightingales. For example, they use to think that it was the female that sang, but we now know it is the male singing to attract a mate. When did we figure this out? What mythology and other literary references did Holty know about? I can't remember Holty's dates. Did he know the Keats "Ode..."? What did Brahms know? More fun stuff to think about.
I'm going to write out the text tonight while I watch a movie and see how close I can get to memorized. Yes, this really does help me and it's a fun way to multi-task.
I did listen a little this morning and tonight I read through the nightingale research. My job now is to figure out what Holty thought and knew about nightingales. For example, they use to think that it was the female that sang, but we now know it is the male singing to attract a mate. When did we figure this out? What mythology and other literary references did Holty know about? I can't remember Holty's dates. Did he know the Keats "Ode..."? What did Brahms know? More fun stuff to think about.
I'm going to write out the text tonight while I watch a movie and see how close I can get to memorized. Yes, this really does help me and it's a fun way to multi-task.
Back to school, and teaching concepts not just notes
I started a few kids with lessons this week, but most of them start next week. Hopefully then I will also write about more things than just my own practice.
I need to remember next year to tell the kids that they can sign up for audition help, after they have learned the notes. These kids are fully capable of learning the piece on their own, especially since they can watch it on youtube, so why do they expect me to teach them the notes? Because I have in the past. I've got to be tougher about this. It says in my policy that if they come to a lesson and don't know the notes and rhythms that I will teach them reading strategies and make them learn the song that way. I need to really stick to that this year. So be warned students, if you don't know your song, you will be writing in solfege and counting and I will guide you through the learning process, but I will not be just playing the notes until you know it. If you are an auditory learner, please ask for a recording and then listen at home. You will get much more from your lessons.
On a positive note, I did review some sight-reading strategies with students on the first phrase of the co-curricular audition piece. I also worked technical issues, even if they weren't sure of the notes. I also talked to them about stagger breathing in a choral setting, and how they should choose where to breathe if singing a solo. On the audition pieces for the musical, I had them come up with attitude or emotion words for each phrase. I also did video recordings of several of them so they could see if their faces were showing what they thought they were. The ones I didn't record will be recorded at their lessons early next week. I was pleased that even though I did have to pound out notes for them, I was also able to do some real teaching with every student.
I need to remember next year to tell the kids that they can sign up for audition help, after they have learned the notes. These kids are fully capable of learning the piece on their own, especially since they can watch it on youtube, so why do they expect me to teach them the notes? Because I have in the past. I've got to be tougher about this. It says in my policy that if they come to a lesson and don't know the notes and rhythms that I will teach them reading strategies and make them learn the song that way. I need to really stick to that this year. So be warned students, if you don't know your song, you will be writing in solfege and counting and I will guide you through the learning process, but I will not be just playing the notes until you know it. If you are an auditory learner, please ask for a recording and then listen at home. You will get much more from your lessons.
On a positive note, I did review some sight-reading strategies with students on the first phrase of the co-curricular audition piece. I also worked technical issues, even if they weren't sure of the notes. I also talked to them about stagger breathing in a choral setting, and how they should choose where to breathe if singing a solo. On the audition pieces for the musical, I had them come up with attitude or emotion words for each phrase. I also did video recordings of several of them so they could see if their faces were showing what they thought they were. The ones I didn't record will be recorded at their lessons early next week. I was pleased that even though I did have to pound out notes for them, I was also able to do some real teaching with every student.
Practice Journal 9/11/09
At about 2:15 I realized that I had to teach from 2:30-after 5 and then go straight to a wedding rehearsal, but I hadn't practiced yet. Definitely should have planned the day better. So I went back to school after the wedding rehearsal. I did stop and buy dinner on the way so that I at least would have some energy. I took longer to warm up than I have for awhile and that really helped. I also did more lip buzz. It helps me to loosen up and to focus on the breath.
I did some technical work on vocalises and then worked on "An die Nachtigall." The really good warm-up helped this one to start out better today. I did some work just on [i] which has been a great vowel for me lately. This song is really hard for me to keep lined up, and I think the biggest reason is all of the consonants. If I really think about how I am creating them, and keep them loose and high, it is so much better. I very clearly remember a former choir director telling us to place the consonants on the lower pitch to help us connect the notes. Maybe this works for some people, but not for me. For example, in "der liebentflammten", the r that ends the first word needs to be on the same high pitch as the l and the vowel of the 2nd world.
This song is starting to come together both technically and interpretively.
By the time I worked all that out, I was pretty much out of energy, but decided to play through "O kuhler Wald". And then I thought I'd do a quick internet search to see if anyone had written anything about Brentano's poem. Word of warning---there is no such thing as a quick internet search, at least not for me. One thing leads to another and pretty soon I realize that I've been sittting there to long and I'm in pain. Someday I hope to learn to stop before the pain. But anyway, I did find some good resources to look at more later.
I did some technical work on vocalises and then worked on "An die Nachtigall." The really good warm-up helped this one to start out better today. I did some work just on [i] which has been a great vowel for me lately. This song is really hard for me to keep lined up, and I think the biggest reason is all of the consonants. If I really think about how I am creating them, and keep them loose and high, it is so much better. I very clearly remember a former choir director telling us to place the consonants on the lower pitch to help us connect the notes. Maybe this works for some people, but not for me. For example, in "der liebentflammten", the r that ends the first word needs to be on the same high pitch as the l and the vowel of the 2nd world.
