PHILOSOPHY
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There is a common adage that all great things come from hard work and perspiration. But some great accomplish-ments are created by optimal use rather than maximum effort. For example, professional swimmers want to swim fast. Their speed and endurance are highly influenced by optimizing the physiology of their bodies. Instructing a swimmer to “just kick harder” would be a rather simplistic direction to a complex system. Essentially, their strength plus the nuances of posture, range of motion and the fluidity of gestures, ultimately determine an impressive speed.
Similarly, singers want an impressive performance. They aim for power, range, beauty, freedom and emotional connection. And just as the professional swimmer, the singer can achieve the highest level of artistic expression when the instrument is used with optimal function. I subscribe to a pedagogical approach where the balance of resonance, breath energy and phonation type are the primary means of achieving projection (power), clarity |
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(beauty), fluidity (freedom), and sustainability (endurance). I primarily utilize practical physical tasks to train vocal coordination and reinforce these tasks with imagery and conceptual ideas. Since tactile adjustments are viscerally measurable, they allow the singer to experience an immediate sensation. The results are, therefore, more concrete with greater chances of consistency.
Each singer and voice is individual and should be treated as such. No one wants to be a mere carbon copy of somebody else, because the most moving performances stem from a singer communicating with authenticity, clarity, and direct intention. People move at different speeds. Consequently, a supportive and encouraging environment is a vital part of the learning process, regardless of age or proficiency. Masterful skills come from practice and determination, with a knowledgeable and motivating coach to guide the way. |
