autumn
Sink into autumn with my listening playlist, full of autumn inspired music from the world of classical music.
What’s your favourite season? I know a lot of people would say autumn (or ‘fall’ in the US). Would it surprise you to I love every season and the changes between them?… sad to see the previous season go, and to welcome the return of the new season like an old friend.
There are many depictions of the seasons in art and music, so I thought I would add a few here and link it to a youtube playlist for you to explore more.
Feel free to add your favourite pieces in the comments section below if I’ve missed something out! You’ll see I’ve included a range of instruments/emsembles/styles/periods and I hope a few that you enjoy exploring for the first time as I have.
1 Chant d’automne, Faure
Sung by soprano Mary Bevan, accompanied by Joseph Middleton
2 Four Seasons, Autumn, 3rd Movement Allegro, Vivaldi
Played by Voices of Music, with solo baroque violin from Carla Moore
3 ‘October - Autumn Song’ from The Seasons, Tchaikovsky
Solo piano Olga Scheps
4 ‘Now the Leaves are Falling Fast’, from On This Island, Benjamin Britten
Sung by Peter Pears, Accompanied by Benjamin Britten
5 ‘September’ from Das Jahr, Fanny Hensel (Fanny Mendelssohn)
Solo piano Diana Sahakyan
6 ‘The Fall of the Leaf’, Imogen Holst
Solo cello Amily Airhart
7 ‘September’ from Vier Letzte Lieder, Richard Strauss
Sung by Renee Fleming, at the Proms, in 2001
8 The Seasons: 1. Autumn, Thea Musgrave
Solo clarinet Concerto played by Victoria Soames Samek, with the BBC Symphony Orchestra, Conducted by Thea Musgrave
9 Pensee D’automne, Massenet
Sung by Huguette Tourangeau, Accompanied by Richard Bonynge
10 Autumn Gardens, Einojuhani Rautavaara
Played by the Helsinki Philharmonic Orchestra, conducted by Vladimir Ashkenazy
Choir
Whilst singing as a soloist is always enjoyable with many benefits to us - today I’m exploring and celebrating group singing and why you should consider searching for your nearest choir and joining!
When new pupils come to me for lessons I like to chat to them about their previous experiences in music. Many have sung before, some have had lessons, but ALL of them will have some prior experience of group singing or singing in a choir.
Many pupils tell me of wonderful memories in choral societies or as a child - but unfortunately there are often some negative school experiences that have put people off. I am here today to tell you not to let that experience get in the way of a very warm and fulfilling pastime that has many benefits to you as a singer, and as a human being.
Firstly, I encourage ALL my pupils to take part in group activities like theatre, choirs, A Capella groups, or school activities. It’s an easy way to add regular singing to your life, while learning vocal technique, muscianship skills, and new repertoire/music styles.
Secondly, singing with a group of people with similar interests as you is a wonderful bonding experience. Many new friendships and relationships are made at choir rehearsals. Remember that you may have to do a little research to find the right choir for you - but once you have found it you may be a member there for some time! It’s worth the research time.
Some Benefits of group singing:
helps forge social bonds
is effective for bonding large groups
excercises the brain
beneficial for improving breathing, posture and muscle tension
reducing the stress hormone cortisol and boosting the Immunoglobin A antibody, helping us sustain a healthy immune system
is universally accessible - anyone can sing! (yes, really!!!)
is cognitively stimulating and helps with memory
it’s cheap! We all have a voice in our body waiting to go, without any investment needed
Sometimes I have pupils asking for help to build their skills for choir auditions or to help them sing with more ease at choir - and I am always happy to help you with this. This doesn’t have to mean long-term lessons, get in touch with me or your local singing teacher to discuss your goals.
As always, comment below if you have any thoughts on this subject, and follow me on social media for more quotes and information about singing and performing.
perfume
It is helpful to think of and use all our senses when we learn to sing and perform. Perhaps one that is sometimes overlooked is our sense of smell.
There are many songs that describe scent particularly of flowers, but let’s explore some other ways we can use our sense of smell to help us.
Read ‘Surprising Facts about your Nose” in this link:
Memory
If you use a certain scent during studying, it may help you remember those facts later. You could try this with learning words and text, to see if it helps you recall the work you did in the practice room.
