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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.

 

Fabulous function AND performance!

LOVE the stunning Sheri Sanders! Her Rock the Performance classes are a must for anyone seriously into CCM Music Theatre styles!

I have been thinking since I returned from the United States in January about the amazing educators I have met and what they have contributed to my teaching and learning. I have blogged before about how I believe in lifelong learning. There are always things to learn, if you take the time to listen and assume that there is always more to be discovered than what you have experienced. I have been teaching CCM (Contemporary Commercial Music) and Music Theatre voice 16 years now, and I am so thrilled to have many things I’ve learnt along the way confirmed, as well as being able to ask great educators their ideas and opinions on issues that I have encountered in my studio.

My latest experience in training with fabulous teachers has been doing the Rock the Performance online class with the incredible, inspirational Sheri Sanders. WOW! This is an online course where we meet up online for eight classes of about three hours over a period of eight weeks, exploring a different contemporary voice style each week and learning how to apply this to music theatre auditions. I have been stretched and challenged and enhanced my skills every week. I have been imparted with boldness and a new sense of wonder and appreciation for the time periods which birthed the music we have been studying.

In San Diego at the MTEA (Music Theatre Educators Alliance) conference I discovered a group of people who are passionate and excellent at what they do, and the care and attention that they take in their student selection for their courses was profoundly moving to me. Of course students need to be talented and skilled, but they looked at the person,  the individual. The care and thought that goes into the education of these young performers was inspiring and left me the feeling that it was more of a mission than a job to these educators. I loved the acknowledgement of the need to equip students to be prepared for the industry as it moves into more digital platforms, synthesised with the incredible importance of the individual’s ability to perform at their peak though education, training and support. The incredible encouragement between professionals, an arena of acceptance, where each person is worthy and each opinion or idea is valid can only bring a strength to the learning institutions they represent. It was a rare environment.

I found a similar sense of encouragement and acceptance at Jeanette LoVetri’s CCM Institute at Shenandoah Conservatory in Virginia last July where I was certified in levels I, II and III of Somatic Voicework. The excellent training and course content, Jeannie’s personal warmth and teaching style combined with meeting voice teachers as passionate about their work as I am made this a time of incredible fulfilment for me. I have found my ongoing lessons with Jeanette to be of great value both personally and professionally and am so grateful that she continues to work with me on my skills. I love training singers and emerging singing teachers and am thrilled to be taking some fledgling teachers back to Shenandoah to the new course this July. While the excellent Jeannette LoVetri has moved on to new and exciting horizons (stay tuned, Australia! So exciting!) the new course looks to be a strong training ground for these young voice teachers, and I am excited to be going back to beautiful Winchester, Virginia. I am hoping my students have a similar transformative experience with the new program.

With Jeannie, voice functionality has been my major focus, whilst also getting an even stronger sense of my own abilities and strengths. With Sheri’s classes, authentic and engaging performance has been the main event. And it has been AMAZING! My Masters (Voice Pedagogy – Contemporary focus) was mainly about voice science and its application in both the studio setting and on my own voice. It is challenging, being a student, but I believe it makes me an empathic teacher. I know what it is like to be always learning, and growing, even with a mature voice and tons of experience. I am  so excited to be teaching my amazing students and to see their successes in both the music industry and the music theatre world.  I teach the person, not just the voice (tell me how you can remove the voice from the person??!!) and I love that we all keep learning and growing and discovering ourselves in our voices and our songs.

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