Individual Vocal Work
I spent this week analysing my own performance style so that when writing lyrics for my original solo song, I am fully aware of the style I perform best in. When considering my own performance style I carried out research into my preferred genre of Musical Theatre. I am going to compare this research to numerous other styles but I firstly wanted to establish my own preferred style and what techniques are included.
I spent this week analysing my own performance style so that when writing lyrics for my original solo song, I am fully aware of the style I perform best in. When considering my own performance style I carried out research into my preferred genre of Musical Theatre. I am going to compare this research to numerous other styles but I firstly wanted to establish my own preferred style and what techniques are included.
The article titled 'Voice Check: 10 Tips for Healthy Singing' written by Chloe Veltnam (2009) provided me with ten detailed explanations from eleven experts on how to maintain a healthy voice, in particular within the genre of Musical Theatre. As this is my main vocal practise and preferred singing style, I thought it suitable to delve into the genre deeper. This particular style of singing is enormously demanding. It requires the ability to handle a wide variety of vocal genres, as well as the robust good health to do eight shows a week on a regular basis' (Melton 2007). The expert advice given proves that the article is extremely reliable in terms of the information provided, although some may disagree with some of the stated points.
In terms of the techniques discussed, most of the presented points are very valid. The point about warming up the vocals before a performance being important is the one that stood out the most. As a singer in this field, I know how important it is to warm up your vocal chords; attempting a difficult song without warming up could potentially cause serious damage. Some performers are able to sing without warming up but this is extremely frowned upon as 'warming up the voice is absolutely essential to a singer's ability to prevent injuries' (Veltman 2009). One expert says to 'develop a warm-up routine that slowly 'wakes' the voice and brings it into alignment with breath control and natural support' (Veltman 2009). Without warming up, a performer is leaving themselves open to injury which is not a professional approach. As a performer, it is needed and therefore should be looked after efficiently. This is why I am currently developing a warm-up routine.
One section of the article that I did not necessarily agree with was the section titled '5. Enlist the A-Team'. One of the experts said
In terms of the techniques discussed, most of the presented points are very valid. The point about warming up the vocals before a performance being important is the one that stood out the most. As a singer in this field, I know how important it is to warm up your vocal chords; attempting a difficult song without warming up could potentially cause serious damage. Some performers are able to sing without warming up but this is extremely frowned upon as 'warming up the voice is absolutely essential to a singer's ability to prevent injuries' (Veltman 2009). One expert says to 'develop a warm-up routine that slowly 'wakes' the voice and brings it into alignment with breath control and natural support' (Veltman 2009). Without warming up, a performer is leaving themselves open to injury which is not a professional approach. As a performer, it is needed and therefore should be looked after efficiently. This is why I am currently developing a warm-up routine.
One section of the article that I did not necessarily agree with was the section titled '5. Enlist the A-Team'. One of the experts said
'...that the best teachers have a good grasp of how the body works from a mechanical standpoint: "A singer needs to find a teacher who is knowledgeable in anatomy and physiology, who has good eyes and ears and can direct the student in a healthy manner to achieve whatever it is the student has set out to accomplish." (Veltman 2009)
I disagree with this statement on some levels as each performer is extremely different both in vocal style and in teaching preference. Although a teacher would need to acknowledge their students capabilities and enhance their abilities to help them improve, it has very little to do with anatomy and physiology, in my opinion. Good eyes and ears are most definitely needed but 'your mentors should be able to tailor your training to your needs and style' (Causey 2014) in order to develop further. One performer may require something from their mentor that is completely different to someone else. Teachers need to be diverse and cater for their student.
In terms of breath control, the article refers to it being 'the only physical part of singing' (Veltman 2009). Within the genre of Musical Theatre, there is a lot of physical movement and gesture in order to develop character within a performance, so breathing is not necessarily the only physical part, but it is an extremely important part. If a performer does not breath correctly when singing, especially if the performance includes demanding vocals, the sound created will not be correct. Lack of breath could result in notes sounding strained which is not what a performer wants as the audience may think they are not capable of successfully performing the song they are singing. Without proper breath control singers tend to rely on their head voice too much making their performance much weaker. This style requires a strong diaphragm/ability to breath for successful projection. When a performer has good, strong technique in terms of breathing, numerous positive effects become evident in terms of performance;
'The results of proper breathing technique may include better control over the breath and thus the quality of the voice's tone, more efficient use of the breath resulting in less breathiness or 'airyness' in the tone, the ability to sustain notes for considerably longer and to sing longer phrases, increased lung capacity, a natural (unforced) increase in volume, improved overall stamina or endurance, minimized tension in the chest, shoulders, neck and face, less pressure on the vocal folds, and better oxygenation of the entire body.' (O'Connor 2013) One section which I will personally take a lot from as a performer is the section titled '6. The Power of Cross-training'. As I have only ever been trained in the style of Musical Theatre, I have never thought about training in other areas; this section of the article informed me just how important it is to train in other genres and styles of music.
"Cross-training across all styles is the key to being able to perform them in artistically coherent and safe way," says Lader. "If you sing opera you should also practice singing pop songs. This is important, because it prevents injury and strengthens, balances and coordinates the many parts of the laryngeal musculature. Plus, singing in a different style from what one is accustomed to can help to raise a red flag if there is something wrong with the vocal cords that needs special attention." (Veltman 2009)
I am now going to learn about other styles and genres in an attempt to push myself musically to give me more diversity as a performer, as well as better range and capability.
In any style of music, the voice or instrument used should be the main priority. As a musical performer, without a voice or ability to play an instrument, there would not be a performance. This article is extremely beneficial for a performer within the genre of Musical Theatre as it provides them with tips and potential guidelines to follow to develop their vocal abilities, as well as taking care of their voice. I have personally took a lot of the provided information on board and am now going to incorporate these tips within both my preparation for performance and actual performances. One statement which really stood out and stuck in my mind within the article was that 'the voice is a fragile instrument' (Veltman 2009). I never really considered myself as a 'musician' until I read this text. In my mind, you had to physically play an instrument to be considered a musician; I now realise that the voice as an instrument in itself and is just as important and valued within the Musical Theatre industry.
I am now going to learn about other styles and genres in an attempt to push myself musically to give me more diversity as a performer, as well as better range and capability.
In any style of music, the voice or instrument used should be the main priority. As a musical performer, without a voice or ability to play an instrument, there would not be a performance. This article is extremely beneficial for a performer within the genre of Musical Theatre as it provides them with tips and potential guidelines to follow to develop their vocal abilities, as well as taking care of their voice. I have personally took a lot of the provided information on board and am now going to incorporate these tips within both my preparation for performance and actual performances. One statement which really stood out and stuck in my mind within the article was that 'the voice is a fragile instrument' (Veltman 2009). I never really considered myself as a 'musician' until I read this text. In my mind, you had to physically play an instrument to be considered a musician; I now realise that the voice as an instrument in itself and is just as important and valued within the Musical Theatre industry.
An example of my preferred style is within the song Without You from the musical Rent. I prefer to perform with a character so that I have a motive and an intention to my performance. I think I am going to write a piece with character when it comes to writing my final piece, which are extremely emotional may assist me.
I now feel more prepared to write my solo performance. I am fully aware of my own strengths and weaknesses within my own vocals and feel ready to create my original piece.
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