Amelia Kearl-Smith-Chapters 10-14

 Technique, diction, and posture should be automatic by the way we have trained. 

Conditioning is different than performing

Legato technique: balance of phonation, airflow, and intensity

Articulators direct air

1. phonation and airflow

2. Learning to articulate vowels wile maintaining free phonation and airflow

3. Vowels defined by moving articulators

4. Consonants

5. Sigh the vowels

Less tension is always my goal. I'd take the modification over the exact vowel personally

Soft palate lifts independently as a result of correct channeling of the air

Beware! Yawn raises the soft palate but depresses the tongue

Singers rely on an internal pitch in our minds before we produce a pitch

Out of tune: improper vocal production??

Instruments imitate the way singers sound.

How to sing quiet: maintain constant airflow and decrease intensity of phonation.

Belt has same phonation and airflow as in other ranges. 

Opera music conveys the emotion

Singers goal: tell the story

Choose audition songs that show off your best qualities

Singer's instinct will tell you what to sing

Positive visualization of audition

Don't be fake or apologize in audition

Are my rough vocal days really just doomed? Can't I work until my voice is in a good place?

Take care of yourself and your instrument. Your instrument is your body!!!

I NEEEEEEED to drink more water!

Sick? Salt water rinse.

Balance in Diet and exercise

Weight effects the voice. So interesting

Sing because it is your passion! Be genuine. If you don't love to sing why are you here???

Have integrity to yourself as a performer

Emotionally and physically connected to our instrument

Courtney Fairbourn- Smith- Chapters 10-14

It was interesting how these concepts applied to repertoire. I especially loved when he broke down the learning the process for certain skills, such a fioritura. His suggestions on practicing specific things were practical and tied back to his foundational skills from the inventions. I also really like his five step process for learning new rep. I have had a similar concept in my head for a while now, but it was really helpful to see it all written out like that. Personally, I need to spend more time speaking the text and speaking it in rhythm. I think this will help me find more freedom in my larynx and articulators for sure. 

I also agreed with a lot of what he said about other styles. I think that classical and musical theater styles for example are more similar than people often think. I do think that there are specific skills for various styles that don't necessarily cross over. For example, the yodeling-like sound in country or bluegrass music is something we don't really use in classical singing. However, the basics of healthy singing can be utilized in both styles.  

The other section of this reading that I have strong feelings on is his discussion on choosing repertoire. I agree with him so much. It it is so important to be invested in the music you are learning, but it is also important to always try new things. Knowing how you feel about music and valuing your own opinion is another aspect of trusting oneself that I need to work on. 

Logan Kelley-Smith-Ch10-14

 I appreciated that he said that when thinking of a yawn we should only think of the upper half. I have had the problems with tongue depression that he described. I also generally agree with his principles of not modifying vowels, because in most cases this has caused other problems for me. We need to think of diction in a way that it doesn't get in the way of the legato line. Over-enunciation can inhibit this. I thought it was interesting that he said we should never sing with weight in the voice. This is something I hadn't considered until recently but has made a major difference to me. 

The key to healthy belt singing is to keep the air moving consistently and not necessarily think of just head or chest singing. The most important thing we can do is to find repertoire that we genuinely love to sing. Choose repertoire in the area of your voice that feels comfortable. Don't get stuck in awkward areas of the voice. Think of auditions as performances, and be genuine, not apologetic. We need to act in a way that doesn't create tension. Be aware of what you can handle and always show up prepared.

Take responsibility for the voice and how it is working. Don't blame outside effects for what happens when you perform. Don't let fear of consequences prevent you from taking responsibility. Be flexible with what you are asked to make the experience good for yourself and those around you. Know what it takes for you to learn music. Know your position and respond appropriately for where you are in your career.

Do what you can to live a healthy lifestyle. More than anything, know yourself and what you can handle. If you aren't feeling well, you should still be able to sing, but don't put yourself in situations where you might push or create problems for yourself. Cancel when needed. Don't take everything your coach says as truth. Know your situation and voice, then apply appropriately. True success comes from finding and following your passion. Let singers be unique and don't compare them to others. Aspects of learning vocal production can help us balance all aspects of our lives.

Kaylee Borchert - Smith - Ch. 10-14

 I love that he said "Singers should not be thinking about technique when they sing," as this reinforces the idea that I've always been told that the song will come out however you have practiced it in a performance. So if you don't practice with the right technique then when you perform that technique will not be there. Legato technique, vowel definition, vowel substitution, French nasals, consonance, shadow vowels, diction, musicality, dynamics, etc. These are all different things to work on, different techniques that you have to take into consideration. Consonance is one as I have been working on one of my English pieces, as well as in Scenes, and choir that has been stressed especially. 

You have to be committed! There is not one way to achieve success, you have to be true to you. Be careful when you have to act while singing because it can cause tension, thus we have to express through the singing. I loved reading this section as this is something I have noticed within myself, I love getting into character but I often have to watch and make sure it does not affect my singing. Do not play the role of the victim, take responsibility and be confident in the choices you make. 

In order to be a healthy singer you must also be a healthy human. Hydration - he brought up using steam before a performance because it doesn't produce mucus but it lubricates the cords, I thought this was very insightful. I also thought his remarks on physical appearance quite interesting and how physical appearance is much more important nowadays. 

Being successful is not about wealth and riches, rather Smith points out that it is following your own path and sticking with it. It looks different for everyone, and fame and riches might be found along the way but that is not the end all be all. 

