It always interests me to learn why people like to sing? I've asked several people, now I am asking YOU!

What motivates you to sing?
Where do you sing?
How do you feel when you are singing?
Do you prefer to sing solo, or with in a group?
What genre of music do you enjoy singing most? Any reason why?

Just give it to me simple. Thanks!

In November 2011, the celebrated vocalese quartet Manhattan Transfer provided a vocal clinic, as part of the Jazz Master Class Series at the Kennedy Center, in Washington, D.C. I attended this ticketed event, in a rather intimate setting, which added to the afternoon experience. As my eyes swept the audience, I wondered about the attendees, and what motivated them to be present. Obviously, they were fans of Manhattan Transfer and jazz, but who, I wondered, were fellow vocalists or music educators? Some were student age, but the majority, I guessed were mid-thirties to seventies. Very attentive and responsive.

Manhattan Transfer consists of two men, Tim Hauser and Alan Paul, and two women, Janis Siegel and Cheryl Bentyne. The long history of this remarkable group, their awards, hits, and discography can be explored at www.manhattantransfer.net.

Vocalese is the style of music that arranges vocal music to earlier recorded jazz instrumental pieces.

A music clinic provides an opportunity for students to perform and be constructively critiqued by professional musicians or music educators. Within the clinic, professionals often work with individuals or groups on improving technique and performance skills. On this occasion, two vocal groups of college students performed a cappella on a raised platform stage, and were critiqued by members of Manhattan Transfer. One group was called Afro Blue from Howard University, whom you might have seen competing on the television show, The Sing Off. The larger group was The University of North Texas Jazz Singers, who made their debut on the Kennedy Center's Millennium Stage. All of the students, except  one, were music majors in jazz studies.

Each group performed several selections, then joined together to perform Too Marvelous for Words. Manhattan Transfer members were very complimentary and supportive of the strengths of each group, certain individuals, the unique arrangements, and their conductors.

Comments included within Manhattan Transfer's excellent suggestions were: encouraging students to ‘look at each other (during some selections), because the connection is happening in the music, so look at each other and the energy will elevate’. Also, make the background vocals snap!

The perspective and valuable guidance from Manhattan Transfer, in both music and performance skills, was priceless for these young students. Janis concluded, saying “the future of jazz is in good hands.”

I especially enjoyed the amazing and clever arrangement titled The American Standards Medley, performed by The University of North Texas Jazz Singers. And, Afro Blues rendition of My Heart Stood Still, with a male student, John, playing, that is, singing the bass line as he mimes playing an upright bass. The performances were beautiful and polished.

An open Q&A was next on the program, and Manhattan Transfer responded with these comments.

What are the elements that you have found are most valuable in this vocal experience with Manhattan Transfer?

Janis answered, “Having a knowledge of the whole arrangement; a commonality in the emotion of the song when using dynamics; and a soulfulness.” Tim added, “hitting the groove, a rhythm in the groove.”

It was agreed that mastering the ‘subtleties of breathing and vibrato’ are extremely important in a small vocal ensemble. ‘Vibrato must be used sparingly in harmony singing, due to the challenges and the difficulty in matching vibratos,' Cheryl noted.

Part of the joy of singing in vocal groups is being aware of when the ‘harmony locks in; you feel it, you hear it.’ Work towards making ‘each chord ring’. When you sing, you are ‘solidifying changes with lyrics’.

Alan said, “imagine you are standing by yourself, I want you to be inside of the song, so what you are singing lyrically is being projected in your performance, in your personality.”

What is your creative process in learning a new song?

Members contributed to the mix, by saying, ‘First, we learn the rhythms, and the transitions of how it feels as a unit. A new song is learned “bar by bar”, 4 bars at a time. We rehearse a cappella, starting with the melody, adding each part. Then we polish dynamics; the syllables can have emotion which is expressed through the dynamics. The breathing is synchronized. Then we bring it to the band, and sing on microphones. The choice of materials, arrangements and the style of the songs is a group decision.’

