Well… we are only in week 1 of this ‘lockdown’ and I seem to have been busier than ever. Online teaching is exhausting but fruitful and even if it challenges me I am learning so much about the best way to teach under pressure of time and distance. Yes 1-1 online is not as good as face to face but it highlights different things when I rely so much on the sound as well as the visual. I also can see myself in a different if slightly disconcerting light, I do exaggerate my facial expressions because I am trying so hard to get through the barrier of a camera lens. We are human and we long for social contact that is physical and not just virtual. BUT we must save lives and social distancing for the foreseeable future may save many lives, and many families from great sorrow.
While the world outside is struggling to come to terms with a pandemic that is killing so many people, one’s own values and faith are really questioned and the purpose of life becomes more focussed. So I am a Christian and a licensed Reader/Lay Preacher in the Anglican Church, I am a mother and grandmother, an embroiderer and a gardener, a singer and an artist, a wife, a sister, an aunt, a cousin, a friend, a colleague, all these identities come tumbling around in life like in a stone polishing machine. The rough edges are made smooth or at least my prayer is that will happen.
In the meantime I work and think and meditate on the values of what and why I do and the value of HOW I do it.
Singing has come through this crisis as a release, first in China, then Italy and now here in the UK. The desperate need to sing is so clear amongst people of all ages, interests, creeds and colours. This gives me HOPE.
Dr. Susan Yarnall Monks singunique.com
Susan’s thoughts on virtual singing teaching:
Okay I have had only one online lesson so far but apart from the technology I do think there are useful observations to share for what they are worth…
- I found Facetime closer to face-to-face teaching than Skype or Zoom but it is a virtual world and very different, so picking up nuances of communication is harder and there is a temptation to get so worried about the technology that you forget to watch the singer…
- I think short and sweet is better in the virtual world 30 minutes of intense concentration is enough for me and I think for the students.
- Planning obviously is important but agree the strategy of the lesson with your student and your shared aims at the start e.g.
- We will do 3 specific technical exercises
- Let’s work on this or that particular passage in this song and the next
- Lots of highly detailed attention to text, phrasing, pitch, timbre, musical accuracy
- Aims for next week’s practice and schedule next lesson
- Check singer is happy with the outcome
4. I am very aware that my demonstrations are very close -up with the camera and my very expressive eyebrows make me look funny but that is how I am
5. As Ian Anderson Gray said the camera can drain energy from you and from your singer, that is why short and sweet is better. Try not to be a perfectionist…
6. Use daylight to light the lesson if you can
7. To be honest trying to accompany the singer gets lost in the time delay and I think it is more useful to get down into the details. The singers can practice using accompaniments on line but your skills as a teacher are about so much more, colour, timbre, emotional communication, technical abilities
8. I think there are huge benefits of virtual teaching but it will never truly replace 1-1, face to face. Being positive makes a difference when everyone is under such pressure, adapt and re-imagine your teaching strategies and styles.
9. Helping the student prepare for these lessons is crucial, again specific goals will help. e.g. “You need to work on loosening those lower abs, and try not to tighten the jaw, or really work on your vowels” etc.
10. I always have 10 tips so this is the last…teachers and students can learn from the challenges and we will be saving the planet as well! I am excited about finding how much more there is to learn!
Foods that are good to boost your immune system
- Citrus fruits
- Zinc in red meat, shellfish, eggs, nuts, whole grains, chick peas
- Broccoli (lightly cooked)
- Sunflowers seeds
- Red Peppers
- Fermented foods like Sauerkraut and Miso
Well as I write this on St. Patrick’s Day 2020 I reflect on the unusual times in which we are living. So now I am teaching at home and on-line and I am so grateful that I took part in the Leo project back in 2010 with EVTA on digital resources for singing teachers. I am having to brush up my skills and look at which are the best options.
It is a difficult time for so many people and peripatetic teachers, and self-employed singers are losing gigs everywhere, opera houses and concert halls are closing.
I think it is time to assess what are the most useful things we can do to keep our voices in tip top condition so I am offering another Ten Tips for Isolation Singing.
Ten Tips for Isolation Singing
- Always warm-up the voice as if your life depended on it. Half hearted singing just tires you out and is not good for the voice.
- Always check your body for unwanted tensions and RELEASE all those worries away. It is a discipline we all need to WORK on.
- High hums and resonance but NOT heavy singing. Energetic and energising, enthusiasm, exploring the sounds you have in your body.
- Find creative ways to practice and always sing music you love, choose composers who write for the voice, luxuriate in their melodies.
- Any singing is good, sing as you do the house work, singing in the garden, be a full bodied, full time singer and any music that makes you FEEL good, singalong to the radio or CDs.
- Be curious and find out all you can about the composer, the lyric writer, the poet.
- Explore the repertoire of singers you admire, you can find new songs to sing.
- Find on-line resources but be critical of what you see, there is rubbish out there!