Brianna Skeen- Smith- Chapters 4-6

 Summary            

-These chapters focus on Smith's first three inventions. The first invention focuses on being able to speak freely and without tension by purifying vowels and speaking in your own vernacular. He adds the concept of "speaking with line" to emphasize connection between words and phrases when we speak. The exercises described are also to focus on getting the singer's vowels into a good placement.Smith refers to these exercises as buiding a good foundation for the "chiaro" aspect of the voice. The second invention focuses on breathing and airflow. With these exercises, Smith has the singer focus more on having a consistent airflow that can help transition between registers. Smith refers to this work as working on the "oscuro" aspect of the voice. The third invention that Smith uses is called "the balancing act" in providing exercises that combine the elements found in "speaking simply" for a bright sound with elements found in "free flowing air" for a dark sound to create a balanced chiaroscuro sound. These excersises focus on how projection, singing with line, and eliminating the sensation of resistance can help free the voice for a clean and balanced sound that is fre of tension.

Application

-I really like the concept of these exercises. I actually used some of them with my students this week. I like the concept of finding a relaxed laryngal space with clean vowels and a healthy projection before adding the sensation of singing. I also liked how the sirens are about airflow and finding an airy space on top as opposed to trying to push to get high. As Smith is always saying, "It's not how high you get, its how you get high." I liked that the airflow excercises were less about range than they were about having consistency with airflow and allowing the air to carry the pitches and not the larynx. 

Patrice- Recital Hour- 11/18

Mariebelle Tayolr

Screw Loose

• You had so much fun!
• Great transitions between your registers

Taylor Woolf

Dying Ain't So Bad

• This song is great in in your voice
• Getting back to the lower register was a bit rocky- I would work on those leap warm ups

Kennan Thomspon

Le Rose d'ispan

• Good onsets
• Overall really nice!
• Work on nasal sound sneaking in

Megan Richards

• Support is needed in higher register
• Good consistency overall

Kaylyn Baldwin

The Fire Aria

• I love watching you perform!
• I often loose the sound when you look down
• One of the best physically pleasing performances I've seen you do!

Courtney Fairbourn

Light in the Piazza

• BEAUTIFUL!
• I love this style in your voice

Misteen English

Safer

• A nasal quality slips in occasionally-as you get further in the song it pops up more
• One of the best times I've heard you sing this song
• YES.

Hayden Hoglund

• A lot more consistency than the last time I heard you sing this song
• Also more personality to the song too
• Leaps- can be more solid (leaping up especially)

Layton Loucks

• Difficult timing on this song
• Be confident on the low notes
• 
  

Nalani Mathias

All That Matters

• You have such a poignant voice
• I wanted the first verse and chorus to build a bit more
• Great riff

Millie Hein

I Hate Men

• Very fun!
• I want to see the meaning in of the song in your face

Autumn Nelson

Nel col mio sento

• A lot air is escaping
• good consistency- I want to hear more spinning of the air

Logan Kelley Recital Hour 11/18

 Recital Hour November 18

Generally I am bad at pointing out things that are going well vocally, so today I am going to focus only on that.

Patrice D- I love how captivating she is at performing, even a classical song. When she opened up to the higher passages in the middle, the sound floated well and landed in an easy place, especially the highest end. She keeps a bright tone throughout without the sound feeling too heavy.

Maribelle T- She has told me before that she can’t sing in her lower range, but it sounded nice and resonant throughout this song. As she transitions higher it stays in a resonant, consistent place. I loved hearing this sound as it got higher because it is something I have never heard from her. 

Taylor W- This is a song that could easily be pressed or thin on top, but she does a great job of keeping it very open as it gets higher. She is very intentional about the use of registers. She keeps a nice sense of upward space for a musical theatre sound. The high D on “it gets sad” was very open considering it is an awkward vowel.

Kennan T- This is the most expressive singing I have heard from him. The high and low extremes in the range do not sound pressed at all. Especially above C4, the sound carries consistently through the phrases and with ease.

Megan R- She almost always has a very clear sound. She is able to access high notes easily in this way without it sounding pinched. You can tell she is relaxed because the song spins easily.

Kaylyn B- She has incredible colors in her singing because of all of the space she utilizes. Her runs are completely effortless which shows how much freedom she has in her singing. She is also able to add a lot of contrast into dynamics and sound.

Courtney F- Her middle range is more free than it has ever been. I can hear her navigating all areas of her voice with ease. This is a musically complex song, and she is always aware of the musical complexities. Especially the major leaps seem easy and cohesive in sound quality.

Misteen E- The spoken section at the beginning is effortless and doesn’t feel forced at all. This is when she is able to find the most natural placement in the song. I especially loved the contrast she found in the bridge. As it got higher, especially the highest “life fly by,” the sound felt like it wanted to open up even more.

Hayden H- I love how he is able to keep a richness in his sound throughout. It sounds like he is effectively accessing space, and working to keep that both high and low. It is especially evident in the upper range of this song.

Layton L- I love the edge he has in the higher range in his voice. I don’t know that I had heard it in this way before. Even though there was a lot of text, he was able to navigate it well and not let it get in the way of his singing. 

Nalani M- I love how she so effectively uses each area of her range and doesn’t ever get stuck in one. Through the second verse she effectively belts, but then transitions into a mixed sound through the chorus, especially up to the high Db. She lightens up nicely in the second to last phrase.