Judy-
I don't know if you know anything about Wesley Balk, but at his institute in
1998, I discovered for the first time, the joys of improvisation. The idea was
that by giving yourself permission to improvise in any particular song/aria,
you can find a larger range of expression. Improvising during practicing (he
juxtaposes UBU - "ugly but usefull" sound - to OOPS - the "one and only perfect
sound") has helped me TREMENDOUSLY to bring freedom to both my expression and
my technique. It totally changed the way I think about singing. I add all
sorts of bizarre sounds during practice sessions. As well as rhythmic, melodic
and dynamic improvisation. In the end, it is much easier to react to the
expression I want to find IN THE MOMENT on stage when I have tried all these
other ways of singing the particular song/aria. (P.S. I also do some pop/folk
singing, and the improvisation is even more useful there!)
Lisa-Marie
--
On Thu, 15 Jun 2000 10:29:41
sopran wrote:
>
>In a message dated 6/15/00 8:17:39 AM, lisa_molson@m... writes:
>
><< On Wed, 14 Jun 2000 09:13:08
> Lloyd W. Hanson wrote:
>
>>While this can be impressive, it has nothing to do with
>>the performance style with which Garcia electrified Parisian audiences.
>>Critics repeatedly mentioned Garcia's fire, his ease of movement on the
>>stage, his 'gift of invention', his rhythmic sense, his speech-like delivery
>>of recitative, the applause of the audience after his cadenzas. Being a
>>true singing actor, Garcia knew how to hold the audience in the palm of his
>>hand." >>
>
>This post got me thinking about improvisation, which seems to be nearly a
>vanished art in the world of classical singing.
>
>I came out of a folk singing background, where I learned that the way you
>make the song your own is to improvise some small ornaments, a variation on
>the melody, etc.--something to help put your personal stamp on the music.
>
>When I got to college (where I was not a music major but took some music
>courses including voice classes and had many close friends who were voice
>majors) I was surprised by the seeming "rigidity" of interpretation. The
>singers were expected to perform a song or aria as written--no more, no less.
>No variation. It seemed like mindless repetition to me.
>
>Now since then, I have come to appreciate the need for discipline and
>accuracy in musical performance. But I still miss the opportunity to create
>my own little "variations" here and there--to add a trill or a turn, an
>appogiatura or even a little cadenza where none is indicated--and not just in
>arias, but in songs as well.
>
>My question is, does anyone else feel this urge? And do you indulge
>it--outside the shower, that is? How do you determine when to improvise and
>when not to? I'd love to hear opinions on this one!
>
>Judy
>
Send FREE Greetings for Father's Day--or any day!
Click here: http://www.whowhere.lycos.com/redirects/fathers_day.rdct
|
|  |
