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

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.