Victoria Oruwari - Singing Articles

How to choose a dress for your recital

Sun, 30 Nov 2008 00:00:00 -0600

Have you ever found yourself worrying about what to wear for a recital? If yes, then you’re not alone. Choosing an outfit for a recital is just as stressful as choosing a dress for any special occasion. In fact, it’s almost as stressful as choosing a wedding dress because in both situations you are the centre of attention. Before I go in to more detail, I must say at the outset that there is no real answer to this problem; every singer’s recital is a reflection of their interpretation of music and this will vary depending on their individuality. I will therefore explore various ideas, and solutions which could trigger something within your mind.

Why are singers particular about their dress or outfit?

Unlike other musicians, singers do not possess a tangible instrument. Our instruments are situated in our bodies; the way we present ourselves is therefore very important. A pianist can have the piano tuned, a flautist would have their flute polished till it glistens. A singer can do as many warm ups to make the voice produce a beautiful sound, but the singing voice is not seen, it’s heard. The voice is encased in the body, so what does the singer do about what we see? How do we adorn our instrument?

Singers have a huge advantage over instrumentalists in that our voices are priceless. This advantage though unique, puts us under a lot of pressure in a world where looks often dictate how well we are received. If you had something you regarded as priceless, would you not treat it with the utmost care possible? Would you not feel the need to encase it in something beautiful?

Things to consider when choosing a recital outfit

When you are given a date for a recital, your first concern, is how you would fill the time with exciting music. Sometimes, singers prefer to choose a theme for their recital, in which case, the songs chosen will be determined by the theme. Other singers might have a more flexible approach and pick songs at random. I often find that singers who have themed recitals usually pick outfits with colours that represent the theme.

For example, if the theme is based on nature, the singer is likely to wear browns and beiges with floral patterns, or swirls to emphasize the unending cycle of life.

A male singer might want to wear a suit with similar colours in the fabric. Other singers would prefer green, representing fertility.

If the singer has chosen a fairy-tale theme, then they would have clothes with floral colours and patterns. They would probably include some sparkles to reflect the magical quality of fairy tales.

Men might want to include sparkles by wearing a black suit with thin silvery stripes running through, a brown suit with thin subtle golden stripes that reflect, or a plain suit with a decorative tie.

Pinks, Purples and reds are vivid vibrant colours which would complement a recital with a love theme.

Men could opt for the more subtle but noticeably warm colours like Deep purples, Maroons, or deep reds with dusky pink shirts to complement the colour of the suit.

If your recital has a sacred or an ethereal theme, then you might consider colours such as blues and whites and other pale colours like baby pinks pastel yellows or greens as they are the colours of the sky at different times and represent all that is fresh and pure. Men in this situation could wear morning suits in colours of their choice. There is a lot they can do with dark blues and pale blues.

Appropriate dress

Recitals or concerts are held at different times, for various reasons and in varied venues. When choosing a dress for a recital, you should consider the size of the venue, the time of year and the type of audience you are expecting.

For example, if you were to sing in a room that only seats about 20 people, you have to be conscious of the fact that it is a more intimate gathering and you do not want to appear so formal and distant from your audience. A knee length tea dress or cocktail dress would be appropriate. If you are the sort to prefer full length dresses, then something long with details that are not too vivid at close range, will suffice. You can decide how grand the dress should be in accordance with the demands of the occasion. Huge dresses with so much detail do not often look good at close range as they could serve more as a distraction from the singing.

However, if you were to sing in a hall or room that has more than ten rows of seats, being visible and having a huge presence is important. You can choose between the straight long clinging gown, or the ball gown that complements you best. Vivid details do not count as much since the audience will be far enough for the detail not to cause distraction. If you prefer shorter dresses, I would strongly advise that you are sure that the stage is not too high above the audience to prevent any embarrassing revelations. It is also important to ensure that the tailoring of your dress leaves no room for disasters. Unfinished aspects such as a loose shoulder strap could be the biggest nuisance during your recital, causing you to fidget and distract your audience. If you’re in doubt about what to wear, You can never go wrong by sticking to dark colours at night, and pale colours in the day, as long as you choose colours that complement your skin tone. Never underestimate the classic black dress at night or beige during the day. They always do the trick. Though if you have a pale complexion, you want to avoid black because it drains any bit of colour you have left. A good compromise would be dark purple or maroon. Men always look very distinguished in black suits or a navy blue.

Hair

We are often spoilt for choice when choosing a hair style for occasions. However, singers should remember that the face is a vital tool for expression and communicating with the audience and wherever possible, should be left clear of any hair or adornments. When choosing a hair do, you should ensure that the style leaves no room for mishaps, especially when you bow at the beginning and end of your recital.

