ARCHIVE

January is not a holiday month!

Dale with Elizabeth Benson and Auburn Music Theatre students.

I have been having the most magnificent time in the United States and thought it might be update time. As I write this I am sitting in Starbucks at the Cincinnati Conservatory of Music after watching a “Vocal Athlete” class with the incredible Wendy LeBorgne. I am staying with Wendy in her beautiful home for the next few days and shadowing her (lucky me – right!) at work. For those who don’t know, Wendy, along with the wonderful Marci Rosenberg, authored The Vocal Athlete, which is a fabulous pedagogical text for contemporary voice teachers. Seeing her in action with sophomores applying the principles of exercise physiology and motor learning in practical and specific ways to ensure triple threats voices are not compromised by the incredibly physical work they do onstage in music theatre was such a privilege.

I arrived in an extremely cold New York on the 28th December and proceeded to do a music theatre binge – 7 shows in 7 days. Three of those days had no performances – so it was intense! I saw Dear Evan Hansen, Come From Away, Hello Dolly, Hamilton, Spongebob: The Musical, The Band’s Visit, and Once on This Island. A truly diverse range of productions with incredible performers. I am so fortunate. There is nothing like seeing these shows live. Every performance I attend changes me just a little bit and informs my ideas about what the marketplace is doing, what singers are sounding like.

I was hit by the massive snowstorm and was stuck in New York and extra night but managed to arrive in Orlando at Central Florida University for the magnificent Music Theatre Educators Alliance (MTEA) conference. Amazing educators, information from Broadway producers, artists, and a fantastic panel from the cruise ship industry discussing what it takes to get employed! I was lucky enough to present on the final day, after some shifting around (my presentation was originally designed for the first day), and I have made new connections and friends from this great event.

My flight to Orlando was not without drama and I arrived in Savannah with a full blown chesty cough and cold. I worked from Savannah (which had snow on the ground – a rare event) then visited family in North Carolina who promptly tucked me into bed until I was well enough to continue on!

Next to North Greenville University where I conducted a masterclass for contemporary and worship students. Voice teachers Luke Browder, Seth Killen, Mark Eshenbaugh and Cheryl Greene (Head of Department) were so welcoming, and it was great to work with their talented singers.  My next day was to include speaking with the pedagogy class and another lecture in the afternoon but a snow fall meant roads were impassable and my day was cancelled. I soldiered on, getting to Auburn in two days – allowing for ice on the roads (very scary!).

Elizabeth Benson, Mary Sandage and Dale in the Auburn voice lab!

Once in Auburn I was lucky enough to visit with Mary Sandage, amazing voice scientist working out of Auburn University. Then it was off to the music theatre department with friend and colleague Elizabeth Benson who heads up MT Voice. I lectured and masterclasses with students, as well as observing Elizabeth in the studio. It was a wonderful couple of days.

And so, here I am at CCM. For those in Australia who don’t know , this is a very big prestigious school. The graduates experience extraordinarily high placement rates upon graduation, either on Broadway or in touring productions. I’m looking forward to an afternoon observing classes, and I am very grateful to the wonderful Wendy LeBorgne, and her husband Ed, for their hospitality. Lets hope we can get Wendy in Australia someday – she is a powerhouse!

And now for the practical. I’m back in Australia early February, lessons will start either Friday 9th / Saturday 10th, depending on my recovery after the flight. I’m SO keen to get back to teaching. And study – of course – the doctoral work is never far away! Please contact me email if you need to speak before I get home – I have had some texts come through, but the time difference means that these might be coming in at awkward times! Thanks!

Some thoughts on Contemporary and Commercial Music (CCM) singing (part 1)

Dale works with singers one on one for strong healthy CCM voice function and performance skills

A couple of weeks ago I was pleased to be the adjudicator for the Queensland vocal competition run by the Music Teacher’s Association of Queensland. I was to adjudicate the Music Theatre and Contemporary sections, otherwise known as CCM sections.

There was some lovely singing and overall it was a wonderful day. However there were some interesting trends.

  • A whole section of musical theatre singing where every song was in legit style. No contemporary music theatre singing styles to be found.

So, what’s wrong with that?

Firstly, legit style is a completely appropriate singing style for music theatre. I absolutely love legit singing, which has strong articulation, a bright clear sound and legato lines (although NOT as legato as classical – to my ear there is a BIG difference). The sounds in legit are more speech-like than we hear in classical. I don’t hear much covering in contemporary legit music theatre. Perhaps in some older performances and performers, but the legit sound we hear now is VERY different to the legit sound heard forty or fifty years ago.

