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

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

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 1^st and 3^rd circles also. I have included a brief explanation of each of the three circles below:

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

2^nd 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."

3^rd 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 1^st Circle Energy, we sometimes need 3^rd Circle Energy, but we always need 2^nd 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

http://www.ted.com/talks/patsy_rodenburg_why_i_do_theater.html

Patsy Rodenburg: The Second Circle

http://www.youtube.com/watch?v=Ub27yeXKUTY&feature=relmfu

Goombay Festival 2012

  

        "Every year, the streets of downtown Asheville NC rumble with the beating of West African drums, ring with the harmonic horn lines of funk, groove with the rhythmic sounds of reggae and the melodic voices of soul." Goombay! Asheville is celebration of both African and Caribbean culture which occurs annually at what is know as "block" in beautiful Asheville, NC. "The block" is located at Historic Eagle Street and Market Street.

This is also where you will find the YMI Center. The YMI is a community based organization that provides various programs, events, opportunities and more for those in and around the community and throughout the city of Asheville. This year the YMI has partnered with Powerhaus Productions to manage the event.

I will attend Goombay! Asheville on tomorrow; August 26, hopefully it will be as much as I'm looking forward to.

Thanks for reading!

Bryant Belin

Quote and Photo taken from: www.goombayavl.com

Know Your Performance!

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

When rehearsing/practicing for any performance, many do not understand that the majority of the time will not be spent singing. Most of the time will be spent actually studying the history, background, etc of the composition; after which you will apply that knowledge to how you sing. Whether you’ve received new music in the vocal studio with your teacher/coach or on your own accord, there are a few things (this list is not exhaustive) that you must not neglect to do in order to present an efficient and artistically masterful performance. Or at least this should be attempted to the best of your ability.

·      Identify the language.

o   Is it English, French, German, Italian, Polish, etc? Before attempting any foreign language in public be sure to study the diction of the language. Ask native speakers to assist you if you are not taking any classes through school, etc. What qualities are present based on the language? What should you do and not do as far as vocal and textual stress?

o   Read the text over and over and over until it is second nature, even if the composition is in English. You will be surprised how difficult it is to sing properly in English, so take time and be efficient by preparing the text. Be expressive even as you speak the text.

·      Research the composer.

o   What is the stylistic approach and intentions of the composer? What time frame is he or she from? What are the stylistic qualities and requirements of the time period? How can and will you implement these in your performance?

·      Study the rhythm and tempo markings.

o   How difficult is the meter? Does it change often? How fast or slow is the tempo? Will the tempo create any artistic changes or occurrences such as portamento, subito, rubato, etc? Are you quickly able to familiarize yourself with it? If not, lots of time should be devoted to this.

·      Study melody.

o   This is probably one of the most important steps to consider.  There will be more on this in the next blog.

For now you can begin applying the above steps into your performance study. You will notice this takes quite a while to do and should not be rushed in any way. So until the next post get to know your performance.

Thanks for reading,

Bryant Belin

Learn to express

Emotions are shared by each of us. Even if we are not aware of our own actions, we are clearly aware of those by others. What I find interesting is we still appear surprised or even caught off guard, either because of our own emotions or those expressed by someone else. Some of these are being happy, sad, exited, depressed, surprised, disgusted, loving, hateful, etc. The list continues and we either accept or disapprove of what we see and experience.

Our methods of expressing and reasons for publicly sharing our emotions vary. However, despite this diversity, there is one method in which many of us can relate; that method is music. Music is the most effective method of communicating we possess. And because of that, it is our duty to protect it. Better yet, enjoy it!

Vocalists can be described as individuals who use their skill/gift of singing to empower others (their audience). However, musicians in general also have a voice, and a very effective one. Many of them understand the term voice is not just referring to a person’s ability to produce speech patterns; it is also the power to connect. How you choose to connect defines your style, which ultimately is an outward expression of your individuality.

This process takes time for each of us, so in the meantime we learn from others. In our quest to find our style or method of expression, we become attached to the expression of others. Their style becomes an influence upon our own. Regardless of this, we can continue to know and believe our voice reflects who we are as individuals.

Being able to comfortably express personal thoughts and feelings are not a naturally embedded skill for everyone; music helps to bridge that gap. There are some who may not feel or think they can do things as well as others; music changes that. A few individuals may want to accomplish a goal or check something off their list of things to do before they reach a certain age; music makes it possible.

So what did I think about Bele Chere?

As promised, I'm here to post about my Bele Chere experience.

I spent about 4 hours perusing the packed streets and shops in Asheville, NC during this past weekend during the annual event - Bele Chere. As a newcomer to this event, I must say I was disappointed with the outcome. There are the usual activities which can be found at any festival, such as vendors, street art, tent shows, food (lots and lots of food!) and more. The activities were geared towards an older age group. I did not see too much for younger kids. Regardless, there was something offered for everyone during the event. My main interest was the selection of music that would be offered. Did I mention I was disappointed.

Was a great line-up available as far as musicians are concerned? It sure looked that way via the website; however, when you get there the wait is much longer than expected. You must plan well in order to see/hear the musicians/bands you're interested in. Most of the time was spent walking and occasionally coming across a few street musicians or small bands. In my opinion the selection of music was extremely thin; considering the amount of time between each major performance. The down time was a little extreme for me.

For Asheville to be as eclectic as it is, there was no reason why more music could not have been offered. The performances do not have to take place via the main stages either. If the issue is funding, I'm sure more musicians and bands would not mind the opportunity to set up where ever allowed and grace us with their talent.

Still...this was a great event and it couldn't occur in a better place than in the beautiful city of Asheville.  I do plan to go next year also. Maybe by then a few of my suggestions will reach attentive ears.

Thanks for reading!
Bryant Belin