Learning to sing with legato is the basis for healthy singing
The jaw does not needed for any vowel in any language
Train the jaw and the tongue to function separately from each other
Soft palate
Breathe in the “upper half” of the yawn without depressing the back of the tongue
“If the air is flowing and the lips and tongue define the vowels without entangling the larynx, then the soft palate will lift in response.” (pg. 110)
Articulating consonants should minimally inhibit airflow
Use lips and tongue as much as possible (instead of jaw)
Diction is a means to an end; over pronunciation only inhibits airflow and can cause tension
The right repertoire will come when we are singing with our “true sound” and our voices are working well
Find music that you connect with and that you will help you want to create a compelling performance
Be aware of your fach, but always choose works that you connect with
Repertoire standard for auditions and competitions is 5 or 6 arias from various styles, musical periods, and languages
One in Italian, French, German, and English
One by Mozart
Contrasting pieces from the Baroque, Classical, Romantic, and contemporary periods
Positive visualization (before auditioning)
Visualize the physical atmosphere of the audition space
Imagine yourself walking in with confidence, dressed very well
Visualize each aria or song that you might be asked to sing
Think about what you want to communicate in each piece
Sing through the piece mentally, focusing on the feeling of true freedom in the voice
Once you have done those three things, you are free to simply “tell the story” (pg. 138)
Learning repertoire
1. Study the text
Know what every word means and what the poet and the composer are trying to say
2. Speak the text
Speak it monotone, phrase-by-phrase, and as a dramatic reading
3. Speaking the text in rhythm
Keep a steady beat and only focus on rhythm
4. Get the pitches in your ear
Speak the text with monotone while playing the pitches on the piano
5. Sing it
Marking
Make sure to have freedom in the voice when marking
NEVER mark energy or dramatic intention
Don’t mark when singing with an orchestra (unless explicitly given permission to do so by the conductor)
Take responsibility for your singing
Allergies, sickness, and other things happen, but at the end of the day we are in charge of our singing and are responsible for it
Directors and conductors
Stand up for yourself, but respectfully and within reason (don’t be a diva)
Make a list of unprepared conductors and directors so you know who you like working with
Being prepared is the key to being a good colleague
Hydration
Small amounts of water throughout the day
Steam can help before a performance (short term solution)
Warm, mild salt water can help flush out mucus from congestion
Unhealthy vocal habits
Smoking (duh)
Improper “speaking technique” (vocal fry, shouting, etc)
See Thomas’s book for more on this
Mental health
I disagree with not addressing mental health in lessons and/or coachings. If you are literally falling apart mentally, you won’t be able to sing. With my future students, I am happy to use the time that they are paying for in whatever way they find most helpful (within reason)
I thought the last chapter was interesting, but there is not much to write about. The message I got from this chapter is to learn from the experiences of those who have already been in the field. Do research and talk to people who you want to be like. Honestly, I give these last 4 chapters a “meh” out of 10.
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