This song is starting to come together both technically and interpretively.
By the time I worked all that out, I was pretty much out of energy, but decided to play through "O kuhler Wald". And then I thought I'd do a quick internet search to see if anyone had written anything about Brentano's poem. Word of warning---there is no such thing as a quick internet search, at least not for me. One thing leads to another and pretty soon I realize that I've been sittting there to long and I'm in pain. Someday I hope to learn to stop before the pain. But anyway, I did find some good resources to look at more later.
Thursday, September 10, 2009
Practice Journal 9/10/09
The really long post below about Die Mainacht totally counts as practice time.
I also had a good practice session after work. For warm-ups I did some of the vocalises that I want to use with my students this year. I chose them because they are easy to do on solfege, but doing them, I realized that done right, they are really great technical exercises. I hope the kids like them.
I worked a little on Verzagen and once again remembered the if the consonants are not on the pitch, that "was weinest du" is not good.
I worked the second half of Die Nachtigall and then spend way too long online looking up info about the nightingale and its symbolism. Cool stuff. I'll report more on that when I've read through all the stuff I found.
I also had a good practice session after work. For warm-ups I did some of the vocalises that I want to use with my students this year. I chose them because they are easy to do on solfege, but doing them, I realized that done right, they are really great technical exercises. I hope the kids like them.
I worked a little on Verzagen and once again remembered the if the consonants are not on the pitch, that "was weinest du" is not good.
I worked the second half of Die Nachtigall and then spend way too long online looking up info about the nightingale and its symbolism. Cool stuff. I'll report more on that when I've read through all the stuff I found.
Imagery and symbols in Die Mainacht
This post may not be very organized or coherent. My interpretation is in progress and therefore, this might be more like a list of ideas instead of full sentences. It definitely won't approach scholarly paper status.
Many of you readers might be familiar with this song. If you haven't sung it, you may have studied it in a vocal lit. class or heard it sung by a favorite singer. There is also at least one really good choral arrangement of this. My point here is, I'm interested in your interpretation. You don't have to agree or disagree with my ideas, but do tell me about your ideas.
I began by making a list of key words/images that I thought would be important.
Nachtigall--nightingale. It's a song bird, but what symbolism is associated with it? It shows up in a lot of songs.
dunklere Schatten--darker shadows
Tranen (yes it needs an umlaut, but I still don't know how to do it)--tears. Why is tears the longest note of the piece and why is there a crescendo through most of that word?
Morgenrot--morning-glow. Contrast to the darker shadows of night.
strahlt--shines. Again the contrast.
shimmering light of the moon vs. morning sun--silver moon--silver is a cold color. Morgenrot is morning-glow, but in that "put two words together to make a new one" way that the Germans have, it can also literally be morning red. Red is a hot color. The color of fire, warmth.
Entzucken--enchantment, one translation also uses delight
Taubenpaar--pair of doves. Doves represent purity, peace, love, innocence. My dictionary also told me that in the Old Testament doves are also used as messengers of deliverance. I like the deliverance idea. Are the doves offering deliverance from the pain? He turns away. He doesn't want deliverance, he wants her. (Yes, I'm reading this poem from the man's perspective. I usually try to approach songs from a female perspective since I know that best, obviously, but sometimes, even when it is not explicit in the text, I just feel that it is a man and I can't make the switch. I have to become him. )
heisser--hotter. Why is the tear hot? It's hot on his cheek, so it's not like his eyes are burning from crying. Tears feel hot when the skin they touch is cold. He is cold, no longer warmed by his love, his morning sun. Which leads me back to the interpretation insight I posted about before.
Although I've never really worked this song before, I've known it for years and occasionally pulled it out for a sing-through. And I've always been puzzled as to how to convey the beauty of all the amazing nature things described and still give his pain. It's like, "Oh look how pretty everything is. Life sucks." (Bet you've never read anything like that in a German poetry paper.) While listening to one of the recordings (I'll let you guess the singer--Elly Ameling, Glenda Maurice, Dietrich Fischer-Dieskau, Janet Baker, Fritz Wunderlich, or Anne Sofie von Otter) it occurred to me that maybe I don't need to go all out in the description of the pretty stuff. I love spring, especially seeing the daffodils and brightly colored tulips, but I remember a few springs when I was really depressed. I could see the beauty and I remembered how it used to make me feel, but I felt nothing. There was none of the wonder or awe that usually comes with that beauty. I think that this is totally where this man is. He recognizes what is in front of him, but he cannot feel it. All he can feel is the loss. And I think it's not just the loss of his love, but also a little bit about losing the wonder and awe. I could be totally off base, and it may not be what that singer intended at all, but I like the idea and will work with it until something better comes along.
Many of you readers might be familiar with this song. If you haven't sung it, you may have studied it in a vocal lit. class or heard it sung by a favorite singer. There is also at least one really good choral arrangement of this. My point here is, I'm interested in your interpretation. You don't have to agree or disagree with my ideas, but do tell me about your ideas.
