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.

love

‘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?