Resonance
Your nose and sinuses are used to help your resonance. This is why if you have a cold or suffer from hay fever which blocks your sinuses your speaking and singing voice sounds different, or sometimes it feels uncomfortable to make certain sounds that require resonance in the areas that are inflamed/blocked.
Resonance due to emotion
If you take a breath in when you laugh (let’s call this ‘true emotion’), you make sound resonance from different areas than if you are faking a laugh/not happy. Have a little experiment and see what feels different to you?
One way to access these resonance areas/areas that describe joy or love is through scent/imagining smelling a rose or similar. This may help you to act/sound with your voice a certain emotion.
The science says:
‘Spontaneous laughter is often higher in pitch, longer in duration, and shows spectral characteristics that differ from voluntary laughter; voluntary laughter, on the other hand, is more nasal than spontaneous laughter. Perceptually, spontaneous laughter is perceived as more authentic than voluntary laughter, and as more positive and higher in arousal.’
Performance Practise
When you are performing a song or an aria, try to ground and build your character using the senses including sense of smell. Where is your character? What surrounds them?
Are they by a stream with the smell of wet moss?
Are you singing about a flower with a perfume?
Is your character in a hot dusty place?
Anserwing these sorts of questions and deciding on this in advance will help you more easily create a sense of place and setting from which to communicate your poem/emotion of the character.
Putting this into practise: Smell the Rose
One idea often suggested by singing teachers is to imagine you are smelling a beautiful rose before you sing a passage that is very beautiful/shows love/has warm and legato phrasing. The way we breathe in a delicious beautiful smell will open into different areas and therefor resonating areas than when we smell a horrible smell.
Sometimes I suggest a pupil thinks of something they particularly like - sweets, ice-cream, marmite… whatever helps them think of that nice slow breath in and helps change the resonance to colour the voice differently, and communicate the emotion needed.
As always, feel free to comment below and add your experiences of using smell to improve your singing and performance communication.
birds
Learning to float and soar with your voice.
Birds are a continual fascination and inspiration to us - hardly surprising in music when their birdsong is so admired!
In particular, I’ve found that some people wish to emulate the soaring feeling of a bird in flight in their own singing. They enjoy the feel of ‘soaring’ or floating through the music they are singing, like a bird does. So what is that, and how can we create that in our voices?
“The birds are the opposite of Time...They are our desire for light, for stars, for rainbows and for jubilant outpourings of song!””
When you see a bird soaring above, floating almost effortlessly above the earth, what are you really seeing?
The bird has flown from a perch on/near the ground, risen to a height where it feels the support of the wind that allows it to stay in the air. The view we have is of no effort, when actually some rather complicated physics and effort has helped the bird get there.
Here are the things I suggest pupils think about and use to achieve this with their voice:
Mind
Support
Breath
Reduce the feeling of weight or pushing
Repeat and experiment
Know where your strong beats/words are, and therefor the lighter beats and words
An inflexible voice that is pushed or feels heavy will not float or feel light. How much ‘play’ and ‘give’ do you have at your disposal? Could you find more?
As ever, if you have questions get in touch below, book in for a lesson, or work with your teacher to discuss some of these and how they work in your voice.
“Birds have always had the ability to bring me out of a dark space and provide relief in bad times.”
grow
growth as a performer and why it is good for us
“Be not afraid of growing slowly, be afraid only of standing still”
In our blog today we are thinking about growth. In an attempt to allow balance in my work and personal life I have enjoyed trying to reflect the seasons more. I am learning to accept quiet times and use them for learning/technical work, planning (usually the dark winter months) and enjoy them knowing that busier times always come, particularly in the warm sunny summer months. Some people try ‘wintering’, a sort of modern-day hibernating - is this something you have tried?
So as we are now in spring, I am thinking of growth. What is growth in our performing life? Why is growth important? How can we grow?
What is growth?
We’ve all felt that nagging feeling that we are ‘stuck’, failing to progress, or being given work that does not stretch us - and felt frustration from those feelings! We don't always feel that we are in a position to progress at a pace we are happy with. So taking some ownership is helpful to plan your own development.
So what can you do? It’s a case of ‘Show: don’t tell’. Don't waste time telling people, find ways to do it!
Why is growth good for us?
Having a growth mindset means believing that effort and skill development will better your life.
As humans, having a ‘growth mindset’ is linked with higher levels of wellbeing and better mental health.
Those with a growth mindset are found to have better ability to cope with stress and anxiety.
