The Singer, The Teacher, The Coach oh my!

Sunday musings...

I have written about this before, but it seems to come up again and again...

What is the ethical protocol in this group relationship?  Where are the boundaries? Who determines them?  How fluid is it?

Big questions,  big answers, and even bigger questions.

Sadly, with all relationships, the personalities, egos and professional and personal ethics of each human being play a huge part in determining these boundaries.

I will try to address it from a neutral position.

Each entity in this "family" needs to know their raison d'etre.  They need to know what they bring to the table,  where their skills are,  and simply why they are doing it.

The balance and boundaries for a singer,  depends on that singer and their experience and development.  Often young inexperienced  singers will have a much more difficult time staying firm with boundaries as they seek out expertise to guide them.

On the other hand,  some so-called singers have more ego than experience or talent, and in combination with a forceful personality will try to tell a teacher how to teach, or a coach how to coach.

Boundaries and balance of teaching and coaching are the same.  Big personalities that need ego-stroking, that do not want to be held to the standard of their position will often cross the boundaries intentionally.

How is this controlled?

Singers need to get wise.  Fast.  They cannot be railroaded or moved if it is against their best interest.  Singers need to know the differences between a teacher and a coach.  If that is clear in their minds,  then they determine the boundaries, should they be crossed.

What are those boundaries?

Professionally speaking, the teacher's expertise lies in the development of the instrument.  This means technique and all things voice.  This is the primary responsibility of the teacher:  to work with the singers to develop the technical aspects of the voice.

The coach's expertise lies in the musical, stylistic and language aspects of the music, as sung by the singer.  It is not the coach's responsibility nor his/her place to try to teach technically.

A singer must, and I do mean MUST take charge in those boundaries.

If a coach knows your teacher's language, and/or has played for you in a lesson they can often remind you of a teacher's information while coaching.  Example "that interval is flat.  Remember what your teacher said about xyz? Keep that in mind when we do it again".

If a coach doesn't know your teacher's language,  and he/she knows it's a technical issue, often a simple "there's a technical thing you need to deal with here, ask your teacher about this line".

If a coach begins to teach you technically,  the boundary has been crossed.  Both of you are responsible.

How do you handle it?  You can simply ignore it and concentrate on the coaching aspects, or simply say you will take those technical issues to your teacher.

Ignorance is not bliss in learning how to determine relationships and boundaries in this dance!

Coaches often can ask for a different kind of sound, a different kind of vowel,  suggest more breath,  more legato, more of something!  They can point out mistakes, misreads.  They can work on the stylistic choices and how that style needs to sound.  These are the coaching elements.  But technique?  That is the teacher's domain.

Ultimately, singers, it is YOUR voice.  If you don't stand up for it,  nobody can.

Knowledge is power.  You gain knowledge by studying AND coaching.  There is also great power is knowing the difference and who does what and why.  Great power lies in establishing the boundaries so what you learn can be genuine and flourish.

If the boundaries are not respected,  then find another teacher or find another coach.

Do not "put up with" anything that doesn't feel right, or that doesn't serve you positively.

Know why you stand in front of the people you do - what are you there for?  Your reasons cannot be blurred.  This allows you knowledge to hold everybody in your vocal family responsible for their raison d'etre and to keep the boundaries firm.

Yes Virginia, there IS audition etiquette!

a Thursday musing as we enter December audition season...

Yes my dearest snow flakes,  there IS an etiquette of behavior AND attire that can make or break your audition.

Whether it is an opera audition, a YAP audition, a grad school or even undergraduate school audition, a music theatre audition - and more - there IS a protocol that you really should consider.

Many of you do pay attention on this, but sadly so many of you do not.

How do I know?  I see it!  Just in NYC alone, I have walked into audition waiting rooms over the last few weeks, and at least half of you are making wrong choices.  SIMPLY WRONG.

Music Theatre auditions, same average.

School auditions, sometimes MORE than half.

Why is this so important?

I say it again:  we SEE you first.  This is your packaging.  This shows us before you open your mouth if you are considering where you are and respecting it fully.  This is before you SAY anything, let alone SING anything!

The packaging enhances your performance, your energy, your persona - or it can deeply deter from it.

First: it is an AUDITION.  Think of it as a job interview.  This is not a performance - no costumes!  This is not a gala - no formal wear during the day nor in the evening for an audition!

You are trying to get the job.  You are trying to get a spot in a school or program.

You are wanting to be taken seriously.  You are wanting to be remembered for POSITIVE reasons, not be talked about as the singer who didn't have a clue.

I have written blogs about this in the past, but I think it still needs to be said and reinforced.  Obviously from what I have seen lately, and what I have been told by other professionals, time to say it again!

Here are some dos and don'ts for both men and women based on what I have seen lately.


