Frank Pirrone wrote:
I'm assuming the students you work with are studying vocal music, and
given the quality of everything you've posted and written I also
assume you guide them with insight and taste, but I'd like to offer a
suggestion or two invoking my own creds as a teacher and performer:
A quick point: I don't teach singing per se. I make no claims to have
any ability as an instructor for basic vocal technique, but it seems
that more students are caling me for singing lessons. I inform them that
my skill in that direction is largely as a coach, and that if they can't
aready sing they should look elsewhere for a qualified instructor.
That said, I do like working with singers, and I strongly encourage all
my students to get into singing at any level.
Also, most of my students are studying guitar, but I have a few students
studying bass guitar, a few more vocalists, and even a couple of kids
getting into digital audio recording technique and methods. Great fun,
very rewarding.
What Corin may not fully appreciate, given her age and generation, is
the difference between singing and, let's say, crooning. Ever hear a
classically trained singer, perhaps someone from the operatic
tradition, or early stage and film musicals sing a jazz, blues, or
even pop tune and just not get it "right?" I'd attribute that
generally to singing within their native tradition, and its not
fitting the song. Wait, didn't William Shattner sing some Beatles tunes?
Whoa, you're not dissing the Shat, are you ? ;)
Your point here is good. As a matter of course, when Corin was learning
Twisted I put together a disc of all the versions of the song I could
find, including one by some operatic tenors. I know they were just
having a good time with the song, but it was pretty bad from a stylistic
POV.
Btw, Corin does take classical voice lessons, and has for a few years.
She probably wouldn't be working on the popular music with me if the
classical teacher had okay'd the stuff for their lessons, but he has no
feeling for pop or jazz.
Where her voice naturally falls within the first two tunes, her quick
and quavery vibrato and flattish phrasing keep "Fever" from becoming
an equally strong vehicle for her talents. She's "crooning" it more
than singing it.
Yes, that's it exactly. As I wrote previously, she has done it better
live, she can connect with her audience pretty well by now.
I'd have her syncopate it more. Slow down the vibrato, or drop it at
points altogether. That's common enough for jazz singers. Sing with
a little more edge, and from the throat. Have her close her eyes and
both visualize the story of the lyrics and the expressive process of
voicing it. Have her practice some bluesy growl and timing, even to
the extent of visualizing herself as a tube of vocal music, squeezing
it out perfectly with pressure from the diaphragm. If you sing, show
her. She'll quickly get the point and emulate the difference.
These are great suggestions, Frank, thank you, and I will use them. I
haven't really approached the use of vocal effects (I'm still trying to
master Blind Wilie Johnson's growls myself).
She has trouble with the vibrato. I think perhaps her classical teacher
has failed her there, she didn't realize she had it until I pointed it
out. Sometimes it's mitigated by her comfort level, I've noticed that in
performance her first songs have more vibrato than the later selections.
She's getting more comfortable with the recording process though, and
hopefuly she'll learn how to "iron out" the vibrato and to apply it with
more control over where & when.
One last thing, and Thorsten may have been reacting to this, though he
focuses on the vocal, the music should be more assertive. I've played
fever for a long time, and could even demonstrate what I mean on a
single instrument. Put three or four tracks together and this song
should simply boil. I mean that figuratively and literally, if you
will. Some tunes need to charge ahead and shout to have the desired
impact. Not "Fever." I've got an arrangement and guitar chording
chart that at the same time as it's subtle and understated, it simply
cooks. It drives and burns.
We listened to a dozen recordings of the song, but the one she kept
turning to was Peggy Lee's version, which is a rather understated
arrangement (compared to some of the versions we heard). Of course,
different people hear our arrangement differently: One friend here, a
very experienced musical felow, loved its minimalism, while another
equally experienced musician expressed the same thoughts as you.
Obviously we need to plan for remixes... :)
Look for that, if you agree with me, and I believe you and Corin will
take this excellently chosen tune to another level - and with a
minimum of additional effort and time.
I think she wants to keep it as a repertoire item, we'll try getting
more into it for the next performance.
p.s. If that sounded too critical Dave, it's not what I feel and
meant. I genuinely liked this piece and recognized it for what it
represents.
No fear, Frank, your comments are deeply appreciated. I don't feel
especially skilled as a vocal teacher, and I can use suggestions for
taking my students to new levels. I have two more young students who
idolize Corin and want to learn to sing like she does, they have the
talent but almost no experience, so your advice is most timely.
I'll discuss the various responses posted here with her at her next
lesson. She's a very even-tempered student, she'll consider all
criticism in good spirit, and she'll definitely work on her problem spots.
Best,
dp
_______________________________________________
Linux-audio-user mailing list
Linux-audio-user@xxxxxxxxxxxxxxxxxxxx
http://lists.linuxaudio.org/mailman/listinfo.cgi/linux-audio-user