Whether it was a young, aspiring vocalist, a music teacher,  a seasoned performer, or a fan, I expect everyone attending this clinic learned valuable techniques about vocal music, performance and a dedication to one’s craft.

Throughout my years of singing, I have experienced a wide variety of music accompanists with various instruments, music talent, personalities, and experience.

Music accompanying is a craft within itself. An accompanist may embrace your lyrics, some leave
you no space for phrasing and creativity; some are sensitive to your expression, others play too
loudly on everything, or are too reserved and lack passion and dynamics; some interact musically 
with you, while others lead all of the time and assume you don't know musically what to do, or
think it's a competition and their egos shadow the music. It can be a wonderful, magical, loving,
creative experience, or just...okay, or painful to get through the gig. Like every vocalist, I have my
favorites for the right reasons, and they remain memorable. Some pushed me musically and I
stretched vocally and learned! Together we knew it was about the music in the moment. 
                                                                                                                                                                                   
Accomplished keyboard artist, Bill Boublitz, was asked 'what makes a good accompanist'?
Here is the perfect response.

                                                                     ~

“I usually laugh to myself because when asked ‘How do you accompany a vocalist?’ 
My answer is a simple one...

One Word; L-I-S-T-E-N.  So simple, but how easy musicians forget. 

To Listen is the key.  All else flows from that.  The task is to create, support and enhance dialog. 
Music is a language.  You can't engage in meaningful dialog if you're not listening. 'Talk' musically
with the vocalist.  In other words, wait for the 'holes', the space between phrases. There is where
you play, and what you play needs to create, support and enhance the melodic line as well as the
color of the voice. Think in language.  It may be chords or notes, but they function such that they can 'comment' on a previous phrase, 'ask a question' to set up the next phrase, on and on...
the analogies can flow forever. 

Once you can establish this kind of dialog, it can grow to more complex levels, where you might
play under the phrase to support the curve or shape of the melodic line, even over the phrase 
(higher in pitch). Once you've established a rhythmic syntax, you can then spread your concept
to other areas, like color.  I might play dense block chords behind a robust alto, but those textures
would be out of place with a thin texture soprano voice.  What you play all depends on the match,
the relationship, the dialog. 

Anything is possible as long as you're listening.  When the listening stops the music
(or lack thereof) becomes like listening to a noisy crowd in a restaurant.  Everyone is in their
own world talking and it's hard to hear above the din.

Too many pianists are concerned with ego; being heard, showing off.  There is no music there. 
I'm reminded of a documentary I watched on Ella Fitzgerald's life, made shortly after her death. 
They were interviewing Tommy Flanagan... no slouch there (!).  Tommy could play enough notes
 for Coltrane.  But he was also one of the most reserved accompanists, playing only what was
needed, asked for by the music.  He told this marvelous story about the first night he worked
behind Ella.  He was young, all pumped up and excited for the opportunity.  The first tune was
counted off and he just jumped right on it.  He talked about how he played all his hottest ideas
and gave it everything to impress with each note.  After the first tune was over, Ella turned
around and stared right at him.  'Well, if that's the way it's gonna' be, I'm quittin' this business!’,
she glared.  The way Tommy told it was priceless.  He said, 'That was my music lesson and
boy, did I ever get it together after that one.'

So.... Shhh...listen!"

                                        Visit Bill Boublitz and his music.         www.billboublitz.com

                                                                                                        www.fivechimemusic.com

It is not unusual for a vocalist or speaker to be nervous in anticipation of, or during, a presentation of any kind. It is important to first recognize this fact, and feel comforted in knowing many people experience this feeling. How we cope with this challenge is the next step.

Whether you are a student with an upcoming class presentation, a sales executive, lawyer, an actor at an audition, or a singer stepping onstage before thousands, there are preparation steps and tools you can use to make the experience a positive one.

So much of singing and performance is mental. When I work with students on presentation, there are many valuable tools that I share with them. We discuss preparation: knowing their material real well, physical check list - rest, eating right, exercising, appropriate wardrobe, and those oh, so important vocal warmups, and breathing exercises to calm them, and help them engage in a rhythm within their speaking or singing. The depth of the discussion and exercises can be extensive depending on the previous experience and discipline of the individual.

