Continuing my series on WHAT MAKES FOR SUCCESSFUL PERFORMANCE? I'm covering Connection with the Audience this week.
1. Connection with the Audience begins at a physical but subliminal level. It has often been described as the performer’s “presence”.
2. The research is that approx 65% of our initial impact is dictated by appearance. What we say & how we sound comes a poor 2nd & 3rd!
3. Subliminal signals are sent by such things as eye contact, posture, body language & attire; all part of our Connection with the Audience.
4. An audience will feel secure with a strong and comfortable presence from the Performer, & will be more ready to engage with that Performer.
5. Once initial Connection is established, the emphasis changes to what & how we are Singing. In other words, Communication & Interpretation.
Visit us at our official website: Daily Singing Tips
Follow us at Facebook and Twitter!
Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Sunday 17 April 2016
Sunday 10 April 2016
Week 59: What Makes For Successful Performance?
Over the coming weeks: Connection with the Audience, Communication of the Song & Performance Energy
1. Performance is the ultimate goal of all of the work undertaken in the Teaching & Rehearsal rooms, aimed at an Audience, Examiner or Teacher.
2. Whatever the circumstances, all Performance requires Connection with the Audience, Communication of the Song & Performance Energy.
3. A Performer must communicate an idea or emotion to the audience & make that audience feel actively involved in the creative process.
4. A successful Performance should always be skilful & energised enough to ensure that the audience feels moved to respond.
5. When a successful Performance is achieved, there is a change of energy in the performance space & performer and audience alike feel uplifted.
Visit us at our official website: Daily Singing Tips
Follow us at Facebook and Twitter!
Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
1. Performance is the ultimate goal of all of the work undertaken in the Teaching & Rehearsal rooms, aimed at an Audience, Examiner or Teacher.
2. Whatever the circumstances, all Performance requires Connection with the Audience, Communication of the Song & Performance Energy.
3. A Performer must communicate an idea or emotion to the audience & make that audience feel actively involved in the creative process.
4. A successful Performance should always be skilful & energised enough to ensure that the audience feels moved to respond.
5. When a successful Performance is achieved, there is a change of energy in the performance space & performer and audience alike feel uplifted.
Visit us at our official website: Daily Singing Tips
Follow us at Facebook and Twitter!
Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Sunday 3 April 2016
Week 58: Belt Quality (Part 2)
As Singers & their Teachers worry about producing 'Belt' safely, this week I will repeat how & when it is appropriate to use 'Belt' Quality.
1. Belt in singing can ONLY be used in the upper register ABOVE the upper middle transition in any voice. Anything below is Speech quality.
2. As 'Belt' is similar to 'yelling', we use Belt in both Speech & Singing.The danger is the tendency to drive air, which can lead to damage.
3. 2 things govern the use of Belt: Is it high enough, above the upper middle transition & Is it emotionally correct to produce a Belt sound?
4. Mezzos declaring themselves 'Belters' in Musical Theatre/Pop/Rock are very much mistaken! Belt can only be used above the transition: A/Bb.
5. For SAFE Belt: Clavicular Breath, High Level of Neck & Body Support, High Larynx, High Wide Flat Tongue, Tilted Cricoid, Engaged Twanger.
1. Belt in singing can ONLY be used in the upper register ABOVE the upper middle transition in any voice. Anything below is Speech quality.
2. As 'Belt' is similar to 'yelling', we use Belt in both Speech & Singing.The danger is the tendency to drive air, which can lead to damage.
3. 2 things govern the use of Belt: Is it high enough, above the upper middle transition & Is it emotionally correct to produce a Belt sound?
4. Mezzos declaring themselves 'Belters' in Musical Theatre/Pop/Rock are very much mistaken! Belt can only be used above the transition: A/Bb.
5. For SAFE Belt: Clavicular Breath, High Level of Neck & Body Support, High Larynx, High Wide Flat Tongue, Tilted Cricoid, Engaged Twanger.
Visit us at our official website: Daily Singing Tips
Follow us at Facebook and Twitter!
Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Follow us at Facebook and Twitter!
Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Subscribe to:
Posts (Atom)