Practical Pedagogy Lecture 1 Singing teaching basics Meribeth Dayme – The Performer’s Voice W. W. Norton & Company (14 Mar. 2006)

What makes a good teacher? I would like my teacher to have a plan for my development I like positive teaching I like a teacher who pushes me I would like my teacher to have an understanding of the external 'scene' I like a teacher who values Pedagogy and Teaching I like a teacher who links technique with the music I like a teacher who discusses goals with me I would like to be taught to teach myself I like a teacher who does not take away my confidence I like teacher and student to have mutual respect I like teachers who let the student shape the session sometimes

Observing General Patterns ‘Seek first to understand and then be understood’ Teaching is a response to what you see/hear/perceive in the student – it is always a two-way process Important first to observe, listen and note: Energy of performer (nervous, calm, relaxed?) Eyes that see and are fully present Physical presence Mental presence

Alignment patterns “ If it looks normal, it probably is normal” Sagging or distension of the body, sideways, front to back or in the chest or abdomen Exaggerated curves of the back Locking of the back One hip higher than the other Locked knees A head that is not level/straight Head in relationship with the shoulders ( is it forward or pulled down or leaning to left or right?)

Physical patterns Physical freedom of the head, neck, torso, hips and legs Stiff or relaxed in action and movement Movements that are symmetrical or misaligned Tension in the legs or feet Deviation of the jaw from the midline when speaking or singing Excessive or forced movement of the jaw Exaggeration or distortion of the lips Brows that are wrinkled Eyes – patterns of seeing, staring or looking up

Breathing patterns Breathing that is easy or labored Excessive inhalation Shoulder movement when inhaling Downward movement of upper chest when making sound Expansion of the chest or back Ribs held out in a rigid manner A breathing pattern that is high, wide or long Excessive distension of the abdomen on inhalation or exhalation Evidence of excessive pressure because of over-breathing or holding the breath

Listening Listen for audible patterns Clarity, distortion or muffling of sound A pleasant/balanced tone Gasping for air during speaking or singing Excess breath in the tone Excess tension in the tone Differences in the speaking and singing voice

Perceiving Watch for possible misconceptions The performer’s perceptions about what he/she is doing Understanding of general voice type (e.g. mezzo soprano trying to sound full and deep when her voice is that way already?) Trying to sound more powerful or impressive by creating excess tension in the throat Challenging habit: but I always stand like this, it feels comfortable?

Physical Alignment and Balance Physical awareness comes from sensory feedback – becoming aware of own body is key to change Exercise 1.Stand quietly and become aware of body 2.Look for imbalance – is one shoulder higher, one arm more tense? 3.Is head to one side? 4.Are the shoulders hunched? 5.Is the back concave? 6.What are the eyes doing? Seeing or not here? 7.Are feet even on floor and weight equally balanced? 8.What happens to the body when singing? Does balance change? Do face, eyes, mouth, neck or shoulders become distorted or asymmetrical? 9.Is body rigid or dynamic? 10.How does vocal quality change when posture is changed? How does the breathing pattern change?

Balanced Alignment Habitual versus Natural Natural is what the body can do reflexively and naturally Habitual is what the body has done repeatedly over years to create current patterns A line dropped from the top of the head will fall through the ear, the point of the shoulder, the highest point of the pelvis, just behind the kneecap and just in front of the ankle Want to look and feel lighter and taller Make sure feel fully on floor with weight balanced evenly between balls and heels of feet Fee as though the crown (not top) of your head is growing upwards Shoulders go out not back (pulling back results in neck and back tension) When head is forward of shoulders the muscles between head and shoulders contract to hold your head in place – result aching shoulders and body out of balance When head is properly aligned the shoulder muscles let go and feel pliable to touch Make sure knees are slightly loose and able to bend if necessary

Exercises Exercises from Meribeth Dayme The Performer’s Voice – chapter on alignment. Start with Callanetic’s wake-up stretch: Stand erect with feet about a foot apart – but never more than 15 inches – and raise your chest upward. Lift both arms over your head, reaching high. You want to stretch your stomach, making you feel as if your torso is two inches longer than it really is. Bend your knees, keeping your feet flat on the floor. Continue stretching upward. Bend your upper body forward, arms out, as though reaching for something in front of you. Continue to stretch your torso outward. Still bending your knees and leaning forward, bring your arms to your sides, even with your calves. Continue to raise your arms up behind your body, stretching your neck out as you do this. Keep knees relaxed and body bent over. Do not arch your back. Keep shoulders relaxed and rounded. Complete this exercise by reversing the movements to the starting position. Do 5, returning the arms to the initial stretching position between each combination.