I began by making a list of key words/images that I thought would be important.
Nachtigall--nightingale. It's a song bird, but what symbolism is associated with it? It shows up in a lot of songs.
dunklere Schatten--darker shadows
Tranen (yes it needs an umlaut, but I still don't know how to do it)--tears. Why is tears the longest note of the piece and why is there a crescendo through most of that word?
Morgenrot--morning-glow. Contrast to the darker shadows of night.
strahlt--shines. Again the contrast.
shimmering light of the moon vs. morning sun--silver moon--silver is a cold color. Morgenrot is morning-glow, but in that "put two words together to make a new one" way that the Germans have, it can also literally be morning red. Red is a hot color. The color of fire, warmth.
Entzucken--enchantment, one translation also uses delight
Taubenpaar--pair of doves. Doves represent purity, peace, love, innocence. My dictionary also told me that in the Old Testament doves are also used as messengers of deliverance. I like the deliverance idea. Are the doves offering deliverance from the pain? He turns away. He doesn't want deliverance, he wants her. (Yes, I'm reading this poem from the man's perspective. I usually try to approach songs from a female perspective since I know that best, obviously, but sometimes, even when it is not explicit in the text, I just feel that it is a man and I can't make the switch. I have to become him. )
heisser--hotter. Why is the tear hot? It's hot on his cheek, so it's not like his eyes are burning from crying. Tears feel hot when the skin they touch is cold. He is cold, no longer warmed by his love, his morning sun. Which leads me back to the interpretation insight I posted about before.
Although I've never really worked this song before, I've known it for years and occasionally pulled it out for a sing-through. And I've always been puzzled as to how to convey the beauty of all the amazing nature things described and still give his pain. It's like, "Oh look how pretty everything is. Life sucks." (Bet you've never read anything like that in a German poetry paper.) While listening to one of the recordings (I'll let you guess the singer--Elly Ameling, Glenda Maurice, Dietrich Fischer-Dieskau, Janet Baker, Fritz Wunderlich, or Anne Sofie von Otter) it occurred to me that maybe I don't need to go all out in the description of the pretty stuff. I love spring, especially seeing the daffodils and brightly colored tulips, but I remember a few springs when I was really depressed. I could see the beauty and I remembered how it used to make me feel, but I felt nothing. There was none of the wonder or awe that usually comes with that beauty. I think that this is totally where this man is. He recognizes what is in front of him, but he cannot feel it. All he can feel is the loss. And I think it's not just the loss of his love, but also a little bit about losing the wonder and awe. I could be totally off base, and it may not be what that singer intended at all, but I like the idea and will work with it until something better comes along.
Wednesday, September 9, 2009
Practice Journal 9/9/09
Awesome practice today. And...the singing was not good. Yes, it's possible to have successful practice even when you are in a lot of pain and dealing with a lot of tension.
When I started to sing tonight, I knew that I wasn't going to be able to work the technical stuff, so I decided to take a different route. Lip buzz was not as uncomfortable as singing, and if I really concentrated, I could even make it pretty relaxed. So I worked on shaping phrases using the buzz.
Then I sat down and played through Die Mainacht while buzzing. I'll be honest, I can't begin to imagine how someone really learns and explores the music completely without being able to play the piano. They must be much better at looking at the music and hearing it in their heads. That or they spend a lot of money on pianists.
Anyway...the long hard phrase was really easy when I was playing the piano and buzzing. There are several explanations for this, but I think these are the most important:
1. I shape the phrase more with the piano part and the motion of the piano carries me though.
2. Buzz helps you to use the air better.
3. Buzz also helps me to get in a better resonance place, and I think that was the big thing tonight. If I can place those vowels higher, I'm in a better resonance place and breath is not wasted.
I also started looking at images and symbols in Die Mainacht. There is some awesome stuff in this song, but I'm tired, so I'll save that for another post.
I knew I was getting tired and it was time to quit when I came up for the title of my Recital. I was looking at all the songs in all the sets for themes and came up with this--Night and Day, Home and Away, Let us Pray. Before you panic, I do realize that that is ridiculous and I'm not using it. Remember I said that figuring out the title was how I knew it was time to quit. I'm obviously a little too far gone tonight.
When I started to sing tonight, I knew that I wasn't going to be able to work the technical stuff, so I decided to take a different route. Lip buzz was not as uncomfortable as singing, and if I really concentrated, I could even make it pretty relaxed. So I worked on shaping phrases using the buzz.
Then I sat down and played through Die Mainacht while buzzing. I'll be honest, I can't begin to imagine how someone really learns and explores the music completely without being able to play the piano. They must be much better at looking at the music and hearing it in their heads. That or they spend a lot of money on pianists.
Anyway...the long hard phrase was really easy when I was playing the piano and buzzing. There are several explanations for this, but I think these are the most important:
1. I shape the phrase more with the piano part and the motion of the piano carries me though.
2. Buzz helps you to use the air better.
3. Buzz also helps me to get in a better resonance place, and I think that was the big thing tonight. If I can place those vowels higher, I'm in a better resonance place and breath is not wasted.
I also started looking at images and symbols in Die Mainacht. There is some awesome stuff in this song, but I'm tired, so I'll save that for another post.
