Lesson 9/17/2021
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Exercise [u] 54321
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Purpose: an isolation exercise to see if the
folds can come together lightly at the top of your voice. It also lengthens
folds.
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Keep it small, in the upper register
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Exercise [nju] 54321
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In lower register, let it settle down gently
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Remember to let mouth open a little
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Let breath be a consistent guide through the
phrase
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Exercise [ri ro ri ro ri] 54321 with an upward
flip on each note
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Roll the [r] aggressively each time, lean into
it
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[y] for [i] but a little more open
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Instead of compressing your vowels so they
spread compress them from the side so they are taller
·
Exercise [iiii eeee aaa…] 1234 5678 987654321
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Keep the breath pressure consistent
o
Stay engaged and energized through out the
scale; especially be aware of this in your middle voice
o
It’s okay if it cracks, let your voice/larynx
work itself out
o
Change to an arpeggio to make it simpler
·
Exercise /sh sh sh sh sh:/ then add voicing
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Make each one strong and breathy
o
Then add the voicing on 12321 but still hear the
/sh/
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Lean into the breath energy
·
Exercise nine note scale on [a-o-u]
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Attente -Lili Boulanger To Work on
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Mm. 4 and 8 triplet is on the beat
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Mm. 3 rhythm
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Mm. 20-21 rhythm
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Nasal [o] start with [o] and then gently
nasalize it
§
Same thing with nasal [a]
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/las/ =[las]
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Review pitches and rhythms in the last two
phrases
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Pitches
in « dont les lys »
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Speak the text intoned with each syllable
equally accented
o
Think ahead; the text and song are a surprise
each measure/phrase
o
Perform it slower and with more sense of legato
o
Dome resonance in the upper register needs to be
present in the lower register as well
o
Move and grow through each phrase instead of
hitting each note
o
A more open mouth helps me stabilize my middle
pitches
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Use a SOVT consonant to move through the high G#
phrase at the end of the second page so the air pressure stays consistent
Master class with Cindy Dewey
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Kat Hirschi-Widmung
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Great voice! Clearly has a sense of the text, is
secure in the pitches and rhythms and how they fit with the accompaniment.
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She seems to be using too many muscles in her
throat to stabilize the larynx/create the pitches
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Sing on lip buzzes and fricative consonants to
keep the air generous, but consistent and not over-pressurized, and imagine the
pitches just happening gently on top of the air stream
·
Using Facilitators
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Use a facilitating posture to help you find
release/the feeling you need for singing. Then go back and forth between
performance posture and the facilitator until you’ve memorized the feeling
§
Use head gear (fingers on occipital bone, thumbs
on chin) to find release in the chin and neck
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Sit down and lean over with arms stretched in
front of you and your head on another chair to find where the neck tension
wants to come in
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Use random gestures to find energy in a piece
§
Head against the wall behind you to release neck
and throat
§
Move to combat a habit you want to break
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Goal: to divorce your sense of voice from the
larynx
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