sea

Exploring music written about the sea

This month we are celebrating the sea, and the music we that is written about the sea.

This list is a few of the diverse pieces written from more recent centuries, and it is also a playlist on youtube. Click the link at the bottom to read about each piece while listening to them too.

Feel free to comment and add your own favourites in the comments box - what have I missed out?

Prelude in G, Op 28, no.3, Chopin

Used in the BBC adaptation of Persuasion which features the sea-faring exploits of Captain Wentworth, this Chopin prelude seems to capture the ever moving and reflecting water which is present in so many Sea themed compositions.

Sirèns, Debussy, ‘La Mer’

Would it be the sea if a composer wasn’t writing about mermaids or Sirens luring sailors to their death? Here Debussy writes soaring melismas for the choir to represent those other-worldly creatures.

O Waly waly - Britten, Folk Song Arrangements

This folk song and arrangement is a favourite with me and many of my pupils. The technical aspects of performing are matched by the job of the performer to be a supreme storyteller.

4 Sea Interludes: Storm, Britten, ‘Peter Grimes’

There were 4 sea interludes to choose from, and I chose the storm as we haven’t had any music yet that really captures the strength and danger of the sea.

Here Britten really uses his powers of orchestration and melody to suggest the crashing sea on rocks, spray, wind, and surge.

My Gallant Crew, Sullivan, ‘HMS Pinafore’

As much as we respect the sea, we also enjoy satire and gently poking fun at authority and those in power. In this Sullivan song from HMS Pinafore the Navy and privilege are gently mocked.

Leave Her Johnny, Sea Shanty, ‘Assasins Creed’

The Shanty tradition is alive and well in this shanty used in the ‘Assasins Creed’ computer games. In recent years a sea shanty went viral as young people on tiktok enjoyed the art form and recorded their own performances.

La Mer, performed by Charles Trenet

To finish, we have French singer Chalres Trenet with his celebration of holidays and beach life. His rendition sums up the hot summer relaxing by the ocean.

breathe

“Who has seen the wind?

Neither you nor I

but when the trees bow down their heads,

the wind is passing by.”

Christina Rossetti

We breathe and take breath every second, minute, and hour of hour lives. Yet when it comes to singing, we must breathe and use our bodies to regulate air in a slightly different way. Breathing should feel easy, use our whole body, feel relaxed, and aid our music making and communicating. But how often have we truly felt that?

As always, my blog today is not here to teach you the one and only amazing technique to fix your problems or follow for perfect singing. For that you need to work with a trained and trusted teacher who can work with you, your body, your health, and your voice. Every singer will need a different balance of the individual elements.

Instead, I will describe what breathing well does, give some guidance for better breathing, ways to balance the different things that might be going against your goals, and talk about techniques to calm anxiety. I hope I might guide you to improve your knowledge and ability to assess your own breathing needs. If you have health concerns, consult your Doctor before trying any new exercises.

The Body

Breathing is part of what is known as the autonomic nervous system, or ANS. These automatic body functions are mostly involuntary, and include things like:

• Digestion

• Speed of breathing

• Body Temperature

• Regulating blood pressure

By regulating your breathing through exercise or for instance singing, you can regulate your your ANS, which in turn has the following benefits:

• Lowers heart rate

• Relaxes the body and mind

• Regulates blood pressure

• Lowers the release of the hormone cortisol, known as the stress hormone

Diaphragmatic Breathing

Pupils and fans of tv singing shows all know that diaphragmatic breathing is needed in singing. But what does that actually mean? And why is it good for singing?

The diaphragm is just one of the many muscles that we need to use to breathe.

Our bodies need to feel loose and relaxed when we sing both for good breathing and resonance, so try to include some stretches that feel like they relax and lengthen your body so you start in a neutral state without tension.

Your intercostal muscles between your ribs help expand your rib cage to allow your lungs to fill with air. The diaphragm is below the lungs and contracts on inhalation to make extra space for the lungs to fill and move into.

In order to breathe well, we need to breathe deeply with movement and expansion around the 360 degrees of the trunk of our body.

Deep breaths should be slower, without tension, and more relaxed. Shallow breaths are often made higher the body, and tend to be more tense, sometimes faster. You can experiment with this and feel the difference for yourself. We know we want as little tension as possible when we sing, so deep, slow, low breaths using the diaphragm and filling our lungs more fully is preferable.

For some people, focussed breathing or breathing exercises might increase their anxiety or be bad for their health- so take care to pay attention to your own body and mind, and only continue if you feel happy to do so.