Have a quick google to read more about growth mindset and how it might help you!
Tips to grow
Choose new repertoire, research something you haven’t yet learned. Perhaps if you are a singer you could brush up your language skills, or learn a new song cycle?
Tackle the technique you have been having difficulty with. We all come to a point where we need to address something that has been causing us difficulty - maybe there is someone who can help you do that or you can ask your teacher to help you find ways to work it out.
Work with someone new. A new accompanist, a new group of musicians, a new teacher, a new coach, a music course… Get a fresh perspective and ask their advice.
Be brave. Challenges help you to figure out the true extent of your abilities. Experimenting in lessons and with teachers is a safe space to try.
Remove the fear of failure. If you try something in a safe space, failure is not a problem, and growth is more likely as you will not be holding back.
l’amour
Exploring different types of love as depicted by the Greeks, and how this relates to classical music
“Every heart sings a song incomplete until another heart whispers back.”
In this months blog I’m tackling the complex idea of love and its different forms as categorised by the Greeks.
Within the world of music, opera, and lieder, we are asked to understand and portray all these forms of love. Here is my summation to help you fast-track your research.
By being able to distinguish which type of love you are portraying, you will have a clearer idea of motivation, whether your character is experiencing a deep and powerful reason for the action in the aria, or perhaps a surface and poorly thought out reason.
Do you agree with my different suggestions of opera characters and which are experiencing which type of love? Let me know of any other suggestions in the comments below. Most operas include the tension between Eros and Philia, for instance, and I think sexual passion is probably the main one in most operas!
Eros (sexual passion) - Carmen, Semele, Romeo and Juliette, Turridu for Lola: Cavalleria Rusticana, Manon, La Traviata, La Boheme, probably most operas!
Eros (ἔρως érōs)
(from the Greek deity Eros) is passionate love, with sensual desire and longing. The Greek word erotameans in love. Plato refined his own definition. Although eros is initially felt for a person, with contemplation it becomes an appreciation of the beauty within that person, or even becomes appreciation of beauty itself. Eros helps the soul recall knowledge of beauty and contributes to an understanding of spiritual truth. Lovers and philosophers are all inspired to seek truth by eros. Some translations list it as "love of the body".
Philia (deep friendship) - Nadir and Zurga: Les Pêcheurs de perles, Cosi fan Tutti
Philia (φιλία philía)
dispassionate virtuous love, was a concept addressed and developed by Aristotle in his Nicomachean Ethics Book VIII. It includes loyalty to friends, family, and community, and requires virtue, equality, and familiarity.
Philia is motivated by practical reasons; one or both of the parties benefit from the relationship. It can also mean "love of the mind."
Ludus (playful/flirtatious love) - Papagena/Papageno: Die Zauberflöte, Cherubino: Le nozze di Figaro
Agape (love for everyone, empathetic love) - Violetta: La Traviata
Agape (ἀγάπη agápē)
love in modern-day Greek. The term s'agapo means I love you in Greek.
Referring to a general "pure," ideal type of love, rather than physical attraction suggested by eros. However, there are some examples of agape used to mean the same as eros. Sometimes translated as "love of the soul."
Pragma (longstanding love, committed companionate love) -The Merry Widow,
Storge (unconditional, family love) - Ilia for her family: Idomeneo, Romeo and Tybalt, Nurse for Juliette, Aida
Storge (στοργή storgē)
natural affection, like that felt by parents for offspring
Mania (obsessive love) - Lady Macbeth
love
Tips for singers and other musicians on how to convey love in their music.
‘And the stars were shining, and the earth was scented. The gate of the garden creaked and a footstep grazed the sand… Fragrant, she entered and fell into my arms.’
translation into English, from Tosca, by Puccini
Love is the emotion we are probably asked to convey more than any other, in music. This month, my blog is going to give you some singing and performance tips and tricks on how to convey the emotion of love in your singing or music performance. Whether new to performance or a pro, these are some of the ways to experiment as part of your practise to leave the audience in no doubt of what you are trying to convey, without having to make a heart with your hands!
