Robert Schumann’s Advice to Young Musicians: Musical Rules for Home and in Life includes many wonderful words of wisdom, even if a few are a little rusty with antiquated social ideals. Whether some or all of his advice rings true for you, the present-day music major will benefit from reading thoughts from the great composer known for putting 1840, the year of song, on the map. I share and comment on a few of Schumann’s thoughts here.
“Do not miss an opportunity of practicing music in company with others; as for example in Duets, Trios, etc.; this gives you a flowing and elevated style of playing, and self-possession—Frequently accompany singers.”
Schumann’s suggestion to practice with others struck me as an important facet of music education that is not always spelled out in a syllabus. Without collaborative music-making experiences, singers will lose out on a chance to better their musicianship, enrich their friendships, and build their careers. This segment of “The Music Major Minute” is a reminder to relive your elementary school days when your teachers taught you to play well with others.
But playing well with others does not mean you must be the “life of the party” 24/7, because real life is not a nonstop party for most of us. When we are able to enjoy working with our colleagues, the music becomes bigger than the group of musicians. Musical synergy is one of the benefits of performance that is hard to define, but when experienced, all your practice is validated and, honestly, living life as a musician is a lot more fun.
Beginning a new semester is a fresh start for students of singing. This is the chance to begin new courses of study, start working on new repertoire with your teacher, and audition for new opera roles or elite ensembles. A new semester might also mean working with a new pianist, so take this time as an opportunity to polish your personal interactions by playing well with all of your musical partners.
As children, most of us were encouraged to “play nice.” Elementary teachers wrote, “Plays well with others” on report cards, and parents cajoled children with ice cream to be brave enough to stand onstage for school plays. Playing well with others for college-aged singers means many things, including preparation, gratitude, and contributing musical ideas in rehearsal.
The music major’s desire for stardom must occasionally take a back seat to the opportunity to be part of a successful ensemble performance. It is inherently human to put your own part first, look out for number one, etc., but learning to be a fine musician includes learning to listen. Whether you are rehearsing with your pianist or singing in a choir, listening to the parts around you is necessary in order to make musical choices about your own part. The goal is to deliver a musical performance, right?
“What is it to be musical? You will not be so, if your eyes are fixed on the notes with anxiety and you play your piece laboriously through . . . But you will be so if you can almost foresee in a new piece what is to follow, or remember it in an old one—in a word, if you have not only music in your fingers, but also in your head and heart. But how do we become musical? This, my young friend, is a gift from above; it consists chiefly of a fine ear and quick conception. And these gifts may be cultivated and enhanced. You will not become musical by confining yourself to your room and to mere mechanical studies, but by an extensive intercourse with the musical world, especially with the Chorus and the Orchestra.”
“Do not neglect to attend good Operas.”
As an opera workshop director, I want to cast students that I know will be prepared and willing to work. The student that already knows everything is difficult for fellow cast members and usually quite incapable of following direction. The student that shows gratitude for opportunities and appreciates the rehearsal pianist and instruction outside of class time is a human being grounded in reality. Young singers will follow their individual dreams by working with a host of experts and learning alongside fellow students. Applaud your colleagues’ success, give everything you can to your joint efforts in rehearsals, and remember the privilege it is to sing great music in both the classroom and on the stage.
“Remember, there are more people in the world than yourself. Be modest! You have not yet invented nor thought anything which others have not thought or invented before. And should you really have done so, consider it a gift of heaven which you are to share with others.”
Singers rarely make music alone. Every rising diva needs a collaborative pianist and probably a host of teachers, coaches, and colleagues that will support the launch of a career. When you surround yourself with a team that will support you, then you will very likely be part of the team helping a fellow singer. In other words, to have a friend, you must be a friend.
To work well with other singers, you must find a way to manage your ego and your work ethic. The talent may be a given, but without the commitment to refine the voice, a singer will be sloppy and forfeit any second chances for solos and leading roles.
“Play strictly in time! The playing of many a virtuoso resembles the walk of an intoxicated person. Do not take such as your model.”
To work well with a pianist, a singer must carefully copy music prior to rehearsal times and prepare your own part so you are ready to put vocal line together with piano part. Remember the meme that assigned dollar amounts to singers’ errata? It jokingly suggested that pianists can charge singers $300 per page if the bottom of the staff is cut off. Take a moment to check your copies and take as many hours as you need to prepare for your rehearsals. Collaborative pianists are your better half onstage.
Prepare well enough to take your music to the next level. Never waste a rehearsal asking a pianist to pound out all of the notes and rhythms—one or two entrances, maybe, but the rest is your responsibility. There would be no bow if it were not for your partner on the bench—so prepare well, have fun onstage, and always acknowledge your pianist when you bow.
“From vocalists you may learn much, but do not believe all that they say.”
Singers can be competitive and, unfortunately, sometimes they are jealous—but they can also be loyal and understanding. I have made my best friends for life in music programs, and there have been a few personalities to whom I happily waved adieu to at graduation. Of course we all make mistakes as we grow into the adults we want to be. If you hurt a fellow singer’s feelings, I urge you to apologize and do your best to genuinely right the wrong. Apologizing is humbling and will strengthen friendships and individual character—not to mention, the singer might be a potential agent or director one day! When singer friends prove themselves trustworthy, they are keepers, and you will need them for the harrowing life of auditions.
A lover to come home to at night is one of life’s most treasured relationships, and I urge you to allow time for dating and to be brave enough to express interest in the pretty girl next door or the handsome stranger at Starbucks. Human types need teammates that will console you in hard times and celebrate your success. There is also that side benefit of learning to relate to opera characters willing to die for love—so, yes, living your personal life is actually preparing you for other facets of your musical career.
“Love your peculiar instrument, but be not vain enough to consider it the greatest and only one. Remember that there are others as fine as yours
. . . and that numbers, both in Chorus and Orchestra, produce the most sublime music; therefore do not overrate any Solo.”
The profiling of “singers vs. musicians” can stop now if we do our part to act like musicians. What are the qualities of a good musician? Score study and collaboration with the conductor and fellow musicians. Singers do these things and can be known as excellent musicians unless one of you forgets to play nice and ruins it for the rest of us. So cut the crap and drill your aural skills homework until you can sight-sing as well as the best instrumentalists can sight-read.
“Endeavour, even with a poor voice, to sing at first sight without the aid of the instrument; by these means your ear for music will constantly improve: but in case you are endowed with a good voice, do not hesitate a moment to cultivate it; considering it at the same time as the most valuable gift which heaven has granted you!”
Vocal music majors are spending a great deal of time in lessons and rehearsals. The lucky singer continues to spend this much time or more beyond the school years, and eventually these rehearsals and performances are bedazzled with a paycheck. I was recently told that I lead a privileged life because I get paid to sing, and truer words were never spoken.
I urge you to consider Herr Schumann’s advice as you study music. The young musician has a world of music yet to discover, and you can become more musical every day by paying attention to the details in your own parts and playing well with others.
Endnotes
1 To enjoy more pithy bits of advice, check out Carrie Jacobs-Bond’s Half Minute Songs. Each song is a one-liner that your grandmother wants you to keep in mind.
