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Intention is the triggering factor that creates motion. The basis of artistic expression is motion, whether it
is in the area of instrumental music, dance, singing, painting, theater or any art form. Motion is what
keeps an audience interested, striking interest through intention. Creativity travels through a performer’s
intention, which stems from specific concentration. If intention is NOT a part of a singer’s discipline, then
the result can be a studied sound, which can be boring to the audience. If a singer is to compete in the
professional arena, it is critical that he/she learn the power of expression and what fuels it.
It is a well known fact that some performers are shy, but when they get on stage, they feel a freedom to
express beyond their shyness. This energy that takes over in such a setting is fueled by intention.
Mental Discipline and Knowing the Inner Self: A solid basis for any individual is that of emotional
balance, which allows the singer to be comfortable with self-study. One powerful tool for self-study is
that of the video camera, which allows us to experience our personalities from a different point of view.
Knowing how we come across on film is a powerful tool toward measuring one’s balance in
communication, and it is a critically powerful basis for achieving balance in performance. Many singers
develop and require different preparation tools and the video camera can expose the missing pieces in a
singer’s communication skills.
So knowing the inner self is a foundation for preparing psychologically for a stage performance.
Awareness and knowledge of self are powerful tools that make this kind of preparation possible.
Mental preparation is certainly an aspect of performing that is beyond a beautiful vocal sound. When a
professional singing artist moves onto the stage, he/she must include musical skills, interpretive skills and
concentration (emotional) skills into the venue. An excellent performance requires knowing the inner self,
and use of psychological tools to create a more balanced performance is a gift for every singer.
Getting Out of Your Way: We all have experienced fear as an emotional part of
performing. Often stemming from attempting to please parents or peers, this fear is
most easily dealt with using emotional tools, or even acting tools. I remember a
couple of years ago, I decided to sing on a master class after I had taught for several
hours. Due to my history of having difficult performances as a tenor, I still have a
nervous response. But I dealt with it through an acting took. I suddenly became an
internationally famous singer in a concert hall, and this psychological tool took away
the nerves. You will find more tools in Janet Williams’ book, “Nail Your Next Audition”.
Power IS Intention: Many singers who are on the path of an international career
realize that the word ‘intention’ holds great weight, both in the expression of the
music, and in the level of energy required to perform. Mental preparation is part of
a performer’s list of skills in order to achieve what many call stage presence. Since
emotions inspire a response, we can use word thoughts that trigger colors in the
voice. Joseph Hislop used the three contrasting emotions of joy, sadness, and
anger, having the singer use these emotions in the say key and in the same vocal
exercise. The resulting changes in vocal timbre are simply a response to the different emotions. Yet
because they are preformed in the same key with a familiar exercise, the singer develops vocal
consistency within emotional diversity. Alan Lindquest often used the word ‘intention’ in order to fuel a
singer’s energy. “Take the breath as though you have something to say!” It is critical for each singer to
ask, “What is my language, musical, or dramatic intention in this phrase?” While vocal technique is
critically important in establishing a solid vessel of expression, connecting all aspects of intention moves
the singer toward accomplishing a successful performance.
THE primary motivator that directly influences vocal color is that of intention in
singing. Many years ago, I heard a recital by the great Christa Ludwig. Every word of
every song involved intention to communicate. A seasoned artist by that time, there
was no question what was intended in each musical phrase. Every word led (in
crescendo or decrescendo) toward a higher or lower point in the musical phrase,
offering excitement even in the slowest of tempi. I had a similar experience with Jose
Van Dam in a recital at Lincoln Center in New York. Both of these artists are exactly
that, artists. Inspired sound is feeling in motion, and each of these singers moved
within each word as though it was the upward or downward stroke of a great painter’s
brush.
Exercises:
1. Stand in front of a mirror and work on three contrasting emotions. Look at your facial expression
and learn how it affects your facial posture for singing. Try to interpret these emotions without
distorting a healthy facial posture.
2. Study your face with no expression. Think of it as a blank canvas. Then go into an expression of
sadness, anger, or joy. Study what your facial muscles are doing and be careful not to pull down the
soft palate, or thrust the jaw forward, or thrust the head forward. Learn expression with healthy
posture.
3. Sing a musical phrase on any vowel, BUT keep in mind the meaning of every word. Paint the vocal
color that you want to express. Make the vocal color match the emotion. ALSO, make sure that
every note is moving up or down in volume, in order to develop consistent intention of motion.
Additional vocal information can be found at David Jones’ web site, www.voiceteacher.com. His
instructional CD is available at www.cdbaby.com. Janet Williams’ book, “Nail Your Next Audition” is
available at www.nailyournextaudition.com