I knew I was getting tired and it was time to quit when I came up for the title of my Recital. I was looking at all the songs in all the sets for themes and came up with this--Night and Day, Home and Away, Let us Pray. Before you panic, I do realize that that is ridiculous and I'm not using it. Remember I said that figuring out the title was how I knew it was time to quit. I'm obviously a little too far gone tonight.
Beating Burnout
Here are the notes and my goals from an MMTA session this summer on Beating Burnout. I was having issues with formatting, so it's not always clear which are my ideas and which are his. Sorry. If you have questions, I can dig out my notes.
Wow! The formatting is even worse here than it was in Word. I hope it makes sense. If I get a chance I'll come back and clean it up later.
My notes from Dr. Maurice Hinson’s
MMTA session on Beating Burnout
(and my plans for applying)
¨ Addressing the causes
¨ Lack of feeback
o Connect with choir directors more about how my students are doing in choir
o Masterclasses-give more
o Solo and Ensemble Contests-judge more
o Observe and be observed.
¨ Overly emotionally involved with students—detach, but remain sympathetic
¨ Overloaded schedule
o Schedule breaks
o Set hours and stick to it
o Think health first and then money
¨ His recommendations and how I will implement.
o Set goals in small steps
§ When students have goals to make a show, get a lead, make a choir, have them break it down into mini-goals
§ Ex. If the goal is to make Concert choir, have the students
· Break down the goal: improve sight-reading, work rudiment, mature sound, tonal memory, work ethic, tuning
· Then break each of those down further
o Improve sight-reading
§ Accurately read scale-based melodies in any key.
§ Be able to find the pitches of Do, Mi and Sol from anywhere else. Use them as anchors.
§ Integrate rhythms, pitches, and solfege.
o Encouraging motivation
¨ Contests, auditions, recitals
¨ Choose music earlier so they have time to really prepare and feel secure.
o Masterclass and Solo and Ensemble Contest music chosen first week after winter break.
o Recital rep chosen second week of March
o Change recital. Do 1 classical piece (maybe from Solo and Ensemble Contest) with the option to add 1 of another style.
¨ Computer—encourage use for research/practice
o Youtube
o Itunes
o Amazon
o Lied and song page
o IPA source
o Virtually vocal
o Smart music
o Theory games
¨ Regular opportunities for informal performance
o Continue studio class options
¨ Invite parents to sit in
o Get parents more involved. How?
o Teachers need motivation
§ Membership in professional organizations
· Look into renewing memberships in NFMC, ACDA, MENC
o Professional magazine and journals
o Continuing education
· More conferences and conventions
· Look at local options
§ Vary teaching methods
· Make more definite lesson plans
· Teach different age groups
o I will continue to accept adults and middle school students if they can come when I want to teach.
o Special events—parties, volunteer at events
§ Add Holiday party
o Social Support Systen
§ Friends
· Continue in writer’s group and meal exchange
· Facebook
§ Family
· More emails and calls
§ Colleagues
· How can we continue the brunch idea during the school year?
· Lunch—Try to keep this time lesson free. (Won’t work this year, but I will be free 7th hour when all of the other teachers have a prep.)
· Facebook, blog
o Correct mental approach
§ My health first—physical, mental, musical
§ Sympathetic, but not attached
§ Serve through love (of them and the music) without becoming their slave. I choose how and how much I serve.
§ My job is to inspire, not force them to learn.
· How can I inspire them to want to practice?
§ Be tough but fair.
o Correct physical tiredness and chronic fatigue
§ Food—make good choices
§ Exercise—daily
§ Rest
§ Keep working on increasing the number of items from the “daily list” that I do each day.
§ Schedule breaks
§ Set my schedule and stick to it.
§ Move more doing lessons
· Stretch with them
· Send them to the mirror and go with them.
· Stand up to explain concepts and sit to play.
· Use more movement with students to
o Relieve their tension
o Shape phrases
o Express
o Take time off for vacation
§ Book holiday vacation and leave before school gets out.
o Change the environment
§ Posters for the ensemble room
§ Clean up the ensemble room. It is a teaching space, not a storage room.
§ Figure out a solution for the piano tuning situation. If I have to pay for it, I’m paying for the black Yamaha and using it in the ensemble room.
Wow! The formatting is even worse here than it was in Word. I hope it makes sense. If I get a chance I'll come back and clean it up later.
My notes from Dr. Maurice Hinson’s
MMTA session on Beating Burnout
(and my plans for applying)
¨ Addressing the causes
¨ Lack of feeback
o Connect with choir directors more about how my students are doing in choir
o Masterclasses-give more
o Solo and Ensemble Contests-judge more
o Observe and be observed.
¨ Overly emotionally involved with students—detach, but remain sympathetic
¨ Overloaded schedule
o Schedule breaks
o Set hours and stick to it
o Think health first and then money
¨ His recommendations and how I will implement.
o Set goals in small steps
§ When students have goals to make a show, get a lead, make a choir, have them break it down into mini-goals
§ Ex. If the goal is to make Concert choir, have the students
· Break down the goal: improve sight-reading, work rudiment, mature sound, tonal memory, work ethic, tuning
· Then break each of those down further
o Improve sight-reading
§ Accurately read scale-based melodies in any key.
