–Have sung all their lives but don’t understand that singing through the lifespan is like being active in sports. You need to tend things along the way or you can’t play.
–Don’t know much about their bodies or biological cycles other than what they hear in media or what their doctors tell them.
–Work with singers through midlife and aging: coaches, teachers, performers, choral conductors, music directors and medical personal.
–Are colleagues, students and medical professionals. We are writing the book we wish we’d had as we moved through our changes.
A very T-A-L-L order? Yes.
That’s why there are three of us writing in collaboration. We are really excited about the very unique way of co-authoring we’ve created! It takes longer than if we each write a chapter, but it’ll be worth it!
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We have more academically-educated singers and voice teachers now than at any time in the history of vocal expression, and dare I say it? Very little teaching from an Undivided Self, which means very little useful and true wisdom.
Learning to get to this place this requires TIME.
It’s a sort of alchemical process to find personal, musical and pedagogical ah ha’s! amid the deafening noise of information, data, and a cult of personality. These things don’t work well with singing. Because singing is about first finding silence of stillness and then becoming a channel for bio-electric energy, all human expression and divine connection.
I think many teachers ‘head’ know this–but they don’t FEEL it or EMBODY it.
There is a crying need for a 1:1 Experiential Learning Program outside of academia to allow teachers and singers the time they need to create this alchemical process. To learn to teach WHO they ARE as well as WHAT they KNOW.
I’m developing a 5-month digestible program for singing teachers who haven’t had the opportunity to develop a hands-on understanding of what “evidence-based” teaching of singing means in the 21st century.
Dr. Kari Ragan has written her thoughts on this topic in a Journal of Singing article. You do have to be a NATS member to access it on line. However, you can always contact Kari, tell her you are interested in her work, and ask if she will forward you her article.
I’ve been able to work privately with many masters-in-pedagogy and performance graduates, in classical, jazz and contemporary genres, after they graduate with their degrees. I’m seeing a strange trend that has developed over the past 10-15 years, of voice teachers not understanding what to do with the information they have learned. They aren’t sure how to make it useful or fit it in with their world of experience. So the next summer, they go to another pedagogy intensive, hoping to learn what they still do not understand.
There are many fine voice pedagogues who teach in useful ways, and are able to distinguish between voice science, vocal pedagogy, what is true and what is useful. But if you want to be the best teacher you can be, and are not in their programs, how to you begin to make the same distinctions?
That’s what my program is for. I am collaborating with Dr. Patrick L’Espoir Decosta (Australian National University School of Business) to lay the infrastructure for the course.
In Part II I give you a little quiz on what you might think “evidence-based” means in the field of Adult Learning. Especially interesting if you teach adults!
As some of you know, I am co-authoring a book with Nancy Bos and Joanne Hayes Bozeman on the topic of women singing through midlife biological changes and menopause.
Research has been pretty fascinating and we are digging into areas not usually associated with The Change. (ooooo, suspense!) Our interviews include 52 female singers during 1) various stages of peri-menopause and menopause, 2) a large variety of genres and musical styles 3) many skill levels and cultural experiences.
We are speaking with colleagues and experts in a wide variety of disciplines and will reference many top-notch resources. We are grateful for those who’ve researched and written about hormonal effects on the female singing voice.
But the REAL experts are the women themselves. Their stories, their solutions, their journeys: sometimes easy and breezing on through, some devastatingly difficult.
Statistics are important but their purpose is not to reveal how individual the mid-life journey is for EACH woman. Data can be used to influence public health policy and obtaining grants for important research. Stories save individuals and pass on wisdom not found in data.
Both are needed!
Western medical science & academic learning must become equal partners with honed intuition, and listening to the Wisdom of the Body to create health, wellness and experience singing in new ways.
This is an “angle” of our book. We are writing for singers and teachers who may not have access to the information that has been gathered over the past 30 years. We are also writing for women who are willing to do the work of rebirthing themselves during these years and need extra support.
I’ll report on our progress so join me here for peeks and perks!
I was inspired to write this blog post by Nikki Loney, a Canadian vocal music educator who runs a popular vocal music education podcast called The Full Voice. She has a three-part series called “Warm Ups from Around the World.”
The warm-ups Nikki includes are suitable for many ages and stages of singers. Part of her mission is to help singers & teachers understand the reasons for the vocal exercises they use, and sing them in a spirit of fun and exploration. While the exercises may be familiar to more experienced teachers, I was thrilled to hear the guest artist/teachers’ explanations for WHY you are using them and HOW to do them.
This matters much more than the actual exercises themselves! So consider heading over to her series and listen.
In the meantime, here’s three vocal warm-ups from CateFNStudios that I use.
I. Pick a short musical phrase from the music that your student or group is singing. Choose one that can be moved up and down the chromatic scale easily. Limit them one or two measures at the most.
Here’s an example for developing voices of any age or stage: a passage from the end of Linda Ronstadt’s recording of Ray Orbison’s “Blue Bayou.”
