Be bold. Take chances. Be creative and “Whatever you do, don’t be boring.” Whether you agree or disagree with our take on musicality being linked directly to whether or not a performance is boring, we say again, ‘Whatever you do, don’t be boring.” In this modern age of rapid advances in technology, live classical music performances and even recorded ones are experiencing an increase in the need to engage the audience and listener. An artist’s ability to be musical gives them a big ‘bonus’ when it comes to potential employment. In this article, we will address a few more of the things to consider from a musicality perspective to keep your audiences engaged and leave them wanting to listen to you, attend your performances and/or purchase your recordings over and over again.
Musicality constitutes the ability to take creative chances within any given musical style or genre, while maintaining good vocal technique of course. How many ways can you be musically creative to achieve a certain objective? This should be a fun and creative process. It may require looking at the music in a slightly different way than the norm however, which we always recommend. Here are a few more considerations:
- EMPLOY “GIVE AND TAKE”: Learn how to apply the “give and take” technique through a musical phrase. In simple terms, play with the rhythm and don’t always take the written rhythm exactly as written. This doesn’t mean you make up your own rhythm. It means following a style of “give and take” that is most probably something you already hear from the best performers. A lot of music, especially from the Romantic era (1804–1910), the Classical era (1750–1820), Musical Theatre and others actually require ‘give and take’ on the musical line instead of performing it exactly as written or “straight”. Common in Musical Theatre, the term “Back Phrasing” is continually used which is basically when a skilled performer either moves ahead or behind the music for dramatic effect. In Classical Music, you don’t change the rhythm however, when appropriate, the artist chooses to move ahead, then pause or lilt, and then move the line forward again in a way that may be likened to the flow of speech. Note: When the accompaniment is more ‘complex’ the singer often has less leeway to play with the rhythm in a song or aria for example. When the accompaniment is simpler or is either silent or doesn’t exist, you have much more opportunity to play with the rhythm depending on the particular style of the music. Learning this skill early is essential and sometimes can lead to something specific that you are ‘known, respected, and admired for’. For example, Montserrat Caballe was known for her incredible musicality and audiences couldn’t wait to be moved by her particular style of singing. Listen to great artists such as Jussi Bjorling, Maria Callas, Placido Domingo, Joan Sutherland, Renée Fleming and others who move you musically and 99 out of 100 times they will undoubtedly employ a mastery of this musical style we call “Give and Take”.
- SUSTAIN NOTES: While there will always be critics who believe, an artist should not hold an important note longer than the music dictates, we are of the belief that it depends on the situation and whether or not the artist has a dramatic objective for holding the note. In other words, are they doing it for a dramatic purpose or simply because they can? Maybe it is both but an artist with dramatic and vocal objectives is generally much more exciting. Hold notes longer at the end of songs/arias for a determined effect when the style and music lends itself to that. Explore the possibilities. We have experienced artists, who are not known to have world class voices, to receive standing ovations by holding notes seemingly forever. Of course, there is a fine line between the two so be clear about your choices.
- THE RELEASE: There is something special that artists who believe that it is not only the voice and music creating musicality but also the breath, body and silences. Releasing at the end of sustained notes is also a choice that is in the realm of musicality. There might be a bit of a crescendo, while keeping the mouth open, and then releasing the note with your breath and body, rather than your throat. Figure this little gem out and it may work in your favor. It is a lot of fun too!
- KNOW THE TEXT: Know the text, translate foreign languages word for word, inside and out, into English. Even in English, take it apart phrase by phrase. This will only allow you to gain more depth in your understanding and connection to the piece which will help you be more musical. Whether it shows you how to accent the important words or experience the flow as in regular speech, you are the artist will have a leg up in your ability to communicate with audience in ways that move them.
- FEEL IT: Music is energy. Music evokes feeling in people which just might change their life for the better. Your musicality just might create a positive impact in someone that may be healing to them. Who knows? Learn and master your vocal technique and then let it go as it is already second nature for you as an artist. Be in the present with the music, the story/text and your objectives within that and let everything else go. Feel the music, and communicate that with your whole heart and soul. When you do this, no matter what you sound like, no matter what you do on stage, you will have an impact and people will want to see more of and hear more from YOU because of your impact upon them. Isn’t this a big reason why you want to sing in the first place? Isn’t this the difference between a boring performance and memorable one? Being musical is to become the music and to have it permeate every cell of your being. If you do this there is no way you will not be successful.
Be bold. Take chances. Be creative. Have fun! And above all…”Whatever you do, don’t be boring!”
Until next time, believe in yourself, we sure do… and by all means, SHINE!
