Applause, with variations

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Applause, Carnegie Hall, concert, Maryland, New York Times, Riverside Church

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When is applause acceptable? Is it sometimes out of place?

This topic has been in my mind since last Sunday morning, when my choir was applauded immediately after singing the anthem.

My feeling was that applause was most welcome at that moment. In thinking it over after the service, many varied scenarios ran through my head.

Early on

While growing up in the Midwest, applause was never heard in church, whether that be a service or a concert.

A later surprise

Many years later, I was taken by surprise when playing a concert in a church in Maryland with a cellist. When we entered to begin the concert, there was no applause.

Things had changed.  In an earlier time, I would not have expected to hear applause in a church.

Audience questions

Programs often included a line encouraging applause during concerts held in churches. Audiences were frequently unsure what the norm was, and it changed from place to place.

Another audience instruction sometimes appears that requests no applause until the end of a group in the program. (Applause after ever song in a voice recital can add a lot of time to a program, as well as interrupting the theme of a set or story line of a cycle.)

Spontaneous reaction

A few years after the Maryland concert, I attended a service at The Riverside Church in New York in which the sermon received a standing ovation!

This was a first in my experience. The preacher had been channeling his Pentecostal roots, and the congregation was appreciative.

Other genres

In other genres, such as jazz and opera, applause during performances is expected. Think of especially well-navigated solos and ensemble sections, for example.

Just last week

A concert review published last Monday in The New York Times included the following quote:

Mr. Norrington encouraged applause after Mr. Denk stormed with aplomb through Beethoven’s long, wild cadenza.

That means that the audience at Carnegie Hall applauded at the end of the 1^st movement!

My opinion so far

It strikes me that applause probably varies depending on geographical location, venue, and type of audience.

If applause is spontaneous, but not an uninformed response (i.e. following every song), and doesn’t feel forced, then it can be a wonderful thing.

What have you encountered in your own performances or in concerts you’ve attended?

Please share your thoughts in the comment section below!

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Anatomy of a Vocal Coaching

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Arne, Baroque, classical, Handel, Mozart, Stravinsky, Verdi

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What happens in a vocal coaching session?

The singer arrives warmed up, with the music translated and learned. Along with possessing a beautiful voice, these are the basics.

On occasion, a singer receives a call for a last-minute audition. If the call comes after dinner and the audition is the next morning at 10, that constitutes a true emergency. In that case, it would be understandable for the singer to be less prepared.

In the great majority of coaching sessions, a coach does not expect to teach notes, rhythms, and do the translation from scratch. When the singer is prepared, there is so much more that can happen.

If all a singer (or instrumentalist or actor) brings to a performance is her/his beautiful voice, that is not enough.  Without consonants, correct vowels, many contrasting sounds in  the voice, and a dramatic interpretation, there is just one sound.  And the constant use of just one sound, no matter how beautiful, is not expressive.

A recent program

What follows is a description of my coaching sessions prior to a mid-September voice recital.

“Servasi alla mia bella/Amor commanda” (Floridante, Händel)

We made decisions about expressing the text.

• prominent initial consonants (i.e. “caro”)
• double consonants (which affect the rhythm)
• using warm, expressionless (for effect), or emphatic vocal qualities
• singing as if speaking the text, without being glued to the rhythmic notation

We practiced how much time to take between the recitative and the aria, allowing time to breathe. (An 8^th note rest is indicated. We took about 3 quarter rests instead.)

• We made a dynamic scheme to fit the text
• We added ornaments on repeats
• We wrote a cadenza for the end of the vocal line

We made the difference clear between Classical and Baroque ornamentation.

The ornamented sections needed to be practiced a few times under tempo. When there is more than one syllable involved, things can get a little tricky. (Where do you sing _ _ _ ?)

“E pur così in un giorno/Piangerò la sorte mia” (Giulio Cesare, Händel) was next on the program, but you get the idea, so let’s continue.

“Zeffiretti lusinghieri” (Idomeneo, Mozart)

• We explored ways to apportion the breath to express the words effectively while singing very long phrases.
• We practiced the written-in ornaments, making sure to be expressive and not rush. Sometimes a little more time was needed. As long as the tempo returns immediately after, no one will notice. They hear expressive singing, and are not keeping track with a metronome.
• The dynamics needed our attention. When a phrase repeats, for example, it needs to be varied.
• We practiced how to approach a fermata and how to continue after, gracefully.
• Endings of phrases needed care. Very often, an unaccented final syllable will be notated with the same rhythm as the accented penultimate syllable. They are not equal. Also, the final syllable may be sung on a higher note, making it sound louder (i.e. accented) if the singer is not careful.
• We added a few ornaments and a short cadenza of our own.

“Una donna a quindici anni” (Così fan tutte, Mozart)

• Sounding playful while singing through the phrases was something we worked on.
• We practiced singing “finger riso, finger pianti” with the high “G’s” short and just touched with the voice. Despina is laughing and isn’t thinking about how to produce her high notes!
• We added an ornament. You don’t need a lot, it’s where you sing them that’s important.
• Previous considerations such as double consonants and what to do before and after fermati were present in this aria as well.

“The Soldier Tir’d” (Artaxerxes, Thomas Arne)

• The singer had this aria down pat. It was new to me, and I had my work cut out for me! The piano reduction is clearly for trumpets and orchestra. My job was to make the various changes in instrumentation clear between sections, also incorporating plenty of variety in dynamics and articulation. So I had the trumpets play some passages detached, others smoother, some louder, some softly. The strings were sometimes legato and pizzicato at other times. Sometimes I used sudden dynamic contrasts between sections. Other times, I had one group of instruments crescendo or diminuendo into the next group’s entrance.

• Again, no repeated phrase was performed the same way as the previous one.

It took a lot of work, but in the end it was fun! Getting over the fear and just going for it made all the difference.

Arias from The Rake’s Progress (Stravinsky)

The piano reduction is discussed in a previous post.

• The singer and I worked on coordinating our parts, as these pieces are rhythmically difficult.
• We dreamt up some imaginary staging. That made it easier to sing expressively.
• A good example of using the text well:  the word “colder” is sung 3 times in the same phrase! Is the same word sung the same way 3 times in a row? NO… the story is conveyed so much more convincingly when the text is treated dramatically.

Gilbert & Sullivan arias and ensembles

I am going to take the liberty not to discuss this group at length. We made sure the words were clear and rehearsed one or two musical cues.

“Gualtier Maldè!/Caro nome” (Rigoletto, Verdi)

• Verdi style! How much give and take is there, and where? I can’t explain that in writing, but that is exactly what we practiced. Listening to good Verdi recordings with the score will give you a much better idea of his wonderful writing for the voice.

• In the aria, we worked on how to sound breathless while not letting the audience hear the breaths! (No hyperventilating allowed.)

• We double-checked the pitches in the cadenzas. It’s so easy to slip past one and then start leaving it out. (That is why every singer needs an eagle-eyed and -eared coach!)

• The passage at the top of the penultimate page is problematic, with its wide intervals, staccati, and accents. In order for the voice to be heard, I think this passage must be done under tempo.

Further detail would be difficult to express in writing. I hope this post provides an idea of what happens in vocal coaching sessions. Coaching and voice lessons are very different!

Please share your thoughts in the comment section below!

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The ones that got away

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Emily's Movie, piano music

Image by Sam Howzit via Flickr

With apologies to Mendelssohn, there are 2 “Songs Without Words” that I forgot to include in my previous post.

Op. 53, No. 2  “The Fleecy Clouds”

This song needs to move.  Fleecy Clouds don’t need ploddy triplets!  When I play this, I imagine clouds on a windy day.

There are big dynamic contrasts, sforzandi, and  melodic lines that switch from one hand to the other.

I found that my left hand needed to work on its melody in order to play in tempo and keep the details clear:  grace notes, 2 against 3, accents and marcato.

Another challenge is playing the repeated triplet 8ths with the left thumb while sustaining another note with the 5th finger, an octave or more away.

I took a little time in a few spots, moving the tempo immediately after.

This is a beautiful piece, and I was happy to record it.

Op. 62, No. 1

We did not record this song, but I may include it in a future recital program.  (My left hand needs more time!)

The tempo and flexibility seem to have settled.  But my left hand is way too heavy.

This is the way I’m practicing the left hand at the moment:

• Play the low note with the 5th finger.
• Pedal to sustain ~ you don’t want a gap!
• Release the 5th finger, moving hand (relaxed), and play the 2nd note with the 2nd finger.
• Immediately move hand while playing the A with the thumb, using thumb as a pivot, so 2nd finger is over C (i.e. thumb is tucked under hand).
• The next hand position is 2 and 1 on C and D.  Nothing else about the hand is involved.  The hand needs to be in closed position, not extended.
  
• Jump immediately to the next low note.

The problem for me is relaxing immediately after playing the low note.  The 2nd note is too loud fairly often, matching the low note rather than being a new, less prominent part of the accompaniment.

After some experimentation, I found a way to play the 1st measure of the last line without a gap in the sound:

• Pedal on the downbeat of the bar.  This allows us to honor the 8th rest in the right hand.
• Leave the pedal down through the first A in the right hand, until the 2nd A sounds.  Then lift the pedal.