Having some awareness of the venue setting, and where and when you will be onstage, is always helpful to know in advance in managing the unknown. Use visualization: picture yourself in that setting, see and hear your strong, successful performance. Recall and focus intensely on the best performances that you have had, how you felt, and go there within yourself to recapture the positive energy, and bring it to this performance.

When you step onto your mark to deliver your performance, you should focus on the purpose of you being there. What is the message you are seeking to share within your music, the lyric, or your presentation - acting role, or business pitch? That's what you focus on. Not your hair, your tight shoes, your sweaty palms, the little rivers of perspiration running down your valleys, or the person in the front row who is texting during your ballad.

One long, slow deep breath, and let them hear your message.

Confidence comes with experience. Each challenge is an opportunity to be creative. Each presentation is an opportunity to grow.

Give it as a gift.

 

~ Peggy Weston

I am writing a book about singing, and look forward to the day I can tell you that it is published and launched!

Many thanks for your comments! Happy to read that you are enjoying the blog. and value the information.

If you want to make a comment to be posted, just post as you have, I read everything and save most to be posted for all to see (some received are ads not related). Thanks! I really like to see your responses, and to share them with everyone.

I would like to hear from more of you who sing, WHY you enjoy singing. How do you feel when you are singing? What motivates you to sing? Do you sing with other people? How often? Would you prefer I create a survey?

SING!

I want to recommend an awesome music group ~ The Bill Boublitz Group. Bill is the composer, pianist, and producer of the group's premiere CD, Takes On Life. Check out www.fivechimemusic.com to hear excerpts from the CD, purchase a CD, and learn more about Bill Boublitz's history, credits, and his thoughts on music and its relationship to our lives...all are apparent within his music.

It was a privilege and great pleasure working with Bill for several years. I found him to be an excellent accompanist to a vocalist, which is a talent within itself. He is a versatile, gifted musician, an artist...from the inside out.

Congratulations Bill on your premiere CD! Let's share the news and music everyone!

Also visit news on Bill Boublitz at: www.reverbnation.com/billboublitz


                                                            

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Let me know if you have any questions or comments. I review all entries.

Many thanks for your interest and support! Please continue to share the news!

Peggy

I would really enjoy knowing what singing means to you. Singing is delightfully addictive. Why do YOU like to sing? What kind of music do you like to sing?

American jazz recording artist, Kevyn Lettau, has also worked as the department head of vocal studies at a private school in LA. She brings a diversity of experience in the performing arts to this discussion.

Kevyn Lettau:  "I studied ballet and modern dance, but it was a difficult road and I started dance at an older age than most do. Singing was so soothing, healing, comforting. Singing saved my life. If I hadn't been a singer, I would have been a therapist."

PW:  "How have you dealt emotionally with depending on singing for your income?"

KL:  "Well, I have been really, really fortunate in that I love to teach, too, and I love to teach singing. And so, I supplemented my income with teaching singing. I am very fortunate that I have the ability to earn a living combined with singing and with teaching. Teaching is kind of an extension of singing. It's basically sharing my knowledge, what works and what doesn't work. When I was much younger I had that feeling, 'Oh my God, how am I going to earn a living doing this?' But I have been so lucky that I haven't had to deal with that at all."

PW: "When you are really beat with your schedule, or you don't feel your pipes are 'up to par', so to speak, how do you physically and mentally prepare yourself for your performance?"

KL:  "Well, first of all I try to never to get myself so beat up that it gets to that point. I am very health conscious. When I am on the road I become quite the hermit. I'll go to sound check, do interviews, do the gig, meet and greet the audience and then I'll go back to the hotel. I'll shut-up, and then I don't talk again until sound checks or another warmup. I try to prevent that burnout that you are talking about."

PW:  "You are very disciplined."

KL:  "I am extremely, to the point of being boring." (she chuckles) "I really enjoy singing with a healthy instrument, so I do whatever I can to try and keep it that way all the times."


 More from my interview with Kevyn Lettau in the future! Meanwhile check out her site www.kevynlettau.com