Breath Control

Once that breathe has been taken, it is important not to let it out without control. Good imagery to explain this is the bellow taking in air and expelling it with focus through the small opening. Or a balloon being filled with air, and being let go to produce a long sound as it expels the air slowly through the small neck of the balloon.

We’ve noted how to expand our ‘bellows’ or ‘balloon’ by expanding around the trunk of our body, and we must now think of the air when expelled . It travels up the trachea (wind pipe) and out through the mouth, first meeting resistance in the larynx through the vocal folds. The vocal folds meet together in a waving/pulsing motion at great speed to make sound as the air passes through. We use our bodies to gently support the voice, and regulate the expulsion of air so that it is is gentle, not tense or forced, and the correct speed. Each singer will will find their body works slightly differently and needs different elements tweaked through their lives to support the sound they wish to make.

These are the basic concepts of breathing and breath control in singing that are needed to make sound that is healthy and sustainable. Not all types of singing, emotions, repertoire or voice production will need the same levels of breath support or the same breath, so at all times ask yourself questions about your voice:

• Does is feel comfortable?

• Is it sustainable?

• Do I like the sound I am making?

• Can I make the sound more sustainable/comfortable by changing something?

As ever, let me know in the comments if you have any thoughts or feelings about this months blog, and if you would like to read about some more exercises for anxiety or better breathing click on the link below.

bloom

Adding colour to the voice and your performance is often seen as the last step in preparation to perform - however it is an intrinsic part of the formation of sound and communication.

So how and why should we add colour to the voice?

Singing is the simple balance of phonation, and resonation.

Phonation is ‘the process by which the vocal folds produce certain sounds through quasi-periodic vibration’ (Wikipedia) whilst resonation can include amplification and filtering the sound.

It is possible to tell the age of someone and what emotion they are communicating through sound alone of their voice, without sight of their facial features or physical gestures - so we know that the voice is a powerful and intricate communicator, and the brain adept at understanding very subtle differences in tone.

A study Read Here published online in American Psychologist recorded 24 separate human emotions in brief human vocalisation. This does not include the longer passages of speech etc, just short noises. 24. I still find this number incredible despite having read it several times!

These noises are created by instinctual things we do when talking/responding to situations. If I explain technically that they can be made by creating more inward space around the vocal tract, raising our soft palate, increasing or decreasing nasality, that helps in technical terms to describe what might be happening. But I think what might be more helpful is to provide an example of 2 scenarios that are similar but will have different sound responses to communicate different emotional responses..

• ‘ow’: hurt yourself, accidental papercut, self pity

• ‘ow’: hurt, your sibling gives you a dead arm, you are annoyed

These sounds show pain of very different types, and will be using different spaces to make the sound and communicate different layers of emotion to the listener. Have a go at making the two sounds yourself, what can you feel that is different in your breathing, posture, throat, to help you act out the scenarios and make the sounds different?

Most exciting, here is the link to the emotion map where you can hear the different emotions as recorded by researchers: Listen Here I love that each sound has a % of several emotions showing the variation possible!

As singers we aren’t aiming at displaying 24 emotions in our singing (not all at the same time/in the same aria thankfully!) - but this should also explain why your voice will not sound like someone else’s. You can’t possibly hope to match the percentages of each emotion to deliver an identical performance in sound and communication.

So we’ve talked about the different spaces the sound will resonate in due to emotion - how/why is this important when we sing? If you agree we should have Thought:Breath:Sing then you need to think the emotion/s, breath into that space with those certain parts of your singing space more open or more closed, then sing.

Some examples of Emotion in Singing:

Happy music requires more space and upper resonance. Why? Because this is what we do naturally when we are happy, as observed in normal life.

Our Faces are animated, our eyebrows are raised, we smile, we breath into those upper spaces naturally and with ease.

To help, get your pencil and draw a smiley face over your music/lyrics. Do you have to smile? No. But a smile or brightening the face is the simplest way in to acting that emotion, plus it usually magically adds other things to our voices that are very helpful (automatic space made and widening of the pillars of fauces, etc) .

Here is an example of a voiceover artist demonstrating their Happy/Bubbly voice, you can hear animation in her face and the upper resonances added by her acting happy in order to play the part for her script..

Happy/Bubbly Voiceover artist Advert

Music that is romantic requires more richness. Why? Because when we are being more romantic, we use a sing-song smooth voice with softened changes in pitch, and a rich tone.

For my example for this sound in speech I have chosen a Marks and Spencer advert in which several actors start talking with one emotion, then change to the now famous Marks and Spencer ‘This is not just…’ sensual voice. As you listen, can you hear how they change the shapes and spaces they are using to show us the new emotion?