I wanted to eliminate the blur and no breath that might occur.  After all, my singer needs a breath before the cadenza!  But a big gap didn’t work, either (i.e. when the pedal is released after the downbeat of bar 1, but before the 1st A of the right hand is heard).  My singer needs support, not silence.

Comments?  Suggestions?  Please share your thoughts in the comment section below!

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What is a Vocal Coach?

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Music, singing, vocal coach, voice teacher

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This poor guy thinks voice teachers and vocal coaches do the same job!  The truth is, teachers and coaches focus on different aspects of singing.

We will assume here that most readers are familiar with what is addressed during a voice lesson.  But perhaps you have yet to work with a coach.  That is understandable, since you will want to have your vocal equipment working well first.

This next section first appeared on The Collaborative Piano Blog by Christopher Foley.

A clear explanation of the difference between a voice teacher and vocal coach was posted by Elizabeth McDonald on her blog:

The voice coach (aka: collaborative pianist) is the person who deals with the musical, language and dramatic demands of the vocal repertoire. They are pianists who have done training in diction, repertoire, collaborative piano and opera. The goal of the vocal coach is to serve as the other half of the music (piano part or orchestra reduction) and help the singing put everything together. They expect a singer to arrive with notes learned, language translated, and an idea about how the song should be presented. From there the coach is the musical “mirror” for the singer and reflects back what they hear and makes suggestions on how to make any necessary changes.

Voice teachers are not coaches.

A voice teacher is listening to her student’s vocal production​.  There is not enough time in a voice lesson for teachers to coach as well.

The reverse is also true:  a coach has too little time ​during a session to address vocal technique. 

Coaches are not voice teachers.

Speaking to my experience, I am comfortable demonstrating what I’m looking for, but would be out of my element singing a role or a solo recital.  During coaching sessions, I wouldn’t dream of suggesting changes in vocal technique to a singer.  My coaching time is devoted exclusively to interpretative concerns.

A coach will attend to the following aspects of singing:

musical ~ phrasing, including a breathing plan; tweaking a dynamic scheme to best fit your voice; finding a tempo to fit your voice; ensuring that the key is appropriate for you

language ~ even if you have taken language classes (and you should!), the manner in which words are pronounced (diction) changes between spoken language and sung texts.  Music elongates the vowel sounds (i.e., a single syllable sung on a half-note), so every vowel sound is heard as an exaggeration of speech by an audience.  If a diphthong (or worse) is a part of that vowel sound, or if a vowel sound is just plain wrong, it will be noticed.

Texts in your native language need to be coached.  For example, English has so many variations, depending on where you are from.  You could have one group of British songs, the next requiring a southern dialect, and then perhaps a group of Appalachian songs.  And every language is interpreted in the character of the piece.  That would mean using more or fewer elisions, very clear pronunciation or maybe a few dropped endings, etc.  (Think beat poet vs. Shakespeare.)

In addition, the gutteral sounds of spoken French are deemed vulgar by the French themselves when sung.  The sound must be altered.

Double consonants are also a factor.  How long do they last, and where in the music do they belong?

dramatic presentation ~ a coach can help you define your character.  Your character must be you!

stage deportment ~ a coach is a reliable observer of the way you present yourself on stage, be it for a recital or an audition.  From the time you set foot on the stage until the time you are completely out of sight, the way you present yourself is crucial to a judge’s or an audience’s perception of you.  Often, one small change in something you hadn’t noticed can make the difference between being accepted to a program, winning an audition, being asked back, or being dismissed.

repertoire ~ a coach will be happy to help you choose recital and audition programs.  The order of the program, in addition to the selections, matters a great deal.

cadenzas ~ a coach will help you choose a cadenza that fits your voice, help you write your own, or even write one for you.  Again, a problematic cadenza (i.e., someone else’s or the one from the book) can wreck your chances, while a perfect fit can be a winner.  You should not be struggling to sing a cadenza from a book that doesn’t showcase your strengths.

What coaches expect of their clients

Singers are expected to know the music in advance of a coaching session.  Coaches are not there to “feed” people notes and rhythms.

Translate the text.  If you need help with a phrase or a couple of words, that’s fine.  You can still translate the remainder of your texts.

Have your ideas about performing the music in place.  Who is your character?​  What are you wearing (in the scene depicted by the text)?  Where are you?  What are you singing about?​  Don’t expect your coach to teach you the basics.  We are there work with you.

That said, Happy Coaching!

What would you like to add?  Please share your thoughts in the comment section below!

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Q and A, cont.

Tags

cadenza, Q&A, tempo

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A reader asks:

Q.