§ Be able to find the pitches of Do, Mi and Sol from anywhere else. Use them as anchors.
§ Integrate rhythms, pitches, and solfege.
o Encouraging motivation
¨ Contests, auditions, recitals
¨ Choose music earlier so they have time to really prepare and feel secure.
o Masterclass and Solo and Ensemble Contest music chosen first week after winter break.
o Recital rep chosen second week of March
o Change recital. Do 1 classical piece (maybe from Solo and Ensemble Contest) with the option to add 1 of another style.
¨ Computer—encourage use for research/practice
o Youtube
o Itunes
o Amazon
o Lied and song page
o IPA source
o Virtually vocal
o Smart music
o Theory games
¨ Regular opportunities for informal performance
o Continue studio class options
¨ Invite parents to sit in
o Get parents more involved. How?
o Teachers need motivation
§ Membership in professional organizations
· Look into renewing memberships in NFMC, ACDA, MENC
o Professional magazine and journals
o Continuing education
· More conferences and conventions
· Look at local options
§ Vary teaching methods
· Make more definite lesson plans
· Teach different age groups
o I will continue to accept adults and middle school students if they can come when I want to teach.
o Special events—parties, volunteer at events
§ Add Holiday party
o Social Support Systen
§ Friends
· Continue in writer’s group and meal exchange
§ Family
· More emails and calls
§ Colleagues
· How can we continue the brunch idea during the school year?
· Lunch—Try to keep this time lesson free. (Won’t work this year, but I will be free 7th hour when all of the other teachers have a prep.)
· Facebook, blog
o Correct mental approach
§ My health first—physical, mental, musical
§ Sympathetic, but not attached
§ Serve through love (of them and the music) without becoming their slave. I choose how and how much I serve.
§ My job is to inspire, not force them to learn.
· How can I inspire them to want to practice?
§ Be tough but fair.
o Correct physical tiredness and chronic fatigue
§ Food—make good choices
§ Exercise—daily
§ Rest
§ Keep working on increasing the number of items from the “daily list” that I do each day.
§ Schedule breaks
§ Set my schedule and stick to it.
§ Move more doing lessons
· Stretch with them
· Send them to the mirror and go with them.
· Stand up to explain concepts and sit to play.
· Use more movement with students to
o Relieve their tension
o Shape phrases
o Express
o Take time off for vacation
§ Book holiday vacation and leave before school gets out.
o Change the environment
§ Posters for the ensemble room
§ Clean up the ensemble room. It is a teaching space, not a storage room.
§ Figure out a solution for the piano tuning situation. If I have to pay for it, I’m paying for the black Yamaha and using it in the ensemble room.
Tuesday, September 8, 2009
Practice Journal 9/8/09
This morning I listened to six different performances of Die Mainacht as I did chores around the house. I'm very close to memorized with this. I think I've also figured out my concept for the piece. I can't wait to get over to the school and try it out. If it works, I'll tell you about it. The wonderful thing about interpretation is that there isn't just one "right" answer. Your interpretation may be different than mine, and my interpretation today may be different from the one I have 5 years from now. In fact, it should be different because of the different life experiences that we bring to music.
My practice session tonight was OK. I had errands to run, so I didn't get to the gym before practice. I think that really helped last night. I ended up working Die Mainacht in the low key tonight. I just couldn't get it loose in the high key. Then I worked a little An die Nachtigall and it didn't feel good in the regular key, so I took it a step higher. I definitely don't want to perform it in that key, but it got me above the trouble notes and it all flowed much better.
I put off working on these two songs because although I think that eventually they will really work well in my voice, these are the ones that really kick my butt technically. It's a challenge to know what is a problem because the song doesn't fit and what just needs more work. I really like these songs though, so I'm planning to really work and then get my coach's opinion when we meet next. I trust her ears completely.
I wish my students would learn that you have to do a little bit of work before I can tell how well the song will work. I'm getting better at choosing rep for my students and I'm choosing audition and contest music earlier, but if they don't practice, by the time they know it well enough to really sing it, it's too late to change if it's not a perfect fit.
My practice session tonight was OK. I had errands to run, so I didn't get to the gym before practice. I think that really helped last night. I ended up working Die Mainacht in the low key tonight. I just couldn't get it loose in the high key. Then I worked a little An die Nachtigall and it didn't feel good in the regular key, so I took it a step higher. I definitely don't want to perform it in that key, but it got me above the trouble notes and it all flowed much better.
I put off working on these two songs because although I think that eventually they will really work well in my voice, these are the ones that really kick my butt technically. It's a challenge to know what is a problem because the song doesn't fit and what just needs more work. I really like these songs though, so I'm planning to really work and then get my coach's opinion when we meet next. I trust her ears completely.
I wish my students would learn that you have to do a little bit of work before I can tell how well the song will work. I'm getting better at choosing rep for my students and I'm choosing audition and contest music earlier, but if they don't practice, by the time they know it well enough to really sing it, it's too late to change if it's not a perfect fit.
