Continuing my series on relating 'Sound to the Anatomy' when training. I'm dealing with Pitch this week.
1. Generally, the #pitch of a note relates to the anatomy in 2 ways: The position of the Larynx in the Throat & The Air Pressure in the Thorax.
2. For example, you can see the #Larynx rising in the Throat as the #pitch rises by using a siren, and lowering as the #pitch lowers.
3. 2 very general rules: 1.The Larynx is higher in the throat on high notes & lower on low notes & 2. Higher notes require greater air pressure.
4. If a singer has trouble attaining high notes, it may be that the larynx is not sufficiently high &/or there is not sufficient air pressure.
5. A discrepancy in the air pressure normally means the Breath Support System is not working hard enough. Note: The importance of Support!
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
Sunday, 6 December 2015
Sunday, 29 November 2015
Week 41: Relating Sound to the Anatomy (Part 1)
For the next few weeks I'm relating 'Sound to the Anatomy' when training, to include Pitch, Volume, Voice Qualities, Twang, Vibrato, Trill.
1. Proper training of the Singing Voice requires that the singer/teacher know the mechanisms which create sound, & understand how they function.
2. An essential of good teaching is understanding how the anatomical mechanisms function, both independently & in relation to one another.
3. An essential of good teaching is the ability to recognise, by sound alone, which of the mechanisms are working and how they are working!
4. Training the Singing Voice is effectively limited to trial and error if the teacher is not skilled in the anatomical mechanisms of the voice.
5. An analytical ear is the greatest tool a #singing teacher can possess in order to ensure the vocal health & development of a singer’s voice.
Visit us at our official website: Daily Singing Tips
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- Ross Campbell
Professor of Singing, Royal Academy of Music, LondonDirector & Head of Singing, Musical Theatre Ireland, MTIAward winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
1. Proper training of the Singing Voice requires that the singer/teacher know the mechanisms which create sound, & understand how they function.
2. An essential of good teaching is understanding how the anatomical mechanisms function, both independently & in relation to one another.
3. An essential of good teaching is the ability to recognise, by sound alone, which of the mechanisms are working and how they are working!
4. Training the Singing Voice is effectively limited to trial and error if the teacher is not skilled in the anatomical mechanisms of the voice.
5. An analytical ear is the greatest tool a #singing teacher can possess in order to ensure the vocal health & development of a singer’s voice.
Visit us at our official website: Daily Singing Tips
Follow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, LondonDirector & Head of Singing, Musical Theatre Ireland, MTIAward winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
Sunday, 22 November 2015
Week 40: Microphone Use
Concluding my series on PREPARING for PERFORMANCE this week and dealing with Singing with a Microphone.
1. Occasionally Singers have to work with a microphone. However, the singer is dependent upon the quality of the microphone & sound system.
2. When wearing a head microphone, the singer has no control over the quality, & should always sing as if the microphone were not there.
3. When using hand-held/stand microphones, singers can achieve some control by the way they hold the microphone & the distance from the mouth.
4. Microphones have differing response levels, so it is always advisable for the singer to rehearse with the microphone prior to performance.
5. Use of any microphone must never be an excuse for poor, lazy technique. The sound system will only convey the quality of what is being sung.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
1. Occasionally Singers have to work with a microphone. However, the singer is dependent upon the quality of the microphone & sound system.
2. When wearing a head microphone, the singer has no control over the quality, & should always sing as if the microphone were not there.
3. When using hand-held/stand microphones, singers can achieve some control by the way they hold the microphone & the distance from the mouth.
4. Microphones have differing response levels, so it is always advisable for the singer to rehearse with the microphone prior to performance.
5. Use of any microphone must never be an excuse for poor, lazy technique. The sound system will only convey the quality of what is being sung.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
Sunday, 15 November 2015
Week 39: Performance Nerves (Part 2)
Continuing my series on PREPARING for PERFORMANCE, this is the 2nd week covering Performance Nerves.
1. NERVES can cause constriction, which can impair vocal range, volume & quality. Breath flow can also change, making long phrases difficult.
2. The solution is to change the energy from a “closing-down” form to an “opening-up” one, thus converting it into “performance energy”.
3. SOLUTION: Fully retract the false folds & anchor the walls of the pharynx. Correct Posture & Breath Support also need to be fully engaged.
4. A Singer can go a long way to make a performance more of a celebration than an ordeal by accepting that performing is a stressful experience.
5. By being in control of a solid technique NERVES can be changed into an energy which sustains the Singer or Actor in Performance.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
1. NERVES can cause constriction, which can impair vocal range, volume & quality. Breath flow can also change, making long phrases difficult.
