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Changing Your Vocal Style

You’re practicing various vocal warm-ups and technical applications in your selections, but you’re struggling with genre changes practicing everything from contemporary vocal a cappella styles to Mozart choral works. To improve breaths, tone, and diction for any style, try speaking the lyrics conversationally with your comfortable (but clear!) speaking tone. Remember to breathe in the same places you should when you sing the song.

Then, record yourself singing the song with your conversational diction. Really let yourself sing the exact same vowels and consonant sounds the way you would normally speak. When you listen to the recording, decide if the sound of your vowels and  consonants match the style of the music you are practicing. If you’re not sure, try finding recordings of your song with performers demonstrating excellent intonation, appropriately styled diction, and, if possible, fantastic stage presence.

For a quick study of style changes within one song, check out this video of the group Take 6 singing “Get Away Jordan.” To skip the introduction, start the video at about 36 seconds. Keep watching until at least 3:20 for a brief change of style in the midst of the song. How would you describe the tone/vowel changes? Can you think of songs that would fit the two styles? Try recording yourself singing a selection with a  contemporary/commercial style and tone then a classical style and tone. Were you able to successfully achieve a convincing performance of the two vocal genres?

Alright, enjoy!

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Vai, vai, vai to the tone

Hello Divine Singers!

Within 20 seconds of viewing this video, you will know why Salvatore Fisichella is one of the most admired tenors of our time. Watch and listen to him help Andrew Owens, an American tenor, improve his tone when singing “Che gelida manina” from Puccini’s La Bohème. May we all learn to feel and demonstrate as much three dimensional tone placement as he can! Search their names and Classic FM to see the video with a few subtitled translations of Fisichella’s instruction.

(Mediterranean Opera Studio and Festival, 2013)

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Toi, Toi, Toi!

You have your perfect outfit, your sheet music is two-sided and legible for the collaborative pianist, and you have practiced your warm-ups with technical concepts applied to your audition music. Now, it’s the big day, but you need a little inspiration. Have a good time with these short videos. I’m sure you can find even more with just a little searching:

One more . . . Enjoy!

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“A” is for Aria.

Now, a little more soprano inspiration via a beloved aria for audiences and performers. Start the recording at 45 seconds to watch Alzeny Nelo sing Heitor Villa-Lobos’ Bachianas Brasileiras No. 5 for Soprano and Cello Ensemble, Mvt. I – Ária: Cantilena.

This aria’s difficulty centers on the fact that though the contrasting section has lyrics, the first section showcases the soprano tone though long phrases sung on one vowel only: [a] and it’s various shades. Enjoy!

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Presto – Baritono!

I was looking for a little bass/baritone inspiration for everyone. Here is Alfredo José Martínez Torres to bring us all some joy with his solo from Beethoven’s Symphony No. 9 in D minor, Op. 125, Mvt. IV – Presto; Allegro assai. It’s also known simply as the “Ode to Joy.” I provided a translation via Wikipedia, so you don’t have to go find it:

O Freunde, nicht diese Töne!
Sondern laßt uns angenehmere anstimmen,
und freudenvollere.

Oh friends, not these sounds!
Let us instead strike up more pleasing
and more joyful ones!

Freude!
Freude!

Joy!
Joy!

Freude, schöner Götterfunken
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.

Joy, beautiful spark of divinity,
Daughter from Elysium,
We enter, burning with fervour,
heavenly being, your sanctuary!
Your magic brings together
what custom has sternly divided.
All men shall become brothers,
wherever your gentle wings hover.

 

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All Hail Queen Damrau.


Yes, more inspiration for us all from Die Königin der Nacht! Enjoy “Der Hölle Rache kocht in meinem Herzen” from Mozart’s Die Zauberflöte performed by Diana Damrau:

And if you thought that was dramatic, here is her terrifying performance within the scene. Watching her move from dialogue to song is a masterclass in operatic acting:

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Great Scott! It’s Joyce from Kansas.

I promise real tips and strategies about singing are forthcoming! Until then, I decided to post another video. Joyce DiDonato came to mind because I truly enjoyed her performance as Arden Scott in “Great Scott” at the Dallas Opera in November 2015. Though she is not singing a selection from that opera in this clip, please enjoy her performance of “Over the Rainbow” – a perfect encore for a singer from Kansas: