The first years of formal training, whether in college or conservatory programs, can be an unsettling time for young singers who are unable to present themselves in the best light. Perfectly understandable holes in their backgrounds may be misperceived as evidence of more critical problems, and the musical hazing that often results can erode the confidence of even the most resilient young singer, often to a point where skills and aptitudes that once seemed second nature begin to feel dangerously shaky. This article is dedicated not just to singers themselves, but to all the parents, choral directors and coaches charged with nurturing, guiding and preparing singers for a challenging life ahead. No one can protect these young singers from all of life’s trials—but with a certain amount of advance planning, we can at least help ease the way.
Some long-term planning: Four areas of preparation
I designed the following suggestions to help make the transition into formal training less jarring. Many relate specifically to the acquisition of sight-singing and listening skills, but others promote a general sense of musical competence. If you feel I have omitted something critical, please let me know—even after 30 or so years working with singers, I remain an instrumentalist, with my own tunnel vision.
1. Musical labeling and basic music literacy
Basic music theory is a standard offering in all college and conservatory programs. Even in allegedly introductory courses, however, teachers routinely assume students have already assimilated a significant amount of information about key signatures, staff and clef signs, scales and intervals, and tempo, dynamic and expressive markings, and that students possess a rudimentary methodology for working through rhythm problems and analyzing simple tonal phenomena. Instrumentalists experienced in orchestral playing may have thoroughly absorbed much of this information already—but for singers, who may have begun studying considerably later, much will be new, and the process of acquiring this music literacy information overnight may be overwhelming. To even the playing field a little, it is essential that singers enter college or music school with a mastery of some of the basics, acquired in repose rather than through last-minute cramming.
Truly accessible theory classes for teens may be difficult to locate, but good, practical, inexpensive workbooks are available to fill the vacuum. The first two books of the Master Theory series, published by the Kjos Music Company in San Diego, provide a very reasonable introduction to basic music concepts and terminology, with practical activities provided for reinforcement. The books present only essential information; they permit beginning students to follow the explanations and examples easily and absorb the material gradually without being overwhelmed by unnecessary detail. Students will learn to recognize and understand most basic notation symbols intellectually, but for practical reading experience, we’ll move on to the next study area.
2. Sight-singing: Basic pitch and rhythm skills
In the April 2004 Classical Singer, I offered some guidelines for evaluating local sight-singing classes. It’s clear from your feedback that truly helpful pitch-reading programs, in particular, are very rare, and most often stress passive listening and the singing of isolated intervals, rather than presenting pitch relationships in the context of authentic repertoire. Even without formal training, however, there are very natural ways for beginning singers, preferably very young ones, to become confident readers of straightforward diatonic repertoire in major scales, a solid jumping-off point for future sight-singing study in music school or college.
Clearly, the most direct solution is to join a choir.
Singing regularly from the earliest years in school choirs and smaller select ensembles enables young singers to acquire considerable confidence in navigating entrances and mastering tonal conventions, particularly if rehearsals are rigorous and the repertoire carefully chosen. Churches and synagogues often are grateful for the addition of pure-voiced volunteers, and many larger cities have truly extraordinary youth choirs that premier new works, tour extensively in the summer, and provide a wonderful social net for teenagers starting out in music. For information about choral groups in the New York metropolitan area, log onto VAN.org, which also includes links to choral activities, master classes and summer programs throughout the country.
Many highly respected teachers and serious voice students have warned me over the years of the perils of choral singing, and on some level, I’m sure that the potential for vocal damage does exist. Because of these very real concerns, it is enormously important for voice teachers to take the lead in directing young singers to the most appropriate choral range. Aside from the potential for vocal strain, reading in an unnatural range deprives students of the opportunity to develop strong, reliable reading skills, since the support of muscle memory will never kick in. Nevertheless, at their most enlightened—working under conductors with a sophisticated knowledge of vocal production and a careful hand in choosing appropriate repertoire—ensemble experiences can be invaluable in bringing young singers real competence and confidence.