2. The solution is to change the energy from a “closing-down” form to an “opening-up” one, thus converting it into “performance energy”.
3. SOLUTION: Fully retract the false folds & anchor the walls of the pharynx. Correct Posture & Breath Support also need to be fully engaged.
4. A Singer can go a long way to make a performance more of a celebration than an ordeal by accepting that performing is a stressful experience.
5. By being in control of a solid technique NERVES can be changed into an energy which sustains the Singer or Actor in Performance.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
Saturday, 7 November 2015
Week 39: Performance Nerves (Part 1)
Continuing my series on PREPARING for PERFORMANCE, I am dealing with Performance Nerves for the next 2 weeks.
1. Performance brings the fruit of learning & practice before an audience & is an intensive experience demanding concentration & sheer NERVE!
2. A Performance carries with it elements of stress and fear which can either undermine the performance, or lift it to a new level.
3. A Singer should accept that a performance is a stressful experience, and understand what happens to the singing voice when under stress.
4. Nervousness & Fear are strong emotions generating a lot of energy, which can easily cause constriction due to an increased flow of adrenaline.
5. NERVES can cause the Larynx to shut down! The breath flow is then restricted & the false vocal folds clamp down, causing constriction.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
1. Performance brings the fruit of learning & practice before an audience & is an intensive experience demanding concentration & sheer NERVE!
2. A Performance carries with it elements of stress and fear which can either undermine the performance, or lift it to a new level.
3. A Singer should accept that a performance is a stressful experience, and understand what happens to the singing voice when under stress.
4. Nervousness & Fear are strong emotions generating a lot of energy, which can easily cause constriction due to an increased flow of adrenaline.
5. NERVES can cause the Larynx to shut down! The breath flow is then restricted & the false vocal folds clamp down, causing constriction.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
Sunday, 1 November 2015
Week 38: Preparing For Performance (Part 3)
Continuing my series on PREPARING for PERFORMANCE this week: Rehearsing, Memorising, Preparing for Your Audience, Nerves & Microphone Use.
1. The next step in PREPARING for PERFORMANCE is attention to your Personal Appearance, particularly in Recital, Concert and Oratorio Singing.
2. If the singer feels happy with the way they look, their personal confidence will be enhanced & immediately evident to the audience.
3. For Formal Concerts, Ladies should consider coordinating their choice of gown with other performers to avoid clashes of colour or style.
4. Less formal performances allow for more conservative choice of clothing. Presentation of semi-staged shows allow for appropriate costumes.
5. Taking pride in your personal appearance for a PERFORMANCE has a positive & confident influence on performer and audience alike!
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
1. The next step in PREPARING for PERFORMANCE is attention to your Personal Appearance, particularly in Recital, Concert and Oratorio Singing.
2. If the singer feels happy with the way they look, their personal confidence will be enhanced & immediately evident to the audience.
3. For Formal Concerts, Ladies should consider coordinating their choice of gown with other performers to avoid clashes of colour or style.
4. Less formal performances allow for more conservative choice of clothing. Presentation of semi-staged shows allow for appropriate costumes.
5. Taking pride in your personal appearance for a PERFORMANCE has a positive & confident influence on performer and audience alike!
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
Sunday, 25 October 2015
Week 37: Preparing For Performance (Part 2)
Continuing my series on PREPARING for PERFORMANCE this week: Rehearsing, Memorising, Preparing for Your Audience, Nerves & Microphone Use.
1. Committing music & words to MEMORY gives singers increased ownership of the music & opens up a greater freedom of communication.
2. The foundation for MEMORISING music & song is repetition.This repetitive process shouldn't be sterile & mindless, but creative & enjoyable.
3. Learning MUSIC & WORDS take place in different parts of the brain. It becomes easier to MEMORISE if you address one of these at a time.
4. Singers find it easier to commit music to MEMORY rather than words. Treat the lyrics as text which can be recited independently of the music.
5. Once the words have been committed to MEMORY independently of the music, the process of rehearsal reconnects them with the music.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
1. Committing music & words to MEMORY gives singers increased ownership of the music & opens up a greater freedom of communication.
2. The foundation for MEMORISING music & song is repetition.This repetitive process shouldn't be sterile & mindless, but creative & enjoyable.
3. Learning MUSIC & WORDS take place in different parts of the brain. It becomes easier to MEMORISE if you address one of these at a time.
4. Singers find it easier to commit music to MEMORY rather than words. Treat the lyrics as text which can be recited independently of the music.
5. Once the words have been committed to MEMORY independently of the music, the process of rehearsal reconnects them with the music.
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
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com
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