1 Text, context, character, historical research.
If you are singing something in/from an opera or musical, make sure you understand your character and the plot before and after your aria. You need to find out if your character really means it. Are they so madly in love as to make the eventual heartache/tragedy even more poignant? Or perhaps your character isn’t sure, they have some questions. Is your character merely full of lust instead of love? You might want to think of ways to convey this in your performance - is your voice or body language fully committed to the words you are saying? By experimenting in your own practise you will try out a multitude of versions, perhaps also trying out some different things just as a director might wish to ask you to do in the production.
If you are singing a song or playing an instrumental piece - what is the character you will choose for your performance? How do you choose to convey the meaning of the poem? Has this altered over the centuries? What are the ways other recordings and artists have conveyed the emotional message?
If you are singing or playing a duet, are you playing in harmony? If you are making beautiful music in thirds… love birds are in the air!
2 Thought: Breathe: Sing
Whether singing or playing, the thought must come first. Music and singing are the conveying of an emotional message using language both with and without text. We sang before we had language. We talk by first thinking of the emotional content before breathing and talking.
It will alter the tone and colour of your voice - just as when you talk your voice is different when you are saying the same phrase but with a different emotion.
If your body is playing an instrument, it is also useful to communicate in your playing with your body - if you are impassioned, or full of enthusiasm you may move more.
If you are angry those movements may be more staccato.
If you are calm and serene your movements will be very legato and smooth, perhaps long and flowing.
3 Mirror Practise
It is hard to always know how successful our movements or facial acting are, so don’t forget your best friend the mirror. It not only shows you what you might not want to do, but also what you should do more of. Subtlety not usually connected with displays of love or passion! Whilst your subtlety may be beautiful in a small room - does it read in a Concert Hall?
As you observe your performance check in on these questions:
Do I look like I’m in love? For instance: Smiling, happy, bright face, enthusiastic, long glances and holding eye contact with the other character
Is my body language matching the emotion I wish to portray? For instance: open posture, hugging/selfhug posture, stroking/smooth movements when moving, wide arms and shoulders, legs routed hip distance or so apart not narrow, legs uncrossed, confident walk, relaxed movements or energised excited. We often talk about people who are in love walking around in a daze, or being in their own world. If this is suitable, perhaps you are staring into the distance smiling.
4 Showing emotion in the voice
Adding colour to the voice to portray different emotions is integral to your technical work. The work of breathing and opening into spaces is often done for you if you simply add an emotion, then breathe, then sing. That’s right: singing is not just a list of anatomical movements that will make you a good singer.
Arias and music of great love and passion are usually legato, rich, full, have swells of dynamics. So how will you use this in your performance?
Isolate a phrase or passage and experiment with these:
Any legato passages make sure you are using every inch of space in your voice. Stroke those phrases like the bow on the string
Crescendos and diminuendos in keeping with the era the music is from - always historically informed, obviously!
To add or ensure you are using a rich velvety colour experiment with speaking the phrases with feeling
‘I loooove rich chocolate’ over emphasising the sung quality of the spoken voice, open into the space you will then sing your passionate phrase.
Gently sirening on an mmMMMMmmmm with a crescendo and diminuendo as though you love the smell of what is cooking, or a favourite perfume/aftershave.
As ever, the best way to work on communication is with a teacher who will guide and help you experiment to find your own true performance. What works for one singer or performer will not work for another - so you are looking for your interpretation and technique. This will ensure you sing with your own true voice and complete commitment to the music.
Happy Experimenting!
I’ve made a Youtube playlist on my channel with some of my favourite romantic arias, duets, and trios from opera and musicals. They were all recorded live - and chosen because they feature some wonderful examples of singing and performance. Enjoy researching and being inspired by these wonderful artists.
As always, feel free to leave your comments below - what helps you convey love in a performance? Did I miss something out? Did you find this post useful in your practise?
Back to School- Tips for a new term of Music Lessons
Back to School- Tips to start a new term of music lessons fully prepared
Preparing for a New Term - are you ready?
“The only place where success comes before work is in the dictionary”
Prepare
Whether returning to a teacher or beginning a whole new course somewhere new, you will have some idea what is expected. Check up on the syllabus, read up about your new teacher to understand their training and experience.
Begin practice in advance to make sure you have stamina and some strength ahead of the demands of rehearsals, lessons and performances - the term can get busy fast!
2. Make a schedule
Make a practice diary - work out your schedule. Mark out your weekly lessons, lectures and classes so they are all in your diary. Add alarm reminders if this is helpful!
If you know you practice better in the morning or in the afternoon, try work this in to your schedule.
