Sandra wrote:
<< I am at a point of transitioning from seeing and singing individual
words to seeing/singing phrases. I need to improve my ability to
visually seeing the phrase, and the movement of the phrase. I tend to
see "word, word, word" and "note, note note", and then that is how I
sing it. Technically (in terms of breath support, passagio
negotiation, etc), I am at a point where I can and should be sing
phrases.>>
<<Any tips or advice on how to see phrases and phrase movement?>>
Sandra, that's a great question, because I think the phrase is the
foundation of musical meaning. You can have the greatest tone in the
world, and sing all the notes and rhythms accuractely, with great
vowels and consonants, but if there is no sense of phrase the
performance is boring, and meaningless in a musical sense.
You've gotten some great suggestions here. I would also suggest that
you work on your phrases with your teacher as you work music
technically into your voice. For me, I find having a sense of phrase
gives my singing direction and energy that lets me sing with my best
technique.
First, you want to break down the music to identify the phrases as
phrases. Start with one phrase. Phrases always have a shape, like a
musical hairpin (<>), with the highest point about 2/3 or 3/4 of the
way through. You can find this point with an important word, or an
important musical moment. Then sing the phrase, building toward the
peak, and then relaxing after the peak. It's really important, though
that your "relaxation" does not mean you stop supporting your breath
with the same energy as when the phrase is building.
Art songs are a great place to start looking at phrasings, because the
poetic text helps you see where the phrases are. I think the Purcell
song in my .sig below, "Music for a While" is a great song for getting
to understand phrasing, because the phrases are obvious and great fund
to get.
Many phrases are written so they can be sung on one breath. If you
have one of these, sing the phrase at a tempo where you can get it all
in without breathing (when you practice). But even if you need more
than one breath to finish the phrase, or the composer has written in
rests (a la Caro nome), you can breathe so it doesn't interfere with
the flow of the phrase. You can think in your mind that you're not
stopping the musical and textual idea while taking the the breath, but
are continuing the idea through to the end.
This is much easier to demonstrate than it is to put into words. So
work on this with your teacher and/or a coach. Also, listen to
recordings and listen to how singers or instrumentalists make their
phrases. One conductor I like a lot for phrasing is the late George
Solti. Listen to what he and his orchestra and singers do with on his
Cosi fan tutte recording.
Have fun - the best part of your journey with music-making is just
starting!
Peggy
---
Margaret Harrison, Alexandria, Virginia, USA
"Music for a While Shall All Your Care
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