Can you slow the tempo down when you’re playing a cadenza?

A.

In general, my answer would be “No.”  Cadenzas are flexible, meaning that they have give and take.  However, as a whole, the cadenza is not a slower section than the rest of the piece.  Portions of a cadenza might be played/sung slower.  Some cadenzas have tempo indications provided by the composer or an editor (see picture above).  The tempo must be related to the piece, though.  Without that relationship, there would be a jarring change.

The Wikipedia definition begins as follows:

“In music, a cadenza (from Italian: cadenza, meaning cadence) is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a “free” rhythmic style, and often allowing for virtuosic display.”

Performers can compose their own cadenzas. Or they sometimes choose between options in published collections.

A cadenza is meant to showcase the performer’s strengths.  So you would want to play/sing one that fits your best performing attributes.  For a pianist, a cadenza could contain scales, trills, double thirds, octaves, fast passages, lyrical passages, etc.  Singers might have easy coloratura, a wide vocal range, fioritura, the ability to sing leaps, or impressive trills.  (String players and other instrumentalists, you get the idea….)

That’s not all, of course.  A cadenza contains music from the piece! Within that framework, the performer includes what s/he does best.

The amount of flexibility in a cadenza depends on the style of the composer of the piece.  Mozart, for instance, is much more rhythmically straightforward than Schumann.

To get an idea of different composers’ styles, you might listen to as many recordings as you can.  If you are interested in a specific piece, you could compare cadenzas on, say, three different recordings.  Google could help you find reviews in order to choose the best recordings out there.

A word about recordings: if you are listening primarily for style and tempo variations, try to give more credence to what it says about the music rather than the recording values (such as background noise, or age of the recording).  Old recordings can be very informative about style, even if they have yet to be remastered.

I hope this is helpful!  Please don’t hesitate to leave a comment or send me an email with further questions, feedback, or any suggestions.  Thanks for visiting!

Related post:  Cadenzas:  some thoughts

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Cadenzas: some thoughts

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In a recent issue of the New Yorker, Alex Ross writes about Will Crutchfield‘s survey of recordings of the tenor aria, “Una furtiva lagrima” from L’elisir d’amore by Donizetti. The focus of Crutchfield’s survey and much of Ross’s article is on the cadenza.

Before Caruso, singers wrote a wide variety of cadenzas. Then Caruso came along, and since that time, most tenors use his cadenza. In fact, most people think Caruso’s cadenza, now heard so often, is Donizetti’s! Not true!

What happened? Performance has become standardized somehow. (And this is far from being the sole example.)

Cadenzas exist for the soloist to showcase what s/he does very well. So striving to perfect someone else’s cadenza, written to fit their specific strengths, doesn’t make a lot of sense.

Why would you settle for someone else’s cadenza?

What do you do best? Everyone has a different answer. Some possibilities:

• trill
• coloratura
• high/low notes
• quick register changes (like Marilyn Horne)
• expressive color changes
• tremolo (i.e., in Monteverdi ~ fast repeated notes)
• ability to sing long phrases
• floating high notes (like Caballe)
• fioratura

A good coach can help you find a great cadenza. Not someone else’s, yours. After all, isn’t your goal to present yourself in the best possible light?

Perhaps you would like to improvise a little as a way to begin composing a cadenza, but haven’t tried it yet. I recently had this discussion with a non-musician, but curious friend. She suggested that I write about this topic in the terms I used to explain improvisation to her.

If improvisation seems difficult, try experimenting with something tangible.

• Spread out some colored toothpicks, then reorder them, make different shapes, build a house ~ build anything!

• Find a room with a black and white tiled floor. Large tiles work best. Walk on the black tiles only. Then try the white ones. (Credit goes to Candid Camera for this idea.) Then dream up your own variations.

• Go to the park, find a bench to sit on, and watch children walk. (They don’t, in adult terms.) You’ll see them skipping, going backwards, and going sideways, going in no particular direction, changing their approach on a whim, always making it up as they go along.

• Try singing/playing something you make up. Maybe something you try will sound “wrong.” (Who said that?) That’s terrific! It’s only by making the attempt and playing around that you’ll arrive at something that works.

Meanwhile:

• nothing broke
• that “wrong” note has NO consequences
• you’re just playing!

Feeling risk-averse? Why?

Are you locked into past teachers’ ideas? We all know different things. You are more knowledgable about certain aspects of your field than any of your previous teachers.

What rep did your previous teachers sing/play? What did they ask you to do/discourage you from? What does each of your answers tell you?

What can you incorporate from concerts? Recordings? Master classes?

To paraphrase some well-known words from our wonderful president, “Yes, [you] can!”

Go for it!

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