The important thing to remember with legit singing is that it is only PART of music theatre (MT)  singing. Traditionally the two singing sounds heard in MT are legit AND belt. If you don’t know how to belt, and can only sing in legit style, your music theatre options may be limited, whether you are a community theatre singer or professional. A study by Green, Freeman, Edwards and Meyer in 2013 observed that over a six month period only 5% of audition notices (for the American market – they looked at notices in Backstage.com) were for legit style singing. A further 40% of audition notices asked for traditional music theatre singing, which would include both belt and legit styles. The remaining 55% of auditions were for pop / rock (25%) and contemporary singing (30%). And there is more to being a contemporary singer than just belting. That is a  LOT of opportunities you may be missing out on because you only sing legit.

  • A section of contemporary singing where no-one sang with a a microphone, even though one was on offer.

Why do you need a  microphone when singing contemporary music? Have you EVER seen  contemporary singer NOT use a microphone? CCM singers are not AS interested in producing the resonance to sing over an orchestra that is a very important part of classical singing. We have expressiveness which may ONLY be picked up by a good microphone. A microphone is quite simply part of being a CCM singer. If you don’t know how to use one, or don’t know what you sound like with a microphone, you need to find out. And practice with one. Play with it. It is the other part of your voice in CCM. EQ and effects can have a major impact on CCM sounds. That is NOT CHEATING. That is the way it is. That is the market. I have three mics in my studio set up at all times. We may not use them every lesson, but they are in fairly constant use. At least everyday one of my students will be on the mic.

  • A section of contemporary singing where the only thing that was contemporary was the repertoire.

There are some contemporary songs which use classical style and function, I’m sure, but NOT MANY! I’ve been teaching CCM for 18 years and singing and performing it for 37. I’m having trouble thinking of one. I’m sure someone will send me some ideas. CCM style and FUNCTION is different to classical. If you don’t think these styles are different and require different teaching methods, check out what the American Academy of Teachers of Singing says about CCM voice teaching.

In males we need a LOT more falsetto/ head / mix happening. There is a lot more going on at the top. It is brighter. It is NOT covered. The airflow is different.

In women there is (usually) a LOT more chest register (or M1 – or lower register, or whether term you like to use here) and it is strong. There are a LOT of sounds that women need to make in CCM that require a super strong chest register that is capable of going higher than you might expect if you are a classical singer. I’m not just talking about belting here. However, the range of style and function in CCM music is incredibly diverse. There aren’t necessarily hard and fast “rules”. Some folk songs, some indie and pop singers use more head registration than other styles. the ideal is to have chest and head registers working and strong, to be able to move between these registers and on a whole series of notes in the middle choose what “weighting” you give to which register according to the style being performed. And that is just talking about the vocal sound source – I haven’t even started on the shaping of the vocal tract (vowels and the various sounds we can make with vowels) and airflow (more / less) or volume (loud / soft / medium) and how that can impact on the sound.

The lack of prescription about what the voice MUST do in CCM singing is precisely because there is so much diversity in CCM. There are many ways to make these sounds.

We know what is CCM sound when we hear it. We know what a classical singing sound is when we hear it. And we all know what a classical singer singing CCM without changing some of their function and style sounds like. It is embarrassing for the singer, I think, if they know it. Certainly when I pointed this out in my adjudication  of the competition section , a lot of the singers in the competition were nodding their heads. They were young people who KNEW they weren’t making the right sounds.

Well trained ears will help determine what part of the sound needed comes down to source (vocal folds, registration) and what comes down to filter (the shaping of the vocal tract and how this can be changed to help boost the appropriate sound). If that sounds technical, it is. If that sounds like a bit of training, well it is.

A well trained CCM voice takes time – as does a well trained classical voice. I love classical singing – it is beautiful. I love opera – in my undergraduate degree  we students went to the Opera House in Sydney very often on student rush tickets. I have had classical lessons so I know exactly how different it feels in my own voice. It is like the other side of the moon, to me. I played with it for a while, but it was changing more voice too much and I was losing my top belt notes. So I stopped, because I need to be able to sing and demonstrate my own speciality. It would take years and years of cross training for me to be able to switch from one to another. Right now I can switch from belt to legit and back, I can sing most CCM styles and that is useful for my teaching work. Do I admire classical voice? Absolutely. Those singers who study hard are incredible vocal athletes with the most amazing instruments. And so are the contemporary singers who are at the top of their field. It is extremely rare to be at the highest levels in both fields at once.

CCM and classical. One is not better than the other. they are just different styles with different functions and requirements.

References

American Academy of Teachers of Singing. (2008). In support of contemporary commercial music (nonclassical) voice pedagogy2008. Retrieved from http://www.americanacademyofteachersofsinging.org/assets/articles/CCMVoicePedagogy.pdf

Green, K., Freeman, W., Edwards, M., & Meyer, D. (2014). Trends in musical theatre voice: an analysis of audition requirements for singers. J Voice, 28(3), 324-327.

 

ARCHIVE