Shoes

Shoes are very important because most singers stand during recitals. Whilst wanting your feet to look pretty, it is vital to choose comfortable shoes to take the strain off your heels or your toes. Very high heels that make you tilt forward affect your posture and the quality of sound that your voice produces. Most of your concentration will be focussed on keeping your balance, rather than fully expressing yourself.

Secrets that make a difference

Make up

As Women, we all have various insecurities and our figures and faces are the usual culprits. Since the dress has taken care of the figure, attention should be given to the face. I often find that applying foundation to cover any blemishes, and other make up to highlight facial features; help to give a singer’s face the lift it needs to be confident when facing an audience.

Perfume

I don’t know about you, but some women have perfumes for various occasions. An everyday one which is light, but noticeable in an unobtrusive way. A Formal ceremony perfume. (This is what they would wear to church, or a Christening, or Graduation etc) is usually something floral and fresh. Last but by far not the least, is The party time perfume. One which amplifies their personality with its magnetic and alluring smell. I would recommend this one for recitals because it adds to a singer’s sense of self-confidence.

Length of dress

I often find that wearing a long dress when reciting at an exam, prevents examiners or the audience from noticing nervous reactions on the part of the singer.

Under Garments

Now that we’re more aware of how much detail goes in to preparing for a recital, it is inevitable for singers not to think of their undergarments. Singers are inclined to ensure that they are happy with their choice of undergarments. If truth be told, the audience will not be privy to them, but the knowledge that they have carefully chosen the best ones, adds to the feel good factor.

Hair

Do you often feel a cold breeze brush the back of your neck when you sing to people? I do, and I find it most disconcerting because I begin to feel tense in my neck area and my vocal output becomes restricted. My solution to this problem, is to ensure that my hair is loose and long enough to cover my neck. I often find some comfort in feeling the soft caress of my hair on the back of my neck.

To conclude

What is really important is that you feel comfortable in what you wear, because singing to people is one of the most intimate forms of interaction. You are not just opening your voices, but you expose a whole chunk of your soul to a bunch of strangers. You do not want to go there looking like you have got somebody else’s clothes on. You wouldn’t feel right, and your performance will inevitably become artificial. So if you have a theme for your recital, try to marry the requirements of the theme, with what suits your personality. This way, you are more likely to come out with the right dress for you. If you fall in the category of singers who choose songs at random, then you must stay true to who you are and let your dress reflect your personality. That way, you can be yourself when you sing to your audience.

Things to consider when preparing for a singing exam

Tue, 04 Nov 2008 00:00:00 -0600

Exams in general are a yardstick for measuring progress. They earn us certificates which represent our capabilities and open the doors to wider opportunities. Singing

Exams like any other exams require a high level of commitment to practice if excellence is to be achieved. This brings me to the first question a candidate should consider when choosing to take a singing exam.

Why do we take singing exams?

It is often assumed that the ability to sing comes naturally to most people and the novelty attached to the act of singing is overstated. This sometimes results in some pupils choosing to do singing at school in the hope that they have chosen the “Easier option” since they don’t have to find their way round a new instrument.

A lot of people choose singing as a hobby and find fulfilment in spending their spare time having singing lessons. Sometimes, their interest increases and they want to set themselves goals. You also have a number of people who are passionate about singing and have decided to take it up as a career.

However diverse your reasons for taking a singing exam are, there is something that unites prospective candidates.

All Candidates who choose to take a singing exam have obligations to fulfil. They are to turn up to the exams and to perform the set pieces to the best of their ability. To ensure that this happens, there are several things to consider.

Examination requirements

All graded singing exams have a syllabus which must be followed strictly. This is because the examining board has carefully chosen pieces that are appropriate for respective grades and voice types. They have also chosen singing exercises that are good for the development of the voice. You must therefore, read the syllabus for your respective grade carefully and with the help of your singing teacher, choose pieces from the given list, that you would like to perform.

Practice

As the saying goes. “Practice makes perfect” and “To fail to plan, is to plan to fail”

A singer should devote at least 30 minutes each day at beginners’ level, 60 at intermediate level and 90 at an advanced level to practice.

It is very important for candidates to practice their set pieces alongside their singing exercises. These singing exercises are set to improve the quality of the sound the voice produces by enhancing the fluidity, tonality and agility of the voice. They will often come in the form of major and minor scales, chromatic scales and arpeggios. If you practice your vocal exercises, they get the voice warmed up to sing the songs. You must ensure that during your practice you commit the text of the pieces to memory. This reduces the pressure you would be under, if you had to worry about forgetting your words. When you commit the text to memory, you are better able to focus on the whole act of singing which involves breathing, and communicating. You should also practice your pieces in the right tempo with your accompanist. This is really important as you may not have the same pianist present at your exam and if you are not familiar with the right speed, it could result in your running out of breath in the middle of a musical phrase. It is also important to read the dynamic markings in the music because they were written to enhance your delivery of the text. Your teacher will help you to understand the reasons behind the dynamic markings so do not hesitate to ask questions during your singing lessons.

