Sunday, September 30, 2012

Know Your Performance Part II

**NOTE: The following subject will focus on vocalists; however, the same concepts can be applied to any musician.

Part 1 of this article (August 22, 2012) briefly discussed the steps any vocalist should take when studying a piece of music. Identifying the language, researching the composer and studying the rhythm and tempo markings were mentioned. Melody was mentioned last but not covered.

Melody is important because it obviously contains the text (lyrics) you will sing during your performance. This section should be studied with great care. Know your entrances and exits. There is nothing more upsetting and disappointing than to have a beautiful prelude or introduction of a piece played just to have the vocalist ‘screw up,’ for lack of better phrasing, with his or her entrance.

Pay attention to phrases. Without phrasing, your performance will most likely lack luster and interest. Make each phrase different than the last (if the music allows). Purposely prepare each breath (exit and entrance) to support the phrase (more given on this later).

Articulation. You want what you’re saying to be understood (and know the rhythms) and it doesn’t get any simpler than that. The larger the performance space, the more you will have to focus on consonants. This section requires lots of attention so a future article can be devoted just to consonants and also vowels. Articulation can also refer to how the notes are played as well (for instrumentalists).
Be expressive.  Identifying the language and Researching the composer has already taken place so you should have a pretty good idea of what the text means. You cannot share what you know about the piece and translate its meaning to the audience if you are not expressive; this is regardless if you know every detail of how the character(s) feels within the story of the text. If you don’t express that, the audience will not know (and you will not either) that is what you’re singing about.

Thanks for reading,
Bryant Belin

Saturday, September 8, 2012

NATS - Have you joined yet?


            The National Association of Teachers of Singing, otherwise known as NATS. It is the largest professional association of teachers of singing in the world. There are more than 7,000 members in more than 25 countries that participate as active members (professional teachers of singing).
NATS has a large influence on the music industry; particularly the area of vocal studies. Classical Music and Musical Theatre are two of the main types of music studied; however, the entire realm of vocal music study is covered. NATS has a reputation of providing only the best instruction for the vocal arts and making that level of expertise available and accessible to each student. Check out what the NATS mission statement says:
To encourage the highest standards of the vocal art and of ethical principles in the teaching of singing; and to promote vocal education and research at all levels, both for the enrichment of the general public and for the professional advancement of the talented.”
Student auditions are the highlight of the year for NATS teachers and their students. Thousands of students meet every year in designated locations (schools, organizations, etc) to audition before a panel of NATS judges in order to gain additional insight, understanding and critique of their voice and the application of technique. The energy is high, the nerves are flaring, excitement is almost uncontainable and individual artistry is forced into hyper drive. These auditions result in regional and even national advancement for those fortunate enough to display the best technique, skill and musicianship.
The first National Musical Theatre Competition took place this year and like the annual student auditions it will most likely be an annual occurrence as well.
“NATS supports the growth and enrichment of its members through the publication of Journal of Singing, a scholarly journal comprised of articles, written by distinguished experts, on all aspects of singing and the teaching of singing.”
Being a NATS member is an excellent networking venue. There are also tons of opportunities to find the next recital or concert location, get teaching advice and understand to implement concepts a little differently than normal. The Journal of Singing is an excellent resource for any voice teacher or coach (yes there is a difference between the two). Latest vocal research, methods, techniques, workshops, general music information, lecture summaries from leading vocal pedagogues and much more are located in Journal of Singing.
If you teach voice, I strongly recommend you join this prestigious and highly informative organization. You will not be disappointed!
Thank you for reading,
Bryant Belin

Sunday, September 2, 2012

Are you Present?


Anyone can perform! Yes, I said it…anyone! However, what differentiates effective performers from those who are not is the ability to ‘connect’ with the audience. This sounds simple but for most this is skill, which must be developed. In “Why I do theater,”

Patsy Rodenburg talks about being present while acting/performing. Acting and music are so integrated and I feel this is the real reason why effective performances are so inspirational, sought after and important. She mentions “If you cannot be present, you cannot succeed.” If you cannot grab the attention of the audience, you don’t have a job. If you cannot make them feel the text or see what is occurring, you don’t have a job. If you are timid, indecisive, confused in your performance or in the application of your craft, you will not have a job long.

Example: Prisoners/inmates are always present. They cannot sleep, relax, and become unfocused because their lives are at stake even behind the walls of the penitentiary. They are present.

The Second Circle is what Rodenburg describes as the place we should operate as performers. She describes the 1st and 3rd circles also. I have included a brief explanation of each of the three circles below:

1st Circle Energy: Energy that falls back into you. It’s all inward energy.

2nd Circle Energy: Exchange of energy between two people or two things. Special Connection with something (reading a book, church experience, intimate experience). Circle of survival. Give and the take of being present. The circle of absolute intimacy. Equality. "Being present, being engaged, being connected."

3rd Circle Energy: Generalized energy that is ‘pushed’ out. The people that take your space. Voices are too loud, the chest is up and it is dangerous. Very controlling. Superficial energy.

You sometimes need 1st Circle Energy, we sometimes need 3rd Circle Energy, but we always need 2nd Circle Energy because this causes you to BE. To be active in your performance. It becomes easy to perform but you must first get there.

Rodenburg talks about one of her performances in which an audience member shuffled throughout. After most of the people were gone, he came up to her and told her he didn't like theatre. The play was about the Women of Troy. He continued to say how certain noises the actress made were disgusting to him and how "he and his wife just didn't like it, [they] just didn't like theatre." After a while, he explained to Rodenburg, policeman came to his home a couple of years ago and told him that his daughter had been raped. He made the same sound.

When you put something out into the atmosphere you are responsible for the change and influence which takes place. It will either be positive or negative (you cannot control this); however your goal is to make sure you are connected and stay there. Do not lose your place because the moment you do you will lose your audience.  How can you identify and relate with what you are displaying if you are not present. If you play, create or sing the truth (stay truthful to yourself and your craft) and you’re present; you may think you are not being liked, appreciated, etc (based on facial expressions, comments, etc) but the audience will grow to appreciate the fact that you tell them the truth. They will have no choice to respect your position as a musician, actor, producer, etc because you do not lie and are actively involved when presenting your craft.

This video post has been a good refresher and also a new way to look at something which is so dear to me, performing. I hope the same can be said of you after you've had the opportunity to view it.


Patsy Rodenburg: Why I do theater

Patsy Rodenburg: The Second Circle