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Synchronizing the onset of sound is tricky at any time, but especially so when the first word begins with a ‘w’.
If the word begins with only a ‘w’, as in the word ‘we’, there’s a tendency to try to begin the sound through tightly puckered lips before the ‘ee’ vowels start popping out all over the chorus.
I’ve found that the most effective way to lock in to the sound onset is to have everyone breathe in through the shape of an ‘oo’ vowel, then without closing the mouth for a ‘w’ as we would when speaking, sing the ‘we’. I used to ask people to actually sing a very fast ‘oo’ before they switched to the ‘ee’ vowel, but that took too much brain power. Now I just ask them to sing ‘we’ beginning with a more open lip shape.
The real trouble lies in onset words that begin with a ‘wh’ combination.
For some reason that I still can’t fathom, when it’s a ‘wh’ combo, people love to do these 2 things – scoop up to the first pitch, and/or add a preceding ‘huh’ or ‘hoh’ – especially when they feel emotional intensity is called for.
Huhwhhherever you are.
The ‘h’ sound in the ‘wh’ is so rarely used in spoken English these days that I prefer to just leave it out altogether.
And so my approach would be the same as for the plain ‘w’
Breathe in through the ‘oo’ shape, then just sing the word, beginning from that more open lip position. People are also mystifyingly less likely to scoop up to the first note when they use this approach.
Wherever would become ‘Wear’ever.
So much of what we do to emulate natural speech patterns involves singing word sounds, not words, and this is an example of that strategy. I’ve never had even one audience member mention to me that they’d missed the ‘h’.
We often forget to talk about this aspect of stage etiquette until we’re about to walk out to sing.
Sometimes when I want to give the chorus a small singing break during a gig, I ask a quartet to sing a couple of songs.
When a quartet (or soloist or a small group from the chorus) steps out to sing, a chorus member’s job is to keep the audience’s attention on the action, and by their own attention, create excitement about the quartet’s performance.
So here are the rules
1. Watch the quartet. Don’t let your eyes wander away to the ceiling, the floor, your fingernails, or to someone in the audience that you recognize. Your listening is just as much a part of your performance as is your singing. Please don’t fiddle with your hair or glasses, blow your nose, or chat with your neighbour.
2. See post #373. Your lips need to be relaxed and slightly open. Otherwise you’ll look annoyed or bored – which will draw attention away from the performers. If you look annoyed, the audience will start imagining that there’s an interesting story there, and get distracted. Even if you’ve heard the quartet’s song a thousand times, you need to create the impression that you’re enjoying yourself. If nothing else, gratitude is in order – they’re letting you take a break.
3. When they finish their song, do not applaud!! Smiling and beaming with pride is appropriate. The quartet is part of your group and applauding them reads to an audience as if you’re congratulating yourselves. Clapping is the audience’s job. Performing is yours.
Such a small, seemingly insignificant detail – but when I demonstrate singing a phrase, then immediately closing my mouth, it looks so jarringly uninvolved that people laugh.
The rule of thumb here is that if you’re a singer, and you’re onstage, your lips should not be closed except for the nanosecond that it takes to form the occasional ‘b’, ‘p’ or ‘m’.
Singers in the chorus who keep their lips closed look either grim or disinterested – neither of which is particularly desirable.
The tough part of this is that closing our lips is so unconscious for most of us that it’s a difficult habit to kick – especially on those days when we might be feeling grim or disinterested.
The temptation to close the mouth is the strongest when another part has a lead in, and we may have rests for a beat or two.
And this rule applies not only to the singing part of your onstage time – but also to acknowledging the applause, and when preparing to sing the next song. In fact, if the curtain is open, so is your mouth. And whenever I mention this to my groups, there’s always one joker in the crowd who thinks it’s hilarious to just leave his mouth wide open. (Directors – just giving you a heads up) By open, I mean lips open and relaxed.
There’ll be people reading this who say that if everyone is actually emotionally involved, then there will be no closed lips. And they’re absolutely right! But emotional involvement is so very difficult for a segment of every group, that to have this contingency plan – making a habit of leaving the lips open – will help the visual impact of the performance.
It’s a small thing, but the difference it makes to the overall visual excitement level is too obvious to ignore.
I sat down to write a new one of these – but realized that all of this is still valid. And since it’s buried almost 100 posts deep, I thought reposting it might be useful….
1. Use technology. Record yourself – then listen to the recording and assess what you could be doing better. Like our speaking voices, our singing never sounds the way we think it does – so we don’t know what we’re working with until we hear ourselves recorded. Please try not to be discouraged – almost nobody likes what they hear initially when they first record themselves. Work regularly with your Korg Chromatic Tuner https://betterchoirs.wordpress.com/2011/12/08/magic-choral-trick-21-the-korg-chromatic-tuner/ and www.metronomeonline.com Care about improving your ability to sing in tune, and in time.
