Continuing my series on PERFORMING WITH OTHERS. I'm covering Singing with an Accompanist for a second week.
1. In many cases, as with Schumann, there may be a long postlude to the song from the accompanist. The singer should hold the mood throughout.
2. Apart from a few conventions, a singer will be expected to perform from memory, whilst an accompanist usually plays from a copy of the music.
3. It is the responsibility of singers to present accompanists with sheet music in a form which is easily playable for the partnership to work.
4. Transposition at sight is a rare skill. It is inappropriate for the singer to ordinarily expect the accompanist to possess this skill.
5. Arrange rehearsal time in advance of a performance. Practising together strengthens the partnership, and produces a stronger performance.
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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 29 May 2016
Sunday 22 May 2016
Week 63: Performing With Others
Covering PERFORMING WITH OTHERS over the coming weeks: Singing with an Accompanist, Singing with other Singers, & Singing in Ensembles.
1. The singer is never truly a soloist, unless singing unaccompanied. For the most part, a singer will be working with another musician.
2. Singing with an Accompanist should be thought of as a Duet; an equal partnership working together to make music.
3. Most songs begin with an introduction on the accompanying instrument. The song starts from the first note, not from where the voice enters!
4. When Singing with an Accompanist, it is important for the singer to fully participate in the creation of the mood from the outset.
5. Similarly, when Singing with an Accompanist, the song does not end when the singer stops singing, but after the last note has died away.
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. The singer is never truly a soloist, unless singing unaccompanied. For the most part, a singer will be working with another musician.
2. Singing with an Accompanist should be thought of as a Duet; an equal partnership working together to make music.
3. Most songs begin with an introduction on the accompanying instrument. The song starts from the first note, not from where the voice enters!
4. When Singing with an Accompanist, it is important for the singer to fully participate in the creation of the mood from the outset.
5. Similarly, when Singing with an Accompanist, the song does not end when the singer stops singing, but after the last note has died away.
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 15 May 2016
Week 62: Performance Energy
An important key to communicating/connecting with an audience is Performance Energy. Performing demands a special form of heightened energy.
1. An important key to communicating/connecting with an audience is Performance Energy. Performing demands a special form of heightened energy.
2. Performance Energy produces a state of mental alertness & physical readiness which lifts a song out of the ordinary into something special.
3. Performance Energy within a performance is life being lived intensely & is the vehicle for successful communication of a song to an audience,
4. A performer’s heightened energy must be skilfully & technically controlled. If released all at once, the result can be highly disappointing.
5. Stillness & soft singing is often much more powerful than big gestures & loud singing, but they all equally need intensity & focused energy.
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. An important key to communicating/connecting with an audience is Performance Energy. Performing demands a special form of heightened energy.
2. Performance Energy produces a state of mental alertness & physical readiness which lifts a song out of the ordinary into something special.
3. Performance Energy within a performance is life being lived intensely & is the vehicle for successful communication of a song to an audience,
4. A performer’s heightened energy must be skilfully & technically controlled. If released all at once, the result can be highly disappointing.
5. Stillness & soft singing is often much more powerful than big gestures & loud singing, but they all equally need intensity & focused energy.
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 8 May 2016
Week 61: Communication of the Song
Continuing my series on WHAT MAKES FOR SUCCESSFUL PERFORMANCE? I'm covering Communication of the Song this week:
1. Communication of a Song occurs when the singer has good technical control & has developed a personal response to the content of the song.
2. A singer’s response must include understanding of both music & words equally for the communication of a Song to an audience to be successful.
3. Solid research into the operatic or musical theatre character of an aria/song is vital to ensure truthful communication to an audience.
4. The more a singer is involved with a song intellectually & emotionally, the greater the ownership of a song. ensuring stronger communication.
5. Solid technique should ensure no residual tension in the neck, jaw & mouth, leaving the face free to express the emotion contained in a song.
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. Communication of a Song occurs when the singer has good technical control & has developed a personal response to the content of the song.
2. A singer’s response must include understanding of both music & words equally for the communication of a Song to an audience to be successful.
3. Solid research into the operatic or musical theatre character of an aria/song is vital to ensure truthful communication to an audience.
4. The more a singer is involved with a song intellectually & emotionally, the greater the ownership of a song. ensuring stronger communication.
5. Solid technique should ensure no residual tension in the neck, jaw & mouth, leaving the face free to express the emotion contained in a song.
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
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