Monday, September 7, 2009
Practice Journal 9/7/09
Great practice today! The day didn't start well (I hate allergies), but after an afternoon nap, I felt much better. I went to the gym first and then when over to the school to practice. My workout helped release enough tension, that when I was ready to sing, I was able to without much difficulty.
I find it funny that in order to be free enough to really stretch the long phrases I have to warm up with more coloratura exercises to get the heaviness out of my voice. Whatever works!
I find it funny that in order to be free enough to really stretch the long phrases I have to warm up with more coloratura exercises to get the heaviness out of my voice. Whatever works!
The Courage to Teach
Since I started my voice blog, I've spent much more time with it, and less on my other blog. Today, I have a post that fits perfectly with both, so I will be double posting (kind of like when I used the same paper for my college theatre history class and a music class.)
I just finished reading The Courage to Teach by Parker Palmer. When I was just a few pages into it, I looked back at the original publication date (1998) and wondered how I missed reading this amazing book in the 10+ years that it's been out. It's been said that when the student is ready, the teacher appears (possibly a Buddist proverb; I can't find anything definite.) And I was definitely ready for this book.
I'm not going to do a book review, since I'm sure you can find better ones elsewhere, but I am going to share some of the things that tied in very well with where I am in my life right now. On page 10 he says, "This book builds on a simple premise: good teaching cannot be reduced to technique; good teaching comes from the identity and integrity of the teacher."
Integrity has always been something I've worked for, but I feel like I'm embracing it more now. And I'm embracing it in a way that is new for me. In the past, in my life, I've tended to lean towards this definition of integrity: "firm adherance to a code of esp. moral or artistic values."
There is nothing particularly wrong with that, except that the values I was adhering to belonged to other people. The integrity Palmer talks about, and what I've been leaning towards now, is "the quality or state of being complete or undivided." It's understanding what my personal code of values is and living all parts of my life that way. It's knowing who I am and allowing that true identity to come through in my interactions with others, rather than responding the way I think they want me to respond.
Palmer also addressed the issue of paradox. We live in a society that works with either/or, black/white, yes/no dichotomies. However, much of what we know to be true involves paradox, seemingly contradictory ideas, that nevertheless are true and exist together. The concepts of justice and mercy create a paradox. How can they both exist? And yet this is the foundation on which the plan of salvation is built. Or in singing, look at chiaroscuro. It doesn't refer to somewhere between a bright and a dark sound. It refers to embracing both of those characteristics at the same time to find a balanced sound.
Finally, Palmer discusses subject-centered learning. In traditional teacher-centered learning, the teacher stands as an expert between the learners and subject. Everything the students know of the subject comes from the expert. They don't actually have access to the subject itself. He has some great diagrams you should check out if this isn't making sense the way I explain it. He instead advocates subject-centered learning, where we are all learners and have access to the subject itself. The teacher then functions more as a facilitator rather than an expert. You really do need to read his explanations on this. I'm just hoping to use this model more in my teaching. I think I've had some of it in the past. For example, I feel like I help students discover how to sing, and show them how to access their voices, rather that "teaching" them to sing.
It's a great book, so if you're looking for something to read, definitely check it out. I also recommend his book, "A Hidden Wholeness".
I just finished reading The Courage to Teach by Parker Palmer. When I was just a few pages into it, I looked back at the original publication date (1998) and wondered how I missed reading this amazing book in the 10+ years that it's been out. It's been said that when the student is ready, the teacher appears (possibly a Buddist proverb; I can't find anything definite.) And I was definitely ready for this book.
I'm not going to do a book review, since I'm sure you can find better ones elsewhere, but I am going to share some of the things that tied in very well with where I am in my life right now. On page 10 he says, "This book builds on a simple premise: good teaching cannot be reduced to technique; good teaching comes from the identity and integrity of the teacher."
Integrity has always been something I've worked for, but I feel like I'm embracing it more now. And I'm embracing it in a way that is new for me. In the past, in my life, I've tended to lean towards this definition of integrity: "firm adherance to a code of esp. moral or artistic values."
There is nothing particularly wrong with that, except that the values I was adhering to belonged to other people. The integrity Palmer talks about, and what I've been leaning towards now, is "the quality or state of being complete or undivided." It's understanding what my personal code of values is and living all parts of my life that way. It's knowing who I am and allowing that true identity to come through in my interactions with others, rather than responding the way I think they want me to respond.
Palmer also addressed the issue of paradox. We live in a society that works with either/or, black/white, yes/no dichotomies. However, much of what we know to be true involves paradox, seemingly contradictory ideas, that nevertheless are true and exist together. The concepts of justice and mercy create a paradox. How can they both exist? And yet this is the foundation on which the plan of salvation is built. Or in singing, look at chiaroscuro. It doesn't refer to somewhere between a bright and a dark sound. It refers to embracing both of those characteristics at the same time to find a balanced sound.
Finally, Palmer discusses subject-centered learning. In traditional teacher-centered learning, the teacher stands as an expert between the learners and subject. Everything the students know of the subject comes from the expert. They don't actually have access to the subject itself. He has some great diagrams you should check out if this isn't making sense the way I explain it. He instead advocates subject-centered learning, where we are all learners and have access to the subject itself. The teacher then functions more as a facilitator rather than an expert. You really do need to read his explanations on this. I'm just hoping to use this model more in my teaching. I think I've had some of it in the past. For example, I feel like I help students discover how to sing, and show them how to access their voices, rather that "teaching" them to sing.