Leave space for everyday life tasks too - gym, running, if you work or do a teaching job or another job to fund your studies.
I know I study better if my workspace is clean and tidy, with no distractions! So I often schedule this into my day.
And of course… leave lots of space for socialising or to switch things around if new things are scheduled.
3. Keep track of Deadlines
If you don’t already have an electronic system/diary, investigate ways of linking your email and calendar so you can keep track of performances, and essay due dates. Use whatever version that best suits you whether digital or pen and paper, or a combination.
4. Tailor your Study Habits and Prepare Study Resources
I know I am a visual learner - but what about you? What will help you learn?
If you know memorising is easier if you write things out or use different coloured pens/paper, make sure you have these things ready to go. This is your chance to indulge your stationery dreams and buy things like a new highlighter for your notes and scores!
If you work digitally with music, make sure your equipment is ready to go, you have a good case for your tablet, a nice feeling pen holder for your electronic pen, and your computer/laptop have plenty of memory for new music, and back up options to charge everything.
Has your teacher been asking you to look at a particular score or to practice a particular technique?… Do this now. Don’t put it off!
5. Find a Healthy Balance
Lastly, your new course/term is likely to take up a lot of your time, but don’t forget to plan and enjoy life outside of this.
I’ve already mentioned planning your fitness regime in to your timetable, or maybe plan to begin one! There is nothing more stress relieving than exercise, a walk is a simple way to start.
Remember to carry on with any hobbies you have and maybe even consider starting something new. Your life is enriched by your diverse experiences, and this includes experiences outside of your study.
Best of luck to everyone starting a new term, I hope these few tips help you feel organised and ready for success in your music making.
How do you like to prepare? Have I missed anything out? Comment below with your favourite tip.
As we head into the autumn, I’m starting to prepare for a new school and University Year. No one likes those ‘Sunday Night’ feelings, so make yourself a hydrating cup of something, sit down with a notebook, and let’s work through some top tips to start your new year of music lessons off with lots of energy and focus.
Singing and Golf: what can we learn from other hobbies?
What singing tips can we learn from other hobbies and sports?
Recently we had a little spare time and decided to head to the Driving Range for the afternoon. I’m a terrible golfer and have not hit a ball for years, but it was fun to do something different, and we hope to go back more often.
I’ve picked up a few tips over the years listening to others who play, and watching golf on the tv. It got me thinking; are there any transferable pieces of advice that might also be helpful in singing?
I often have pupils who begin learning to sing with me tell me they know nothing at all about singing or how to use their body - but the truth is there are actually lots of similarities with other sports and hobbies that you could put into your singing practice.
Golf is a search for perfection, for balance. It’s about meditation and concentration. You have to use hand and brain.
Celine Dion
#1 Swing with less than 100% effort
Yes, this gets said a lot in singing. Sing comfortably within the limits of your voice. Singing at 100% is not only very effortful, it is likely to cause your voice to tire and and a handful of technical problems with your voice to occur.
#2 Play More Break
So, this is a little more convoluted. In golf, it means
the amount the ball moves left to right of a straight line in response to contours
NCG’s Golf glossary
In singing, we want the smooth legato line (latitudinal) to be mixed with feel of the voice being connected into the body (a longitudinal feel) in what is sometimes likened to a string player playing into the string, pressing through the bow.
#3 Work Hard on the Details
Singing is a wonderful, beautiful thing, that makes us feel great! But remember that mixing a little study, some exercises, and singing some repertoire outside the usual pieces you might pick can add a huge number of positives to your favourite songs.
#4 Use a Conservative Strategy
Just starting out on your vocal journey?… Put down ‘Queen of the Night’. Put down ‘Largo al factotum’… because you’ll never sing these arias?… no. It’s just not helpful to run before you can walk! It’s also likely to be less rewarding if you feel the piece you are singing is very hard work and full of technical things you aren’t yet doing.
#5 Practice Your Short Game More that your Full Swing
You know those high notes?…. yeah, they sound great! They feel great?… good! But they are rarely the most important notes in your voice, or the song. Don’t forget that you spend that majority of your time singing the other notes in your voice, and they need to be just as well sung.
I hope you’ve enjoyed these top 5, the full list I took them from is linked below, and there are definitely more comparisons!
Your singing teacher will enjoy guiding you through your lessons, happy golfing and happy singing!