LADIES in OPERA
1.  if the material of your outfit and/or your jewelry makes more noise than you do when you move - do NOT wear it!
2.  NO BALL GOWNS.  NO COSTUMING.  NO BRIDESMAIDS' DRESSES!!!
3.  If you wear it to the club, do NOT wear it to an audition.  Cheap looking clinging material, too short skirts, clear heels...no.
4.  Think business dress to begin to get a sense of expectation
5.  Figure out what your body type is, and find the cuts and shapes that flatter it
6.  Not only do you need to WEAR undergarments, you need to wear the RIGHT ones.  There are great websites that have fabulous spanx-like products.  Find out what you need!  When you wear the right undergarments, the outfit looks more streamlined!  A great bra and other undergarments is a necessary investment.
7.  Figure out what colors look great on you!  Wear them!
8.  WEAR MAKEUP. PLEASE!!!  If you aren't used to wearing makeup, get thee to a makeup counter ASAP and LEARN.  Eyes and lips are crucial.  This does NOT mean drag queen central!  This means a balanced day look with a slight intensity to "pop" the eyes and enhance the lips.  You are trying to communicate aren't you?  Draw us to you!
9. Get your hair off your face.
10.  Wear a heel.  Yes I said it.  Wear a heel you can WALK in.  Kitten heels or 3 inch heels. Make sure you can WALK!
11.  If you are wearing a skirt or dress,  stockings or not?  Who cares as long as your legs look good? If you are bare, moisturize and cover up any bruises or nicks.
12.  Draw the eye UP to yours!  You want to create line and shape, and HEIGHT so we pay attention to what you are singing and not looking at the bruise of your left shin or how short your skirt is, or how dowdy your blouse tucked into your choral skirt looks.
13.  PRACTICE in your outfit, in your shoes, with your lipstick on.

GENTLEMEN!
1.  Grooming - whether you have facial hair or not - make sure everything is trimmed and allows us to see YOU, not what's sticking out!
2.  No tuxes please.
3.  Polish your shoes.  And don't wear sportswear shoes. Dress shoes, loafers, whatever works with the rest of your outfit!
4.  No sports socks.  Dress socks please.
5.  Make sure you check the fit of your pants/jacket (should you option to wear a jacket).  Long enough inseam, long enough arm.  Not too long, not too short, just right...
6.  PRESS/STEAM THOSE CLOTHES.  Nothing looks less professional than a rumpled suit hanging on a man.
7.  Find the colors that look great on you - and WEAR them.
8.  Don't be afraid of texture in clothing
9.  Stay away from over sized patterns or too many patterns.  Nobody needs to get dizzy.
10. Break in your shoes.  Nothing is more awkward than seeing you walk in and try to get comfortable in a pair of shoes that are too new and squeak and pinch!
11.  Moisturize!  Look after your skin AND your lips!
12.  Practice in your outfit and your shoes.
13.  Again, long lines.  Draw the eye UP - to YOU.
14.  Leave the khakis and blue button down at home.  You can do better than that.

How do you behave?  Are you even aware of how you come across?

Stay open, aware, polite.  Often when nerves get to us, we can appear apologetic, bitchy, aloof, or even rude.
Start to truly observe yourself physically when you are nervous and when you practice auditioning.  How are you physically reacting?  How are you responding to the audition panel?  What are you saying?  The audition is not the place to create more angst!!  Do not challenge, do not provoke. (yes I have seen both, and hope it was simply nerves!)  Stay present.  Listen.  Breathe.  If you do not understand, as politely for clarification.

Please and thank you, and a smile and a true glimpse of your personality goes a long way.  Give yourself permission to be PREPARED not just in your repertoire, but in your packaging and behavior.  That panel remembers...and talks.

But won't studying voice make me an opera singer?

In a word...no.

I hear the excuses - from many different people:  "but if I take lessons, it'll change my sound",  "I don't want to be an opera singer, so why would I take lessons?"

etc etc etc blah blah blah.

This is ignorance talking, and sometimes fear.  Fear of the unknown.

You can't call yourself a singer if you don't sing.  You cannot BE a singer if you don't have access to your FULL instrument.  Period.  How do you access that full instrument in order to know how to use it well, if you don't study?

As with ANY discipline,  study and technique is crucial for its longevity and its ability to excel.

Why wouldn't you want to know how to use your voice in the best possible way?

Studying voice, with the right teacher, will open technical possibilities,  knowledge, behavior,  approach,  and even STYLE that perhaps you had no idea about!

Until you truly access your instrument fully,  you simply cannot know what you are able to do, capable of, or not.

Singing is like any discipline or athletic activity.  The more the instrument is developed or "trained", the more possibilities exist.  The less chance of injury.  The more real the opportunities.

Athletes cross-train.  It doesn't mean they will excel or even delve into certain aspects of that training, but it is in the training itself, the PURITY of what the body learns and develops from that training that allows that athlete to then take on his/her speciality.

The dancer studies and develops technique.  The basis of the technique, what is at the core of the body function of technique does not mean that dancer will be a ballerina.  What happens at the barre allows for the dancer to move into the technique of other forms of dance, and have the technical FREEDOM to explore where their body and inclination allows them to be.

The actor who is fully realized, studies and develops behavior.  He/she can look at many different methods and approaches,  work with classical text,  understand breath and support,  and know no matter where they are cast, they are able to fulfill those requirements and embody that style and those characters.