Do you suffer from performance anxiety?

If you do, you are not alone. Performance anxiety is a common malady that plagues all musicians at every level. It is endured by the most famous singers and one thing you must remember, is that anxiety is unquantifiable and subjective since it affects people in a multitude of ways. Some people are better skilled or more predisposed to deal with it than others. This distinguishes a confident performer whose instrument is more reliable, from a less confident one whose instrument cannot be relied upon to function on request. Do not despair if you happen to fall in to the latter category because your anxiety can be managed through lots of experience.

The first thing you should consider when you start to feel nervous or anxious about your singing exam, are your reasons for feeling this way. Write down all your fears and think up solutions to them. Sometimes, you will find that the things you are afraid of are within your control. If your fears can not be rationalized, you should endeavour to engage yourself in relaxing activities before your exams. Some people prefer long walks; others listen to some music, or meditate.

Never underestimate the power of practice. Performance anxiety can be overcome through lots of practice. When you are very familiar with a piece of music, in an environment stripped of familiar faces or features, the song becomes like an old friend you have with you. A physical warm up how ever short, could give your body the chance to release some tension caused by accumulated stress.

What are the examiners looking for?

The examiners will want to see a candidate who displays the ability to deliver a committed performance. This includes:

Accurate delivery of the text
Clarity of diction
Full commitment to the text, and the dynamic markings in the music
Stylistic awareness
A good tone quality
A good stage presence

Credit is often given to pupils for presentation, and good physical comportment. A pleasant smile is always welcome when you address the examiners whilst introducing your piece. The priority given to these requirements will vary according to the graded exam you are taking. The higher the grade, the more necessary it is to fulfil these requirements.

Candidates who fulfil all of the requirements will be awarded a distinction. Candidates, who fulfil most of them, will be awarded a merit, and candidates who fulfil some of them will be awarded a pass provided they achieve more than half of what is required.

Conclusion

When all is said and done, examiners mostly want to see an enthusiastic candidate who displays a genuine love of their instrument because they want to be entertained. They are also wanting more than anything to see what you are capable of. It is never an examiner’s wish to fail a candidate so always ensure that you display your strengths and focus less on your weaknesses during your exam. Don’t spend all the time you are given, worrying about what you may have done wrong. E.g. if you make any mistakes carry on as if nothing has happened. Your ability to keep the performance going will be noted. If you get lost in the middle of a piece, do not hesitate to ask the examiners if you can repeat the performance.

Most of all enjoy your exam. Live through the performance or else you might just realize after you have walked out of the examination that you missed your moment.

Glossary

Fluidity, tonality and agility of the voice

These are things that describe what the voice can do. Fluidity meaning how freely the voice moves up and down the scale. Tonality means how easily the voice pitches a note with out sounding flat or out of tune. Agility, describes how well the voice copes with melodies that have big intervals like sixths and fourths, and melodies with small note values that form quick passages up and down the scale. Think of it as vocal gymnastics.

Scale:

A scale is a stepwise sequence of notes that start on the first and end on the eighth note. The last note always replicates the first and resolves the melody. Example: c d e f g a b c. or (doh Reh Mi Fah So Lah Ti Doh)

Major scale:

A major scale is a scale that progresses in whole tone intervals with an exception of the notes 3 to 4, (e to f), and 7 to 8 (b to c) which have semi tone intervals.

Minor Scale:

A minor scale on the other hand, is the same scale, but the 3^rd and 6^th notes are flat. (Half the value of what they used to be). E.g. (c d e flat, f g a Flat, b c.) on the piano, those flats in the key of c, will be black notes.

Chromatic scales:

A Chromatic scale is a normal scale that progresses in semitones or half steps. (c c sharp, d d sharp, e, f f Sharp and so on. till we get back to c).

Arpeggios:

An arpeggio is a sequence of notes that make a chord when song or played simultaneously. E.g. (c e g c)

Please note, I have used the key of C to illustrate these definitions. You will find that the rules are the same in other keys if you note the degree of the scale in which the relevant changes happen, but the letter names will differ. .

Musical phrase

A musical phrase correlates a spoken phrase in its ability to make sense with out speaking a whole sentence. It is a melody line that sounds right when put together. A good example is: a famous Christmas carol. Silent night. I will right each musical phrase on a separate line.

“Silent night”

“Holy night”

“All is calm”

“All is bright”

“Round yon virgin mother and child” etc.