2. Do some vocal technique – even 5 – 10 minutes every day. Legato exercises on one clean target vowel at a time https://betterchoirs.wordpress.com/2011/11/22/magic-choral-trick-5-target-vowels/ – something simple, like half scales, up and down:
C D E F G F E D C, then D flat E flat F G flat A flat G flat F E flat D flat, then D E F# G A G F# E D…
Also – recognize that your body is your instrument, and treat it well.
3. When you’re given learning tools – learning sound files, or choreography notes or video – please, please, please, please use them.
4. When you have a concern or complaint, mention it ONLY to someone who can do something about it. Dissent about even relatively minor things can infect a chorus quickly, even fatally, if complaints are passed around from one willing ear to the next – with no intent to follow up and fix the problem. It takes courage to actually take steps to shift this mindset – and to take an issue directly to the person assigned to handling that facet of chorus life. Practise your bravery (Thanks to my sister Maeve for this phrase, which she invented to encourage her sons)
5. Give more of yourself than is expected, and your chorus experience will be richer than you expected.
As I played my Dad’s arrangement of Away in a Manger from the hymnbook at church last night, and sang with my husband and adult kids this morning, providing the music for Christmas Mass – then later watched a snapchat video of family in another city singing through choral arrangements of Christmas songs – just for fun, I realized yet again the value of the gift my Dad gave us all when he taught us to sing. And to read music.
We’re now seeing more and more new studies being done on the benefits of singing together – cognitive, physical and social. And the beauty of this is that we don’t ever have to retire. My mother, who is almost 95 is still a valued member of her church choir.
Being taught to sing continues to bring fun to my life. In addition to always having been able to enjoy singing with others, I now have the mighty mission of adding to, and passing on my Dad’s teaching to many other singers. And that’s worth getting up for every morning
At the end of every rehearsal with my men’s Barbershop chorus we sing “Teach the Children to Sing”. I’m beginning to think that there might be no greater gift.
I’ve been noticing recently that although my passion for being a part of the creation of exciting group singing has not diminished, I have much less emotional attachment to the outcome of a particular performance.
And I realize that my investment is in the work of changing lives, one rehearsal at a time.
If excellence spills over into a performance, so much the better – and there’s great satisfaction for everyone in that. Accolades are affirming, and an indicator that we’re on the right path – but if we’re all doing this mighty work well, we already know that.
I had a comment recently from one of my chorus members that their family members wanted to see and hear us more often – so that they could know what it is that we’re all so committed to.
From my perspective performance is a motivator, and definitely one of the reasons we do this – but I’m not sure it’s the most important facet of the work.
The Mighty Work is the development of a sense of oneness, and an opportunity for us to create something much, much more than the sum of its parts. It’s the creation of a vocal murmuration – like the magically synchronized flight of a flock of starlings. It’s the stuff of real joy – and unaffected by whatever life situation we left outside the rehearsal hall door.
And although we love to share it with audiences – the Mighty Work happens mostly at rehearsal and creates a state of grace.
Murmuration – National Geographic…
I’d hardly call this a quick trick – but it’s a long term goal worth pursuing
So much is involved in producing an exquisite work of choral art, that sometimes we let this one slide a bit.
I know that in almost every choir I ever sang with there was always a great deal of time spent with the finessing of our soprano interpretation. Lovely arching phrases, and synchronization of the subtle nuances of our word accentuation.
And I always felt a little surprised that the harmony parts that I could hear around me seemed to be less enthusiastic about singing their melodies in the same way – with the same interpretation.
Granted, the harmony parts are often more thankless line-wise than the melody. But I figure that if you’re a good enough musician to sing a harmony part, you’re skilled enough to sing it beautifully – as if it were a heart wrenching melody.
Now as I direct groups with varying levels of ability I understand well about picking your battles. Sometimes I’m just grateful that the notes are learned and are sung with a reasonable sound quality.
However, I’d like to put my groups on notice now that I will demand more of the Altos, Tenors, Basses and Baritones in 2018 and that I will be demanding more melodic flow and lyric nuance in line with what I’m already asking of the Leads and Sopranos.
Basses in particular are prone to thinking that since they’re all the way down in the basement, we don’t notice them. But when a bass line is sung exquisitely, it’s transcendent, and lifts the whole chorus to a new level.
The actual Bass parts are often no help with this, because in order to make the harmony work, the arranger has had to have the Bass line leap up a good sized interval to an unimportant word or syllable. So without constant vigilance on the part of the singers, this kind of tricky Bass manoeuvre can sabotage the flow of a phrase’s line. But again – when Basses can finesse it, it takes that line to a wonderful new level.
Must give a shout out here to Barbershop Baritones who may have the toughest job of all. To make something of beauty out of the kinds of lines that you are handed requires real artistry. But it’s your job to make those very difficult voice leadings match the Lead line, and sound effortless. When you do this, it’s so exciting!