This helps coordinate chest to head registration smoothly in all styles of music, perhaps after registration work has taken root. It easily syncs with most functional vocal pedagogy models out there that use other names for those registrations/qualities.
It can also help with teaching relationships between intervals and with coordinating sustained singing. You can also use it as a “Messa di Voce” exercise.
Plus you get to introduce young people to Ronstadt and Orbison if they look at you with a blank stare….
For choristers, any pattern that has slow, sustained passages has the benefit of the kind of choral tuning that American choral conductor Robert Shaw used. Church choir directors can’t usually take the time needed for this way of working, but it can be incorporated into 2 minutes with one short passage as part of your choir’s warm-up. Over time this will develop stamina, mental focus, and group bonding.
II. For vocal flexibility and ear training for world music, Indie artists or jazz singers–have them warm up on arpeggiated patterns that are not the traditional major scale 1-3-5-8-5-3-1 pattern.
Eventually move to other arpeggiated blues or harmonic patterns using syllables they choose. Try to guide them to “ahs and ays” on the lower notes and “ees, oos or ohs” on the higher pitches. Scat singers will use their patterns or you can suggest something like “doo-bway-doo,” etc.
PS. I make classical singers do this, too, to wake up their ears.
I recognize that not all singers and teachers can play this warm up in different keys on a keyboard. You can adapt this idea for you and your students in any way that serves them.
III. This general idea is for singers who know their music well and are far enough along that it makes sense to them:
I coached privately many years ago with the late Randolph Maulden, of The Washington Opera. Obviously I warmed up before coachings, but then he often had me sing phrases from whatever I was working on, starting 4 1/2 steps down from its key, and going up two more 1/2 steps beyond the highest note and back down. I experienced this as a real work out. This gave me a chance to move through all the registration minutia, and solidified where high notes in the right key actually existed in my throat, body and psyche (as a whole singer.) This idea also can be adapted, so open to your creativity!
Once you know the HOW and the WHY for a warm-up or exercise, you can always adapt it to be the most useful!
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I usually introduce students and clients to each other between lesson by way of cool tidbits. The other day I said, “Steven, meet Carolyn–she loves the American songbook and is a wonderful singer. Carolyn, meet Steven, he is also a voice teacher and is also a two-time Grammy award-winner!”
Carolyn was duly impressed, and as the brief conversation unfolded to include when those Grammies were won and for what, (2008 and 2012) Carolyn said “well, that WAS a while ago. What have you done recently?”
‘Scuze me, but WTFridge?
Lordy, I know we are perceived as only as “good” as our last major accomplishment–that college appointment, performance or tour, workshop taught, media article or pounds lost, but this comment really got under my skin. The monster that is the World Wide Web reenforces this mind-set every second of every day.
It is a mindset of judging others based on what they are churning out, as if that is the golden measure of skill, worthiness, integrity and tenacity. We live, not only in a violent, rape culture, but one that pays surface appreciation for the results of creativity and collaboration without valuing the time required for both.
That judgement from others is a massive reflection of the resounding and crippling judgement we have for ourselves. AND JUDGEMENT KILLS CREATIVITY and CREATES HEART WOUNDS.
As a life-long Creative, I live with this knowledge every day.
“She hasn’t done anything since she released that album 2 years ago.”
“He must be getting old because I haven’t seen anything about him in years.”
“He won a couple of Grammies but hasn’t done much since then.”
This attitude means “she/he isn’t relevant anymore/has lost steam/insert other moronic conclusion here.” As if the artist/teacher is a pampered cow, for others to milk and live off of.
This attitude reflects the hungry monster of consuming, consuming, consuming, and also the endless self-promotion and social media feed as part of the “cult of personality” we love. We have a presidential candidate that has risen in prominence solely because of his skills in all those areas.
We are good at that here in the United States. We are a nation of Pac-Men and Pac-Women, eating and consuming and demanding endless loops of SPLASH! to fill our empty, nervous spaces.
So here are five examples of responses for when someone asks you “What Have You Done Since Then?” or perhaps, more if the person is more enlightened, “What Are You Working On Now?”
I am researching ways to cope more efficiently and joyfully with a chronic health issue. It is taking a lot of time and money, but what I have found out is—and this relates to my field because—
I have sustained a free lance performing and teaching career, where I actually supported myself financially for (x) many years,–have you ever done that?–and am looking for ways to streamline my operation so I can have more time for (x).
I am writing a series of articles on (x) to help people who are (x)
I’ve been teaching, performing and caring for a family for (x) years, and have been constantly treading this super-human balancing act. As in agriculture, sometimes fields have to be left fallow to renew, and I am letting some of my fields lie fallow to renew by x, y, z.
I am working with a consultant to combine my skills in music, teaching and yoga–which are now hot topics but I have the experience of combining them for 30 years–into a more modern brand that can compete with other, less experienced but technologically-savy generations, as long as I want to work.
How else can you verbalize your current status to reflect some of what is required to live life-long creativity and relevance in the marketplace while learning to truly love yourself?
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