It's a great book, so if you're looking for something to read, definitely check it out. I also recommend his book, "A Hidden Wholeness".
Sunday, September 6, 2009
Practice journal 9/6/09
More listening and memorization work. I wrote out the texts several times. Writing always helps me because I'm not just thinking of the sound of the word, I'm getting the spelling right too which then makes my visual learning stronger. I'm fairly secure with the memorization on 3 of the 5 Brahms lieder now, and hope to get the other 2 down this week.
I've been listening to performances by several different artists. Today's favorite is Dietrich Fischer-Dieskau's performance of Dein blaues Auge. His interpretation is closest to how I read this song. My favorite part is how free, easy and sweet the high note is on the last phrase. He just floats it.
I've been listening to performances by several different artists. Today's favorite is Dietrich Fischer-Dieskau's performance of Dein blaues Auge. His interpretation is closest to how I read this song. My favorite part is how free, easy and sweet the high note is on the last phrase. He just floats it.
Saturday, September 5, 2009
Friday, September 4, 2009
Practice Journal 9/3 and 9/4
Yesterday was not a good day for practicing, but I did do a lot of listening.
Today I felt a little better, but still didn't do much singing. There was a lot of tension today due to other things, and I just didn't feel like working for as long as it would take me to release it. I did record parts of Verzagen and worked on those sections. I definitely need to record my practice more, and I need to do it on days that I feel like I am singing well, not on days that I'm already struggling.
Today I felt a little better, but still didn't do much singing. There was a lot of tension today due to other things, and I just didn't feel like working for as long as it would take me to release it. I did record parts of Verzagen and worked on those sections. I definitely need to record my practice more, and I need to do it on days that I feel like I am singing well, not on days that I'm already struggling.
Thursday, September 3, 2009
Finding my tempo
As I mentioned in a previous post, it’s taking me awhile to find my tempo on these Brahms songs. This morning I listened to Elly Ameling and was reminded just how much of the choice about tempo is determined by the kind of voice the singer has. I listened to several songs that are also on the Glenda Maurice CD I’ve been listening to. You couldn’t find two different voices, in size, color, and the way they move through the line, but I loved the performances of both women. In fact, I could listen to these two CDs all day every day.
I had the privilege of studying with Glenda Maurice. She is an artist and a magnificent teacher of the artistry of singing. Glenda is a mezzo, and in her prime, could sing a 20 minute phrase without running out of breath. OK, I am exaggerating…slightly. Honestly, her recordings of some of these Brahms songs are the slowest I have heard. However, she never loses that forward motion and movement though the line. The other thing I love and that I’m going to make my students listen to is how the vowels are always lifted. There is never a low placed or heavy vowel.
Elly Ameling uses a similar approach to the vowel placement. Everything sounds free and lifted. I have never heard Elly perform live, but I did have the wonderful opportunity of watching her give masterclasses on two separate occasions. I remember how impressed I was with her poise and presence. I also remember her stopping a student to comment on how beautiful something was (it may have even been something the pianist did). How often does that happen? Elly Ameling is a soprano with a smaller and lighter, but absolutely gorgeous voice. I would not have expected to see some of these songs on one of her recordings since I typically hear them from voices more like Glenda’s, but that doesn’t stop her from creating beautiful music. She takes a faster tempo, but never compromises the integrity of what the composer intended. And she’s wonderfully expressive.
I’m neither a Glenda, nor an Elly, and think that I will actually find my tempo somewhere between the two. I love technology and the fact that I can learn from performances that I never had the chance to hear live. Now I just need to find a way to limit my spending on itunes.
I just found a quote from Elly Ameling that totally ties in with this post. Sorry I can't give a detailed reference. My copy is a copy of an article by Robert Jacobson that was retyped. My guess is that it was in the NATS Journal many years ago.
"There is a big difference between a big sound and a carrying sound. If through coloring you make a great impression to the last seat in the house, it's as impressive as a thunderous sound. If after you hear a large voice there comes a pure, fine-colored voice, it is something special. And it's the beginning of the end for a singer like me to try stretching the voice. I try to sing only music suited to me, and there is so much I can do justice to and create. I am her in the world to make music of the great composers--as a serving task to them--not 'here I am in my glittering dress', and so on. The first thing is re-create the sound of the composer. That's my philosophy: to be a serving task. "
If you want to listen to the recordings I've been listening to, you can find them on itunes. The Elly Ameling CD is titled "Songs by Brahms" and the Glenda Maurice CD is "Songs by Brahms, R. Strauss, Mahler".
I had the privilege of studying with Glenda Maurice. She is an artist and a magnificent teacher of the artistry of singing. Glenda is a mezzo, and in her prime, could sing a 20 minute phrase without running out of breath. OK, I am exaggerating…slightly. Honestly, her recordings of some of these Brahms songs are the slowest I have heard. However, she never loses that forward motion and movement though the line. The other thing I love and that I’m going to make my students listen to is how the vowels are always lifted. There is never a low placed or heavy vowel.