Altos – you have a real and achievable opportunity here. Your parts are often fairly static, but if you treat them like simple gems in complete synch with the melody line interpretation – and worthy of interpretive attention, they become more of an artistic challenge for you.
Tenors of all stripes – both mixed choir and Barbershop – need to be aware that even with the slight vowel modifications that you need to make in your upper register, we still need your word accentuations and your line to flow in synch with what the melody is doing.
Bottom line, Harmony singers – “With great power comes great responsibility”. And you have the power to lift us all to a new level of singing experience this coming year!!!
Imagery is usually much more effective than knowledge of anatomy when it comes to singing.
Just as when a child is learning to walk, and the only picture the child has in his or her head is arriving where Mom or Dad is crouched down, encouraging them – so the pictures in our head as we sing will guide us more effectively than constantly checking in on what every muscle, cavity and sinew is up to.
The latest effective image that I’ve discovered and tested with all my groups is the Goldfish Bowl.
Pretty simple. Hold a large, imaginary Goldfish Bowl, about the size of a volleyball, up near your face at about shoulder level – then look slightly downward and sing into it – imagining that you are filling it with sound and warm air as you sing.
Bigger, richer and much more cohesive sound from the chorus
I chose a Goldfish Bowl because it’s transparent. When you lower your hands again, it’s easier to imagine that a glass bowl is still there.
Lately during Warm Up time I’ve been doing just a bit of actual warming up of the voices, but much more work on warming up the chorus’ ears.
Really not fair though that this exercise is easier with a men’s chorus, or in an SATB choir where the two bottom voices are men’s.
What I’m talking about is the intensity with which you can hear the overtones, or harmonics when men are singing the root of a chord.
Thinking vertically, as well as melodically and paying attention to overtones can produce truly magical results in every group. The work – hearing the harmonics/overtones may take just a bit longer in women only groups.
In my men’s chorus I ask the Basses to sing the root of the chord, and to keep nourishing and sustaining it (staggering the breathing) so that chorus members can practise hearing the overtones in the sound. The overtone that can be heard most easily is the octave above the note that the basses are singing – so when at least a few of the Leads can hear it I ask them to just place that octave right into the Basses’ sound. They don’t need to ‘lead’ when all they’re doing is amplifying something that the Basses are already creating.
Once that octave is clean and balanced, I ask the Baritones and Tenors to listen for the 5th of the chord that will be sounding because of what both the Basses and Leads are singing. It may be easier for the Baritones to hear the 5th overtone an octave higher than they’ll be singing it. I find that that harmonic tends to pop out more.
When the Baritones place that 5th, they know that it’s correct when the combination of what the three parts are doing creates an empty, open, hollow sound. At this point it actually starts to feel pretty good, physically, as if suddenly you’re in a very clean, clear place.
After enjoying this clarity for a while I ask the Tenors to start listening for their 3rd in the overtones that are being created. If the three lower parts can keep that open hollow sound steady, the 3rd will just pop out, and needs to be sung only very delicately for the chord to fuse together and become a mystical place where you’ll all just want to keep hanging out!
For SATB choirs, I’d have the Basses sing the root, the Tenors the octave, the Altos the 5th and the Sopranos the 3rd (though they’ll have to rethink their starring role for the purposes of this exercise) Even if the sopranos take the high octave, the Tenors the 5th and the Altos the 3rd, the sopranos will still have an opportunity to practise humility as they fit into the Basses’ sound.
I know this seems like it would be one long continuous sound, but I find that groups need to rest for a few seconds between the sections of this exercise. If people aren’t accustomed to listening for overtones it can be mentally very tiring. Their brains need a short break both to rest, and to absorb what they’re learning about the sound and physical sensations.
When I do this kind of work at the beginning of a rehearsal I find that people’s ears work better for the rest of the evening.
And for a Director, better tuning really is the Holy Grail that drives us on.
If we do this warm up exercise with a group of singers 1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 1 (doh re mi fah soh fah me re doh re mi fah soh fah mi re doh) then a semi-tone higher with each repetition we hear this:
1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 1 (doh re mi fah soh fah mi re doh re mi fah soh fah mi re doh)
Especially when the exercise gets into a high register – no matter what vowel or what words we’re using to sing the note pattern
To be fair, the 5/soh does fall on beat one in this exercise, which means it’s already in an accented position – but the same thing often happens on the highest note of a run within a song.
To smooth out the bump on the high note we need to think extra legato from the top note to the note immediately following it.
Or to put it in a way that people seem to understand – when doing the exercise above, I ask for a lugubrious slide from 5 down to 4 every time that comes up in the pattern.
This works immediately to smooth out the bump in the sound.
However, this technique is only as good as the amount of dependable mental focus of the singer or singers. As soon as we understand the concept, we feel we no longer need to think that annoying time sensitive legato thought – and once again the bump will show up.
The exercise at the top of this post is a great way to drill this thought.