Vocalist.org archive


From:  sopran@a...
Date:  Fri Jun 23, 2000  3:36 pm
Subject:  Re: [vocalist-temporary] sight singing and piano skills



In a message dated 6/22/00 12:58:35 AM, ibracamonte@y... writes:

<< Is it enough to win the lottery, thus spending a few
hours a week having a coach (or, more cheaply, a piano
student with good sight-reading and/or bashing-through
skills) teach you the notes? I get the opinion that
your status with general directors and such goes down
the tubes if you aren't known in the industry as a
Very Good Musician. >>

I've never heard of any singer anywhere who won a role because he or she
could play the piano. Have you? Opera companies want someone who can SING the
role. They don't give a damn how you learn your music, as long as you do
learn it correctly and on time.

Certainly, piano skills will help, but only so much. I know plenty of people
who have had careers singing major roles in major houses who can barely peck
their way through Happy Birthday on the piano.

In my experience, musicianship and ability to learn music on one's own are
not one and the same thing. I've known singers who can sight sing, play well,
and still deliver the music in performance without a great deal of
musicality--sensitive phrasing, dynamics, smooth legato, clean coloratura,
you name it--you will NOT develop these vocal skills by playing the piano. If
you have both skills, that's wonderful. But if you have to choose, why not
choose the one that will actually impress conductors, agents, and
audiences--and get you hired?

From my experience, trying to learn music by working with students, etc. is
most likely to be counterproductive. Whenever I've tried to "economize" by
working with someone who may have piano skills but not a real knowledge of
the vocal rep and a genuine, in-depth understanding of how to accompany a
singer, the results have been disappointing. Some people think that they are
being "supportive" by playing very slowly, or without expression, while you
are learning new music. Less experienced accompanists also will tend to
indulge bad habits--again because they think that they are being supportive.
Or they will point out what you are doing wrong, and not have a clue as how
to help you correct the problem (and I mean musical problem, such as not
being able to find your pitch, not vocal problems--that's another can of
worms entirely).

The sooner I start to sing the music with the accompaniment as played by a
knowledgeable coach, the faster I learn and the better my interpretation.

For example, my coach will tell me "you took too much time there--if you were
singing with orchestra, they would have moved on and there would be no way
for you to catch up."

He will also explain the why's and how's of learning a particular piece. For
example, I had some difficulty with a particular aria until my coach
explained the progression of the chords in the accompaniment, and where in
the chord my part was moving to. (I'm not a conservatory grad, BTW, and
everything that I know about music theory is self-taught.)

Even if you play well, if you accompany yourself you will tend to indulge any
bad habits you may be prone to.

I personally learn music in a variety of ways. I have an exceptionally good
memory and often if I've heard a piece a few times I've already got the
melody engraved on my brain. But I always take my music to a coach, have him
record the accompaniment for me, and practice at home before taking it to my
voice teacher for technical work. If a passage gives me problems, I will
pound notes at the piano, but I usually do not need a great deal of that sort
of work.

I've also found that just STUDYING THE SCORE--not singing, just reading--is
extremely valuable. You're not all tied up trying to play or sing the notes,
and you can actually observe their values, relationships, etc better.

I will also listen to recordings while studying the score, to observe what
other singers have done (eg where do they breathe, what tempi they take, what
ornaments/cadenzas do they use, etc.), and to hear the relationship of the
vocal part to the ORCHESTRA as opposed to the piano reduction.

That's why I have not bothered to become an accomplished pianist. My time is
limited--I work full time and then some! Whatever time I do have, I prefer to
spend on singing!

Like Mark Twain, I've put all my eggs in one basket (singing!), and I'm
WATCHING THAT BASKET!

Judy

emusic.com