This Is Not Just...M and S Advert

The actors are deliberately speaking with a smooth legato melodic style of speech. The voices are using a mid level of tone not too high or two low, although using those areas occasionally), and full bodied resonance, in that sounds relaxed. They are opening into and using the full depth of their body to add richness to the sound they create, with relaxed muscles/joints to further allow resonance (the opposite to help clarify, would be a small closed off sound, something like a nasal restricted tone that is small and thin with reduced resonance).

In summary: The emotional content of the music you sing should be a main starting point in your practise so that you are singing into the spaces that you need to connect the text and emotion to the music. Technical proficiency in singing includes the use of emotion and colour, and cannot be disconnected.

To add colour, we must study and think of how we might act out and speak the lyrics. Perhaps using words or emotion faces drawn on our music can help guide us when studying, a bit like Stanislavski who wrote how actors should prepare their scripts. Notice where we naturally move our anatomy, where we close the space and open it, to help us guide the voice to add colour.

I hope you’ve enjoyed this blog post about adding colour, what will you add to your practice? Leave a comment below with your thoughts.

As always, this is a discussion you can take to a trusted teacher or coach and use in your own practise with guidance and lots experimenting.

Adding colour is something highly personal, which will be different for every singer depending on their individual anatomy and interpretation. But it’s definitely something you can experiment with no matter your stage in vocal study.

Let there be Light!

In order for the light to shine so brightly, the darkness must be present.

- Sir Frances Bacon

Welcome to a blog post with a bit of a difference! For this month, I have chosen the subject of light as a contrast to last months dark and spooky themes.

Music (being noise) does not directly contain light, but I am going to make a list of music that seeks to examine, describe, and explain light in some way. Click on the link below to take you to the youtube playlist on my youtube channel where you can listen/watch the excerpts back to back.

Here in the blog there will be short explanations and listening notes you can choose to follow along with, or not, as you feel like it.

As ever, feel free to comment and let me know your favourite pieces about light. Have I missed anything out you think should have been included?

Rusalka’s Song to the Moon, Dvorák

Rusalka is a water nymph, singing to the moon which is reflecting in the pool of water. She asks the moon to send her love to the human Prince who hunts around the lake, who she has fallen in love with. The music is full of shimmering ripples and dark forboding, as this story won’t end well.

Lux Aeterna, Ligeti

It won’t surprise you to find that several pieces in this selection about light are from the latin mass. This, however, is one of the more modern and perhaps the most challenging piece I’ve chosen, written in 1968.

Featuring a 16-part choir, this setting was used in Stanley Kubrick’s film ‘2001: A Space Odyssey’. The words are:

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis

Translated as: "May everlasting light shine upon them, O Lord, with thy saints in eternity, for thou art merciful. Grant them eternal rest, O Lord, and may everlasting light shine upon them."

The music is written to be very close harmony cluster chords and dissonance, so many have a mixed response. Some people find it very unsettling, others find it relaxing. What about you?

In splendour bright is rising now the sun, The Creation, Haydn

Here is a sunrise, written to illustrate the creation as depicted in Genesis. The chords build to a radiant burst of sunshine where there once was nothing. Short and sweet, but very dramatic when seen live!

Lux Aurumque, for Wind Ensemble, Eric Whitacre

Eric Whatacre is a living composer who has become a celebrity in music circles for his beautiful choral music. Here I’ve chosen a wind ensemble version of this choral piece, as it really demonstrates the beauty of his writing to describe the golden light of the title. I also think the wind arrangement is very peaceful and atmospheric for our playlist, a mid point to reflect.

Lux Aeterna, Requiem, Verdi

Now that you’ve heard some very modern interpretation of Lux Aeterna, here is Verdi’s version performed in 1874.

The requiem includes some huge music scored for a large orchestra and large choir, but here the music is much more quiet and intimate, the soloists are partly unaccompanied, all eyes are on them as they sing of angels and the light shining, with twinkling woodwind.

Four Sea Interludes: no 3 Moonlight, Britten

We started with the moon, we had a little sunshine in the middle, and now we are ending with the moon again.

the Four Sea Interludes are taken from the opera Peter Grimes, first performed in 1945. The story follows the life of an unfortunate fisherman from a small fishing village. Several of his young apprentices go missing, drowned. The village people decide Peter is in some way to blame.

Written to cover the scene changes, the sea interludes describe the light, energy, and brooding of the sea, one of my favourite pieces of music.

Listen to the full playlist on Youtube by clicking on the link.

I hope you’ve enjoyed exploring some pieces of music about light - which is your favourite? Have I missed out something? As ever, write me a comment, and see you again next month.