Don't sing - "talk" - and for heaven's sake breathe !!

Today I was breathing, in different sessions, with two talented young singers, a soprano, and a baritone. It does help, and is in fact ESSENTIAL, to establish a good technique before you embark on a singing career. The problem is that so few "singing teachers" understand this, mainly because they don't realise its importance, and sadly, are incapable of explaining the bare essentials, let alone demonstrate it ! Luckily my two singers are fully aware of the significance of not overloading the vocal folds with air, and I've touched on this subject in a previous blog - yes, I do have a "bee in my bonnet" about it - (we're back to bees again.....see yesterday's blog..) Today Eleanor, the soprano, was finding her way around the "Exaltate Jubilate" flourishes, and we calmed her brain down from the frenetic state which we all use initially, by allocating tiny amounts of air for each note, the doggy panting technique, and going through them fairly slowly. Having established the correct sequences notewise, the next step was rhythms, tempi and dynamics, connecting the breath specifically in each discipline . You really have to be dedicated to cope with all this. I remember spending many hours on such pursuits in my youth and, although frustating at the time, it has all paid if in the end and I find myself fortunate enough to be able to guide others in this refinement. If a piece doesn't work at a slow pace, it's not likely to at high speed if it's practised incorrectly - not always the rule of course. One of my most experienced singers spends time that most people would think of as excessive to perfect a piece - but that is exactly why they are a top international artist. There's nothing more scary than just hoping it will come out right "on the night".... Not being a quick learner, I always learned the more tricky sections first, to take away the fear element, we all have our priorities.....After Eleanor, who went away having found the secret of fast runs, Jonathan, the baritone was singing Italian repertoire (fabulously voice wise) but articulating the words with an English "mouth". What do I mean? Nice round hole, but with "dead" lips ! (I'm sure he won't mind me telling you this..x) That means, tight lips on the teeth, thus preventing the latter from vibrating - like muting a trumpet. This means that the text doesn't sound like Italian - and I teasingly told him I call that the "goldfish mouth", which brought peals of laughter from him! When he looked in the mirror he realised what I meant - then used the forward "lips kissing" movement (Ooooh!) - and, combined with minimal air, produced the most fabulous phrases - he was suitably surprised. The sound was tripled, and with the narrative quality engaged - it went into a new phase. We both let out whoops of delight - another stunning session - what a day - hope yours was as inspiring.....k..p b.......g....hope all's well in Vienna with the lovely boys and their "Erda" Mama...mega breather...you know who I mean....