Singing is the same thing.  The instrument begins with physicality and athleticism.  If this is not understood, it simply cannot take on what the mind and spirit want to always do.

Studying voice should and will make you a better SINGER.  Period.

If you call yourself one,  why wouldn't you want to be the best you can be and allow the challenges of that to lift you to the next level?

Potential is nothing if not realized.

Natural talent only exists to a certain point, and then evaporates with skill is required.

Knowledge is power.

Behavior is key.

Knowing how to do what you NEED to do in order to access the many facets and levels of artistry is CRUCIAL to being a singer, an artist, and someone who has the chops to last!

Flying by the seat of your pants can be exciting until you fall.  And generally the seat of those pants rips hard and suddenly the Emperor has no clothes on.  Everybody sees it.

The truly "great" artists - those that span time  in EVERY genre of singing - study.  From opera to music theatre, to pop and rock to jazz and more.

The greatest players and singers,  the greatest actors and dancers,  the greatest athletes ALL STUDIED!

Learning how to use your instrument, your voice,  allows you more possibilities, not less.  It will not change your voice, it will ACCESS your voice.  Learning how your instrument works,  discovering how to use it in a healthy way will not change your choice of style, but in fact FINESSE it.

Why wouldn't you want to access MORE instead of staying with less?

You don't know until you try.  You cannot try until you realize.

If you say you want to sing,  then truly understand what it means to access the voice.  YOUR voice.

Who is that pianist in the room?

Sunday musings...

We've been discussing this all week on Facebook and in the studio so I decided once again to blog about it.

Why oh why, when there are marvelous, exceptional and brilliant pianists out there,  are so many singers complaining about the lack of ability from the keyboard in the audition room?

Many CDs I know work hard to create the best possible environment in the surreal atmosphere of the audition room by having marvelous pianists.  Same for opera artistic directors.

However,  more times than not,  there are barely competent pianists.  Why?

I truly am at a loss to understand this,  when I know so many fantastic pianists.  Is it the lack of funds to pay them well?  Why wouldn't you want a pianist who can truly play the material well so the audition goes as well as it can?  Poor auditions are exhausting for EVERYBODY.  If I am sitting at the table listening,  I get cranky.  If I could have had a better pianist to help lift up those auditions to a better standard, why wouldn't I do that?

So,  let's look at this from all angles.  I hold ALL of us responsible for the success or failure of an audition.

If you call yourself an audition pianist then you need to know the repertoire.  Period.  You need to be an excellent not competent, sight reader.  You need a fantastic sense of time and rhythmic pocket.  You need to know how to re-organize the repertoire - what to play and what to leave out - to support that singer.  You are not auditioning - the singer is.  You need to support that singer.  They are nervous.  You need to given respect,  AND GIVE IT BACK.  Your attitude needs to be checked.

In my experience,  the more the attitude, the less competent the pianist generally is.  You will not make up the lack of skill by giving the singer more 'tude.  Seriously.  You are there to SUPPORT.  You are the one who truly makes or breaks that audition.  Take THAT seriously.

Singers - BE PREPARED.  It is up to you to be so prepared for that audition, that even if things de-rail you can make it work!  Again,  singers who are under-prepared will often play the blame-game.  Stop it.  Prepare!  Don't think by learning that cut the day before will allow you to nail it.  It won't.  If the first thing you do is blame the pianist and not look at your own preparation,  you need to really rethink what you are doing.  Again,  if the attitude is larger than the talent, the craft or the preparation, perhaps it's time to sit down and have a reality check.

Singers - if you demand craft from the pianist, then first demand it from yourself.  Do not allow yourself to be bullied or manipulated in the room.  Know what you are doing,  how you present yourself, how you present your music and  how you address the pianist to engage them, not to dismiss them.  Do not let anyone dismiss YOU.  Stand your ground.  The audition table IS paying attention to your demeanor and ability to handle stressful situations.

ENGAGE.  BE PRESENT.

Give that pianist your tempo,  make sure it IS your tempo.  Slow yourself down so you aren't speeding through things! Make sure you ask for what you want.  Don't assume they know.  If you want an intro ask for it - mark it in the music.  If you want a bell tone and chord - MARK IT and ASK FOR IT.

You have every right to ask to start again if things derail.  You don't need to blame the pianist or yourself.  Simply smile and say "I think we mis-communicated with tempo or something - I would like to start again please".  Don't get angry.  SING HARDER!!  Stand your ground! DEMAND the best audition you can offer.

If you, the singer, rises above a less than adequate pianist, the audition panel is going to realize they have made a mistake.  If singers make excuses, then the inadequacy looks like it belongs to the singer.

Don't take an inadequate pianist lying down!  Demand more from them - but know it begins with YOU.  If you are not exceptionally prepared,  you have no business complaining.

Great pianists are out there.  FIND THEM.  HIRE THEM.  Pay their fee.  They are worth EVERY penny and more!!

The great pianists will give you support, embrace you,  make you comfortable and will encourage you to do your best and able to create an instant partnership with the singer.

The great singers will be prepared, organized, open and pliable and able to create an instant partnership with the pianist.

We need more of this - from BOTH sides of the keyboard!!