The translucent introspection of the Rational and Systematic approach of the Art of Practising (Author: Silviu Alexandru Mihaila)
Whereas the purpose of the discussion is to convey a judicious image of the Rational and Systematic approach of the Art of Practising the present essay is addressing, in this respect, that "Practice should always be based upon the sound knowledge of theory" (1). Thus, the object of the discussion encompasses the Scientific Manifestation of the Art of Proper Singing and the Science and Art of Clinical Vocal Care. This essay will describe my personal challenges and aims regarding practising and it will also review my recent improvements. These include how I build the muscles of my vocal chords while creating a natural and safe vocal technique, how I maintain and develop the vocal range, how I adapt the qualities of the sound while singing in style and how I perform on stage and my approaches to avoiding injury(2). In each and every practice time I have insure myself that I use the correct 'singing' position in order to allow the airflow to be directed towards the chambers of resonance. This is the first factor which influences the entire process of sound placement in the vocal apparatus through the breathing and the diaphragmatic support, while Joan Sutherland's statement is very apt in this context: "Singing is basically breathing, supporting and projecting"(3). Figures 1, 2 and 3 illustrate an eloquent graphic representation of the proper standing position in practising along with their purpose and indications. However,
no
matter
what
position is adopted, it is highly recommended that the pelvis and intercostal area are able to expand
while
breathing,
especially for operatic singers who meet with situations when they have to perform sitting on the ground, on one side and suchlike.
1) Da Vinci, Leonardo The notebooks of Leonardo da Vinci London, Oublier Publishing Group, 2002; 2) It has to be mentioned that the elements and exercises related to the Art of Practising are chosen with the strict guidance of my current and former singing teachers. 3) Jerome Hines quoted Joan Sutherland in Great Singers on Great Singing London, Victor Gollancz LTD, 1983, pg.325;
The implications of building the vocal 'instrument' are often varied and require a lot of attention and responsibility when practising. For instance, the musician plays the piano or violin in order to learn the instrument whereas the voice is the "instrument-in-formation". A good placement of the vowels in the vocal apparatus is essential for generating a safe vocal technique. It will automatically help to reduce the pressure put on the vocal chords while practising and performing on stage. A misplacement will probably irreparably hurt the voice. My aim for the next five years is to build a vocal technique which will give me the possibility to successfully perform a challenging role in an opera production. I have achieved, over a period of time, a more natural placement of the vowels which has instantly enabled me to produce a brighter, more powerful sound. The following diagrams show the places where the sound must be directed while singing the vowels like the famous Italian saying: "Si canta come si parla!" (tr. We sing as we speak!) or "Speaking and singing are similar functions"(4).
4) Marafioti, Mario quoted Enrico Caruso in Caruso's Method of Voice Production, New York, Dover Publications, 1981, pg.115;
One challenge which has been one of my recent concerns is the maintenance and the gradual development of my vocal range (5). Since the beginning of this academic year I have unexpectedly managed to place securely
in my vocal range the G sharp and A notes, above the middle C, from my previous highest notes which were F and F sharp. This was possible through good breathing control, placing no effort on the vocal chords and always trying to give space to the sound without splitting the voice into three physiological registers. This idea is also supported by Enrico Caruso who stated that "There are no registers in the singing voice, when it is correctly produced"(5). Joan Sutherland also stated that "Through technique we have to disguise or blend the three [registers] so there appears to be an unbroken line of sound"(6). Figure 7 illustrates the correct mechanism of vocal placement. .
=>Vocal range without breaks into registers
5) Marafioti, Mario quoted Enrico Caruso in Caruso's Method of Voice Production, New York, Dover Publications, 1981, pg.136; 6) Jerome Hines Great Singers on Great Singing London, Victor Gollancz LTD, 1983, pg.328.
When preparing a new piece I always do a lot of research to find out if my scores respect the original intentions of the composer and to be sure that the accurate style of the particular period is going to be framed in my performance. Performing the repertoires of different musical periods involves bringing together different technical and expressive qualities of the voice, vibratos, divisions of voice types and registers, articulation, ornamentations and historical pronunciation of the text and suchlike. These elements should be included in the musical speech when considering the major differences between the Early Baroque, Late Baroque, Classical era, the Italian Bel Canto, German Lieder, French MĂŠlodies, Second Viennese School and the Nationalism of the Twentieth-Century. Thus, it is more than necessary to search for the 'ideal' sound by researching the scores, articles of that period as well as the historical context. The image of the singer is also very important. Most singers are also actors and a good actor should feel and understand the lyrics very well to communicate with the audience. I always translate the text of my repertoire, especially in foreign languages such as Italian, German, French or English, to get closer to the poetic meanings conveyed in the sonority of the music. The approaches mentioned above are encompassed in a topometric program which is related to the short and long term professional progress in a very strict organisation of time to avoid injury. To conclude, the rational and systematic approach of the Art of Practising will always lie in the cultural appetite of the singer while searching for solutions which may lead to a long and successful career. My approach may not be very convenient for the vast majority of 'modern' performers but I cannot express in words the unique satisfaction I feel after each successful performance and the desire I have for selfimprovement and excellence.
Bibliography
Books 1) Field-Hyde, F.C. "The Art and Science of Voice Training" University Press, 1950;
London/New York, Oxford
2) Marafioti, P. Mario "Caruso's Method of Voice Production:The Scientific Culture of the Voice", New York, Dover Publications INC, 1949; 3) Sataloff, Robert Thayer "Professional Voice: The Science and Art of Clinical Care (Second Edition)", London, Singular Publishing Group, INC, 1997; 4) Fuchs, Viktor "The Art of Singing and Voice Technique", London, Calder and Boyars, 1973; 5) Behnke, Kate Emil "Singers' Difficulties: How to Overcome them", Chappell and Co., LTD, 1955;
London/New York,
6) Greene, Harry Plunket "Interpretation in Song", London/Melbourne, Macmillan, 1966; 7) Elliott, Martha "Singing in Style: A guide to vocal performance practises", Yale University Press London, 2007; 8) Bacilly, De BĂŠnigne "A commentary upon The Art of Proper Singing (1653)", New York, The Institute of Medieval Music LTD, 1968; 9) Miller, Richard
"Training Tenor Voices", New York, Schirmer Books, 1993;
10) Balk, H. Wesley" Performing Power: A New Approach for the Singer-Actor", Minneapolis, University of Minnesota Press, 1985; 11) Craig, David
"On Singing Onstage", New York, Schirmer Books, 1978;
12) Hines, Jerome "Great singers on Great Singing", London, Victor Gollancz, 1983;