Tapping a choir’s potential
Tonight’s rehearsal was bumped from the Auditorium (acoustically dead) to the Chapel (acoustically live). Taking advantage of the acoustic quality of the space, I conducted an experiment in how high they could sing “Ah” without seizing up with tension. For those who understand, the vocalist sang “Ah” on a given note, swept up to a perfect fifth above, then returned to the original note via stepwise motion. This was repeated on the next highest half-step, until the vocalist hit a note on which he/she could no longer maintain relaxation.
Result? One bass can sing to G above middle C (in falsetto), and two alto/soprano 2s can sing all the way up to high C#.
Control and is another issue that needs to be worked on, of course, but it was nice to surprise people by tapping their potential.
I realize there is a danger in doing this, in that I’m not formally trained in voice, a.k.a. I really have no clue what I’m doing/don’t know I have a clue. However, as long as they’re singing pain- and stress-free (they were), I don’t believe I’m jeopardizing their vocal health. Are there any voice students/teachers out there who’d like to comment?
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The G above middle C in falsetto is actually not exceptional. Probably the part that is exceptional is a bass who is comfortable singing in falsetto
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I think he was starting to get a little of the “Peter-on-the-high-seas” mentality – you know, the “Omigosh! I’m not supposed to be doing this – I’m a bass!”
Dear AAE and readers:
Two books that I have found most useful in teaching myself singing have been The Use and Training of the Human Voice, by Arthur Lessac, and The Structure of Singing by Richard Miller. Lessac’s book was primarily useful for training my speaking voice, but the techniques it gives are a perfect foundation for the teaching of singing. While the terminology used in Lessac’s book is quite idiosyncratic (e.g. “Y-buzz” for development of the lower portion of the voice and “the Call” for development of the chest voice), the techniques themselves are eminently usable, and I credit the Y-buzz techniques for allowing me to get down (safely) to the C two octaves below middle C (and occasionally, to the A below that!)
The Structure of Singing, on the other hand is a superb collection of bel canto vocalises, together with a stunning synthesis of the pragmatic bel canto technique (or at least, a review of the literature on that technique for the last three hundred years) together with a detailed study of what laryngologists and other scientists have been able to ascertain about the human voice. This book, while sometimes written in a needlessly erudite manner, nontheless provides a collection of techniques, which, if followed, can lead to good vocal health as well as a good range. I credit its use to extending my full voice up to the A above middle C, and my falsetto comfortably an octave above that.
For anyone wanting to have a practical and useful understanding of vocal technique, I cannot recommend these two books enough.
The assertion in your last blog is correct. As someone who has been, as you put it, “in recovery” directing choruses and teaching voice for 30 years, I can confirm that, if there is no pain, and there is no stress, that’s a good thing!
It’s helpful to observe your choir’s posture, stance, and expressions on their faces. Is everyone standing firm and erect? Anyone jutting out their chins? Are the expressions on their faces as they sing naturally animated, or contorted and twisted? Any brows furrowed?
Any variance from a normal, erect posture, or normal, animated expression is a clear indicator of tension. Sometimes singers have been singing tensely for so long, they may feel relatively relaxed, but may be bound up with tension.
If you conduct a choir, you must also be a voice teacher, if you want them to really sound good and to be vocally healthy. It pays to learn as much about how the singing mechanism works as possible.
My experience has taught me that a comfortable sound doesn’t always mean that the singers are comfortable, or using their voice with minimum effort and maximum efficiency.