Beyond choral experiences, many everyday activities promote the strong linear concentration and the ability to read ahead that are the earmarks of good sight-readers. Young singers should be encouraged to seek out all opportunities to read announcements and messages at school, particularly when they are to be delivered under pressure in front of large audiences, or over the public address system. I have learned from adult students who work as radio commentators that reading aloud on the air provides many of the same challenges as sight-singing under pressure: Reading ahead is an absolute necessity for capturing the right inflections, particularly when incorporating foreign names, phrases and terminology; and of course, stopping to ponder is never an option.
For rhythm-reading competence, it’s clear that school bands and smaller ensembles offer the most rigorous and reliable preparation, providing not only reinforcement of basic rhythm skills, but also a valuable indoctrination in ensemble techniques—and a chance to play some really funky repertoire. Many band directors are unusually skilled not only in the teaching of all aspects of rhythm, but also in adapting arrangements to create opportunities for even the most minimally skilled players. Beginning a band or orchestral instrument in elementary school is ideal, but even in the later school years it’s possible to choose a technically accessible percussion instrument (triangle, anyone?) whose entrances may be every bit as strategic as the trumpet soloist’s.
3. Notation and musical artwork
Theory and musicianship teachers are often confronted with homework and dictation sheets whose notation is so juvenile and imprecise that it’s impossible to determine whether the assignments and quizzes are correct. It’s been my experience that students whose penmanship is sloppy are shortchanged in more than grading: Teachers—many overwhelmed by impossible workloads—often assume these students are fuzzy-minded, rather than graphically challenged. In many instances, relying on Finale or other computer music notation systems may not be convenient, making it essential for students to develop a dignified graphic style.
Fortunately, this skill is not only easy to refine but can be very enjoyable to practice, particularly if you’re fond of arts and crafts, and it requires little of the intense concentration and isolation that often accompany other music tasks. The only essentials required are an assortment of pens that respond well to the level of tension in your hand as you write and the degree of resistance you’re most comfortable with, some lined or unlined paper, and something to copy. Whatever the choice of practice projects, the primary goal is, of course, clarity. For more experienced students who are “Finale-averse,” Alfred’s Essential Dictionary of Music Notation, an inexpensive paperback, is invaluable.
4. Musical understanding and aural analysis
For all serious musicians, musical understanding and aural analysis are areas that are constantly evolving, as new sounds and compositional techniques capture their imaginations and redefine their musical tastes. It is important for all aspiring musicians, even in the earliest stages, to develop powerful listening habits. For students entering formal training, it is helpful to have the beginnings of a methodology for engaged, analytical listening and a powerful listening habit.
Fortunately, opportunities for listening to unfamiliar repertoire are everywhere. Students can usher on the weekends in a local concert hall, attend concerts and open rehearsals, or simply set aside some regular time for listening to a classical radio station, armed with pen and paper. To be truly engaged, however, a more systematic, guided approach to listening may be needed.
Many direct, unintimidating and clearly organized paperbacks exist to meet this need, introducing the elements of melody, harmony, tonality, musical texture, style and form with clarity and concision, often providing a brief, manageable overview of music history as well. A particularly useful one, Hugh Miller’s Introduction to Music: A Guide to Good Listening (Barnes and Noble Outline Series) has been around for years, but remains far more useful to beginning listeners than many more elaborate presentations.
Very few of these musicianship strategies and recommendations are particularly revolutionary, but they are all easy to implement, rely on readily accessible resources and materials, and can be absorbed relatively painlessly into the lifestyles of most teenagers. As voice teachers, singers and coaches, you undoubtedly have many valuable strategies of your own to add, and much pertinent information. I urge you to share it with the Classical Singer community, or e-mail me at fleischerliz@yahoo.com.
Editor’s Note: If you aren’t able to make it to Ms. Fleischer’s classes due to distance, I recommend Alfred’s Essentials of Music Theory with CD. The CD teaches you to hear and notate very simple melodies. An answer book is available separately for the teacher. The book and CD are available at SheetMusicPlus.com and are excellent preparation for first semester college theory. Use with Bastian flashcards and you’re set!