Elly Ameling uses a similar approach to the vowel placement. Everything sounds free and lifted. I have never heard Elly perform live, but I did have the wonderful opportunity of watching her give masterclasses on two separate occasions. I remember how impressed I was with her poise and presence. I also remember her stopping a student to comment on how beautiful something was (it may have even been something the pianist did). How often does that happen? Elly Ameling is a soprano with a smaller and lighter, but absolutely gorgeous voice. I would not have expected to see some of these songs on one of her recordings since I typically hear them from voices more like Glenda’s, but that doesn’t stop her from creating beautiful music. She takes a faster tempo, but never compromises the integrity of what the composer intended. And she’s wonderfully expressive.
I’m neither a Glenda, nor an Elly, and think that I will actually find my tempo somewhere between the two. I love technology and the fact that I can learn from performances that I never had the chance to hear live. Now I just need to find a way to limit my spending on itunes.
I just found a quote from Elly Ameling that totally ties in with this post. Sorry I can't give a detailed reference. My copy is a copy of an article by Robert Jacobson that was retyped. My guess is that it was in the NATS Journal many years ago.
"There is a big difference between a big sound and a carrying sound. If through coloring you make a great impression to the last seat in the house, it's as impressive as a thunderous sound. If after you hear a large voice there comes a pure, fine-colored voice, it is something special. And it's the beginning of the end for a singer like me to try stretching the voice. I try to sing only music suited to me, and there is so much I can do justice to and create. I am her in the world to make music of the great composers--as a serving task to them--not 'here I am in my glittering dress', and so on. The first thing is re-create the sound of the composer. That's my philosophy: to be a serving task. "
If you want to listen to the recordings I've been listening to, you can find them on itunes. The Elly Ameling CD is titled "Songs by Brahms" and the Glenda Maurice CD is "Songs by Brahms, R. Strauss, Mahler".
Wednesday, September 2, 2009
Practice Journal 9/02/09
I have several hours of lessons today, followed by Freshmen Orientation, so I'm not sure how or when I'll get time to practice. But, I committed to everyday, so I started my day by listening to a few professional recordings of some of my songs.
I actually found a few minutes between things to practice. Yeah! I worked Verzagen and the tough spots of Die Mainacht.
I actually found a few minutes between things to practice. Yeah! I worked Verzagen and the tough spots of Die Mainacht.
Tuesday, September 1, 2009
Practice Journal 9/1/09
Today I didn't get a chance to practice until after I finished teaching at 6:30, so I was already pretty tired to start with. I decided to work on O kuhler Wald (yes, I know there is an umlaut, but I'm not sure how to insert it here) and see if I could solidify the memorization. My allergies are bugging me, so it wasn't a great day for singing, but I did work on some technical issues as I worked on the memorization. Although the original key is usually better for my voice, today a couple places felt uncomfortable, so I worked them in the higher key to loosen them up a bit. I still haven't found my tempo for this piece yet. I like it slow, but I'm having trouble keeping the forward motion.
I also worked a little more on the long phrase of Die Mainacht. It's coming, but there is still a lot of work to do before I will feel comfortable performing that piece.
I was surprised that even though I didn't feel well tonight, once I started practicing, I was able to do more than I expected.
I also listened to a couple of different recordings of O kuhler Wald.
I also worked a little more on the long phrase of Die Mainacht. It's coming, but there is still a lot of work to do before I will feel comfortable performing that piece.
I was surprised that even though I didn't feel well tonight, once I started practicing, I was able to do more than I expected.
I also listened to a couple of different recordings of O kuhler Wald.
Practice Challenge
As I mentioned yesterday, my students have lots of excuses for why they can't practice more. And some of those are valide excuses. But, I have encouraged them to at least make some kind of contact with their music every day.
How can we encourage our students to practice more when we let work and home obligations get in the way of our practicing? Maybe you don't have issues, but I know I do. It's been said (and I don't always agree) that if you really want to accomplish something you should tell people. Being accountable to others gives you that little extra push. So, I'm telling you. With my schedule and my ever changing health situation, I can't guarantee solid, singing practice everyday, but I can do something everyday to keep me in contact with my songs and brush up on technique. Each day I'll write a report about my practice. You will find it here listed as "Practice Journal (insert date)".
Is anyone interested in joining me? You can use the comment function to report on your practicing.
I'm excited to see first, how much I grow and how much progress I make this year, and second, if my students will be at all motivated to take the challenge if they know that I am trying to do the same hard thing.
How can we encourage our students to practice more when we let work and home obligations get in the way of our practicing? Maybe you don't have issues, but I know I do. It's been said (and I don't always agree) that if you really want to accomplish something you should tell people. Being accountable to others gives you that little extra push. So, I'm telling you. With my schedule and my ever changing health situation, I can't guarantee solid, singing practice everyday, but I can do something everyday to keep me in contact with my songs and brush up on technique. Each day I'll write a report about my practice. You will find it here listed as "Practice Journal (insert date)".
Is anyone interested in joining me? You can use the comment function to report on your practicing.
I'm excited to see first, how much I grow and how much progress I make this year, and second, if my students will be at all motivated to take the challenge if they know that I am trying to do the same hard thing.
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