- Ask for help from teachers you trust, we all need reassurance that we are doing the right things
- Never sing if it hurts! Rest and take care of your body and your soul and your voice.
And work on your immune system, eat Shitake Mushrooms, colourful and spicy foods, plus Vitamin C foods.
I found this the other day and thought it needed another airing, I prepared it for a workshop on performance skills some years ago.
Knowing WHY helps the HOW so I can DO the performance and BE the singer!
Why vocal anatomy, vocal health, vocal acoustics and vocal psychology can make a difference to vocal performance? It has taken singers and musicians a long time to catch up with the sports athletes in terms of taking an all round approach to performance.
- When I understand where my lungs are, the shape of my diaphragm etc. I will breathe more efficiently at an optimum rate. My lungs reach down to my low back, my diaphragm is a dome…when I walk on to the stage I breathe deeply and this also helps with nerves as it balances the body and means I have core strength. Do I sing with my whole body or just the upper half? What are my legs and knees doing?
- If I am in panic ‘fight or flight’ mode I will lock my knees and my lower abdominals will tighten the diaphragm so it is not free to work properly. Knowing my own psychology will help my anatomy do what I want it to do. Knowing I have done my work will help too…worrying about my memory will produce a worrying timbre- not good.
- If I have kept to a good diet and drunk water regularly I will arrive at my performance hydrated and at an optimum state of well- being. Andy Murray won Wimbledon after 6 years of regulated diet and specific training.
- Knowing that my vocal mechanism is mostly cartilage and very bendy I know it will work however I hold my posture but I also know what is the most efficient balance for good production! Know how your larynx works even if you can’t remember how to spell crico-thyroid.
- If I know something about vocal acoustics, both the internal and external feedback/perception of the singing sound and the colours of vowels, this will help me use the acoustics of the performing space most efficiently. ‘They pay you to sing if they can hear the ring!’
- Knowing how to deal with the symptoms of colds, flu, sore throats, back ache, tiredness, hormonal changes, medication side-effects is essential knowledge for the performing artist. Knowing how to deal with mucus in the middle of a recital is a bonus.
- What is my identity as a singer? Do I really know what I am good at? Have I a style of my own or am I just a clone? Do I sing as someone else or is it the real me? Can I be the vessel of the music without compromising my own self? Can I lose myself on the operatic/music theatre/recital stage so I become the character I am to inhabit? Am I flexible enough and can my vocal technique adapt to the changes necessary?
- Have I done my homework, do I know the back story, do I understand the translation, the view of the poet and composer and have I memorised the words?
- Have I thought about my image, what I am wearing, my shoes? Do I use the mirror enough? Are my facial and articulatory muscles really working? Can they hear my words? Do I have disturbing habits when I perform? How do I walk on to the stage?
- What is my tongue doing when I sing? Have I lifted the soft palate? How open is the back of my throat? Where are the tight spots in my body? Is there unwanted tension even in my toes?
You may find this an impossible list but these are the reasons why it takes 10 years to train a professional singer – it doesn’t matter which genres you sing. Develop your unique identity as a singer, follow your musical passions but with discrimination. Look at your body, can it cope with Wagner? Tone and Focus are important in terms of muscle quality and musical quality. Space and movement are important in terms of acoustics and psychology. Vocal Health is a full time occupation for a singer. You are in charge of your destiny, so Practice and Preparation are in your hands.
Whole body, movement, perception and connection are so much a part of the Singing Teacher’s repertoire of skills and they constantly need updating and re-thinking.
At the recent event in Berlin, we were introduced to the complex but wonderful principles of Qigong, the third branch of Chinese healing alongside acupuncture and herbal medicine.
I am only a beginner but it inspired me once again to re-examine the exercises I give my students and the purpose of them but also the student’s perception of what is happening in their body when they sing.
Posture and balance and energy flow are connected to how we use our breath effectively when we sing, it is the fuel in our engines, the water in our brush, as we paint the sounds we need to express. And it is a need to express that is the root of all voicing.
This need to ‘voice’ starts as soon as air flows through our lungs and in our society which has learnt to communicate (or not) through text and digital technology, we are leaving the lonely and vulnerable no vehicle to ‘sound’ their needs through speech and song.
The habit of imitating others, while not in itself a ‘bad’ thing, means we are losing the uniqueness of our own ‘grain’ or timbre which truly expresses who we are and releases that self-expression which is our basic human need.
Creating sound is one of the most immediate ways we create communication through art, culture and societal values. It can be as simple as a cry or moan, but it can be as complex as an operatic masterpiece or a poem. When we cease to ‘sound’ we can cease to exist (bearing in mind that the deaf and mute in society still DO communicate fully through sign language). Even those who have little mental capacity through brain damage, still moan and wail and express themselves however difficult it is to understand.
Voicing and visioning are not so far apart and creative expression keeps us truly alive and living in the fullness of all we are and want to be.