Report on Vocal Anatomy for Voice Professionals

Advanced notice of Singing and the Actor Training courses

See you in Sweden?

We're off to Sweden in March to work with a number of teachers and students from various music colleges and further education organisations. We'll be starting in Stockholm as guests of the Stockholm Institute of Music Pedagogy (SMI), then moving to Gothenborg to work with teachers and students at the Academy of Music and Drama (Gothenborg University). We're also going to be available for private sessions while we're there, so if you are in Sweden at that time, drop us an email.

We'll be including a course report in our next eZINE.

Gillyanne and Jeremy have been working on the MA in Musical Theatre course at the Royal Scottish Academy of Music and Drama in Glasgow for several years. The course has a very high success rate for students going into the industry, with 100% of last year's intake getting representation.

The Academy is now setting up a new BA in Musical Theatre course, which will start in September this year. Gillyanne and Jeremy will both be guesting on the course, so if you have students who are interested in applying for the new intake in September, auditions are still taking place for "quadruple threat" students (singing, dancing, acting and instrumental skills). Contact the RSAMD for a prospectus.

Following a plea from one eZINE reader for something special aimed at the classical singer, Jeremy's latest article focuses on the solutions for learning operatic recitative, particularly the recitativo secco, accompanied by harpsichord. (Incidentally, it's also good for learning Psalms!)

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Five quick and easy steps to learning recitative

Recitative comprises music that is written in the style of ordinary speech, and appears in operas from Caccini to Stravinsky, and in church music including Gregorian chant and Bach's cantatas.

But many young singers I have worked with think of recitative in opera as the filler between the important bits, and can tend to gloss over it to get to the meaty arias or duets. But it is usually there to carry the plot forwards, and can be a highly emotional experience.

Recitative can hold some terrors for the young (and even the experienced) singer, as its rhythmic and melodic structures often differ from the surrounding music. Singers are musicians at heart, and the temptation is to start with the melody and throw the words in somehow. But in reality, this takes longer to do, and you are more likely to make mistakes that are difficult to undo.

Here are five simple steps I use in my coaching to help singers read, understand and learn recitative. The sample Italian recitative comes from Come Scoglio, Fiordiligi's aria in Mozart's Cosi Fan Tutte. You can view the complete score online at http://www.dlib.indiana.edu/variations/scores/scores.html
 

1. Start with the words, in whatever language it is written.
Read them through aloud, listening for accurate vowels, and looking for odd pronunciations or strings of unusual letters. In Italian, several words are often strung together resulting in three or four vowels in a row - make sure you know and can pronounce all of them. "Temerari, sortite fuori di questo loco"
[If you have a word-for-word translation, use it now only to get the flavour of the emotions you are portraying: You reckless man, leave here immediately]

2. Now read the words aloud again,
but this time emphasise every syllable that moves pitch. Although this might feel odd (and unmusical), it is in fact the most important part of the process. It will enable you to discover on which word the pitch movements actually occur. And even though you are not yet singing, your brain is already learning the shapes of the phrases. "Te-MEra-RI, SORti-TE FUOri di quesTO LO-CO

3. Now go to the melody, and hum or "ng" your way through it.
You are looking/listening/feeling for the arch or shape of the phrase, and the tonality. Don't worry if you can't play the piano or put the chords in underneath what you are singing - it's enough to understand the shape. [If you do play the piano or can think harmonically, notice where the tonality or chord changes and emphasise that too].

4. Now put the words and melody together,
taking time to emphasise the words where the pitch moves. Again, this helps you to embed precisely where things change (as opposed to where they stay on the same note).

5. Finally, look for the long notes in each phrase.
Most classic recitative is written in quavers (eighth notes), so look out for crotchets (quarter notes) or minims (half notes), and be sure to put them in. The long notes will give you the rhythmic structure of the sentence the composer wants. In this example, the first syllable of Temerari is the longest note in the phrase.
[You don't need to pay too much attention to long notes at the ends of phrases - they are often put there by editors trying to fill the bar].

The trick to learning recitative is to consciously identify the patterns and shapes in the words and the music. Once you have discovered exactly where the different patterns start, you can use them as hooks to speed through the non-moving sections

I recommend that you do steps 1 to 5 under tempo (thinking speed). Once you have completed those steps, you will find that you are able to sing the recitative confidently and effectively at speed.

And if you don't believe me, just try it!
 

"Jeremy Fisher trains singers and performers to find and maintain their best. He's the author of Successful Singing Auditions, and creator of the Voicebox Videos (featured on the BBC and broadcast to an estimated 44,000,000 people). Sign up for Jeremy's free newsletter containing original interviews, pre-release offers and receive your BONUS free copy of "86 things you never hear a singer say" at http://www.vocalprocess.co.uk "

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And finally