Dynamic symbols

Dynamic symbols do the same things that adverbs do. They are the composer’s way of telling us how to sing things. E.g. pp. means piano, for softly. F. for forte. Meaning loud. Mf. For mezzo forte. Meaning moderately loud. And mp. Mezzo piano meaning moderately soft.

Stylistic awareness

Stylistic awareness is an ability to adhere to the rules governing each style of singing. Musical styles can be distinguished by their different attributes. Such as ornamentation, phrasing, tonality etc. E.g. it would be stylistically incorrect to sing the hymn “Praise my soul the king of heaven” like Whitney Houston’s “greatest love of all” which is a popular song. Nor would you sing a Puccini Aria “O mio Babbino Caro” like Mozart’s “Vado ma Dove?”. The former belonging to the romantic period and the latter being classical.

For an in-depth understanding of these musical terms,

Read the Grove concise dictionary of music, or paste the URL below to your web browser.

http://www.wqxr.com/cgi-bin/iowa/cla/learning/grove.html

cnx.org/content/m11647/latest/

How to make your voice work for you

Thu, 25 Sep 2008 00:00:00 -0500

The voice, just like money, is a priceless commodity that once made, could be easily lost if not well managed. Singers need to be terribly aware of how often we make use of our Larynx.

Next to our eyes, the voice is the most utilized means of communicating with other living creatures. It can convey our mood even when we try to conceal it from others. It tells us whether someone is reluctant or delighted to speak to us when we call them on the telephone. Voices are utilized when we cry, laugh, or convey any extreme emotions. Do you know that the Police force can use voice patterns in a lie detector test during investigations? When a suspect is being interviewed, specially designed machines can detect the change in the stress level of the suspect, because of the effect it has on their vocal output when they are telling a lie. You can teach yourself to tell a lie whilst looking some one straight in the eye, but you can’t teach your voice how to disguise the truth. This makes the voice the most powerful means of communication.

How can we ensure that our voices work for us when we need it to?

Now we know how vital our voices are in our every day life, we need to understand the link between our speaking voice, and our singing voice.

Vocal health

Singers should ensure that they constantly utilize their inhaled breath when they speak. This is what most teachers would refer to as support. An unsupported voice usually produces a croaky and dry sound, due to lack of oxygen. Oxygen is essential to keep the rib-cage buoyant, creating room for the voice to resound. If a singer does not learn support at an early stage, the voice could get warn out. The lack of oxygen could cause friction between the vocal folds resulting in real vocal problems if the same voice is put through the extra pressure of working as an instrument.

It is also important for singers to realize that the act of singing, is not supposed to hurt at all. If a singer is experiencing pain of any sort in the throat cavity when singing, they should inform their tutor, or see a voice doctor as the pain could be a result of strain, which could lead to other vocal problems.

Physical health

Singers should endeavour to live their life in moderation. The voice box is an organ in the body, and if you don’t take care of your body, your voice will inevitably suffer. So, always have a small bottle of water handy so you are never too thirsty before you can get to a drink. Water is essential for lubricating the vocal folds to prevent tension or the tightening of the vocal chords.

Do not take alcohol before any performances. A little alcohol though useful in relaxing the nerves, could prevent your vocal chords from vibrating readily when you need it to. If that happens, you will be relying on your throat for support when singing, and this will inevitably have detrimental effects on the longevity of your voice.

Always keep a healthy diet and lifestyle, which should include regular exposure to fresh air and exercise.

Stress management

You must learn to manage your stress levels effectively because your voice will not work well if you’re stressed:

Ways of managing stress

Ensure that before any performance, you clear your mind of all aspects of your life that do not relate to the performance. This could be done through meditation, various physical and vocal warm ups, listening to soothing music, and doing anything with in reason, that makes you feel relaxed.
Never take on more than you can handle. I.E. do not agree to too many engagements close together unless you’re properly guided and you’re sure your voice can handle the work load.
It is also important when planning a recital program, to pace your self by putting very challenging arias or songs far apart from each other in your program. This way, you give your voice a break, and a better chance to deliver a totally commited performance.
If you are a beginner, do not perform pieces that are of a very high standard as the voice needs time and space to develop. It is far better to sing a simple aria properly, than to damage your voice in your quest to impress an audience. The adulation you get from the audience is not derived from the song you sing, but how you sing it.

Last but not the least, remember, that it is a wonderful thing to be able to sing so enjoy your voice, and don’t exploit it.

Glossary:

Larynx - The larynx is an organ situated in the neck. It houses the vocal chords/vocal folds.

Vocal Folds - The vocal folds which are popularly referred to as vocal chords are twines of mucus membranes stretched horizontally across the larynx. When they vibrate, the sound produced, is what we call our voice.

Aria- An Aria is a song written for a character in an opera.

Please note that this is a brief analysis on the workings and maintenance of the voice. For a more detailed explanation, please visit the websites below.