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T-Swizzle_voice

Voice Lesson Help!

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I am teaching a student right now who is working on coloratura exercises.  Often times when the student starts to sing them higher and faster the pitch accuracy goes out the window and he has trouble hitting the notes in tune.  Any suggestions for ways I can help this student?  

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So, is the problem singing higher or faster? If you are working higher and faster at the same time try working them separate to find the real issue.

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On 12/10/2018 at 3:28 AM, T-Swizzle_voice said:
I am teaching a student right now who is working on coloratura exercises.  Often times when the student starts to sing them higher and faster the pitch accuracy goes out the window and he has trouble hitting the notes in tune.  Any suggestions for ways I can help this student?  

 

I like Mdew's observation because this is a challenge that is potentially compounded by subtle, often overlooked issues.

As Mdew suggests, as long as the speed of the articulation and scale are not increasing your student's "work load," in singing in pitch, then you can continue with the checklist of troubleshooting.  I do agree, a slower speed always increases confidence for more rapid, and difficult performance standards. True with any other musical instrument as well of course.

Vowel Modification:

Further discussion regarding vowels being sung becomes relevant by virtue of the fact that (as you know), even a singer with perfect pitch will go flat or sharp on a note with the wrong vowel modification (it's physics).  So, you might break down exactly what the vowels are being utilized in the vocalize. The aim would be to craft a more customized sequence of vowel modifications that best accommodates a more accurate note placement for him.  Have you ever analyzed the scale being sung in this manner?  It's a first sweep at eliminating pitch bending configurations.

Ear Training:

A vocalize with more complex note arrangements, be it complex in the run of notes, or in the note selection, i.e. a minor-centric line with a high number of notes both close together, and disparate in scale position. again, slow at first to condition those muscles to retain the memory. This addresses the "ear" issue.

Placement:

I don't mind the term "placement" as some do. I acknowledge it's a term that does have some ethereal tendencies however, I accept it for the purpose of associating a sensation with notes in the head voice.

This is a concept that solidified in my own mind thanks to insights innovated by Robert Lunte in the pedagogy that he created (The Four Pillars of Singing).

- eliminate terminology that subliminally intimidates the student in pursuit of mastery of the minute intrinsic musculature. i.e. "Hitting" notes.  The energy implied by the mere word will translate into tension and constriction. Here's a video by Robert Lunte that speaks to this notion and encourages a different mental focus that is actually in alignment with what is happening in a singer's formants! Singing "deeper" not higher.

I hope this helps!

peace,

k

 

 

 

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