ayleim
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Post by ayleim on Feb 28, 2013 23:49:07 GMT -5
Bringing this over from the 1st page of today's thread.... wondering if anyone here as any comments to make about it? ( dancygeorgia shouted out to cassie specifically :D ) Is it a singing technique? Is it something new? Something old repackaged with a new name? And just because I'm curious.... I idly clicked a couple of links and saw that it was actually possible to book skype lessons with teachers... which kinda surprised me. I mean, my vague impression was that while a teacher would be able to comment on interpretation of a song remotely, correction of technique would require a teacher to be physically present, to perceive the student's posture as a whole. Yeah, I am not familiar with this particular method of teaching voice. Sorry. I think it is popular these days, tho'. There are many different methods to teach someone to sing correctly. The goals are basically the same: to produce a clear, resonant, consistent tone throughout the singer's range; to smoothly transition through the different parts of that range (chest, mixed, head), and to produce the notes without tension to the cords and throat which cause a constricted, even strangled sound, limit the singer's range and resonance, and seriously damage the cords over time. SLS approaches teaching with a focus on the anatomy and operation of the throat, the larynx and the cords. At least, that is how I understand it from w hat I have read. Of course, there are many other components to learning how to sing correctly and effectively. How to breathe correctly and support the voice, how to bend and shape the sound (adding grit, ping, twang, and other colorings), how to articulate consonants and vowels to produce the words/notes clearly and intelligibly without losing tone or resonance, how to shade the voice for interpretive and emotional intent. The trick to all of this is for the teacher to explain how one produces the sounds when he/she cannot demonstrate precisely HOW it is done. The student cannot see the teacher's vocal cords, muscles, diaphragm, tongue positions, soft palate, abdominal muscles, etc. They can HEAR the result, but cannot see the mechanisms. Teachers use a variety of explanations, analogies, kinesthetic exercises, etc to try to get the student to produce the correct sound and technique. Once they produce it and feel in their own body what they are doing, they can practice in order to do it consistently and accurately. I don't think that answers your question about SLS, but maybe it helps to understand why singing correctly and beautifully, as Adam does, is very difficult and takes a great deal of training, practice and maintenance. (Drat, hope this isn't a double post. Reply got eaten up or something.) Thanks cassie (and holst on the main thread)! Hmmm. Well, what springs to mind reading Adam's response to the question (Adam: "This kind of singing is indeed very challenging; you may say it's the newest singing style right now. Music means none stop exploration; and exploration and challenge myself are my favorite things to do.") is that he seems to keeping up with vocal coaches and the newer vocal techniques. Which is a relief and nice to get confirmation of. (Unless he's bluffing.  )
And this is not really Adam-related, and kind of a restatement of the last paragraph in my previous post - how effective would a vocal coach be using a remote teaching method like skype rather than being physically present with the student? (for vocal technique rather than song interpretation) cassie, you said that they cannot see the mechanisms occurring for the techniques, but does it sometimes help for the teacher to be physically there to, I dunno, POKE at the right muscle to relax or something? :D |
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Post by cassie on Mar 1, 2013 0:52:14 GMT -5
Yeah, I am not familiar with this particular method of teaching voice. Sorry. I think it is popular these days, tho'. There are many different methods to teach someone to sing correctly. The goals are basically the same: to produce a clear, resonant, consistent tone throughout the singer's range; to smoothly transition through the different parts of that range (chest, mixed, head), and to produce the notes without tension to the cords and throat which cause a constricted, even strangled sound, limit the singer's range and resonance, and seriously damage the cords over time. SLS approaches teaching with a focus on the anatomy and operation of the throat, the larynx and the cords. At least, that is how I understand it from w hat I have read. Of course, there are many other components to learning how to sing correctly and effectively. How to breathe correctly and support the voice, how to bend and shape the sound (adding grit, ping, twang, and other colorings), how to articulate consonants and vowels to produce the words/notes clearly and intelligibly without losing tone or resonance, how to shade the voice for interpretive and emotional intent. The trick to all of this is for the teacher to explain how one produces the sounds when he/she cannot demonstrate precisely HOW it is done. The student cannot see the teacher's vocal cords, muscles, diaphragm, tongue positions, soft palate, abdominal muscles, etc. They can HEAR the result, but cannot see the mechanisms. Teachers use a variety of explanations, analogies, kinesthetic exercises, etc to try to get the student to produce the correct sound and technique. Once they produce it and feel in their own body what they are doing, they can practice in order to do it consistently and accurately. I don't think that answers your question about SLS, but maybe it helps to understand why singing correctly and beautifully, as Adam does, is very difficult and takes a great deal of training, practice and maintenance. (Drat, hope this isn't a double post. Reply got eaten up or something.) Thanks cassie (and holst on the main thread)! Hmmm. Well, what springs to mind reading Adam's response to the question (Adam: "This kind of singing is indeed very challenging; you may say it's the newest singing style right now. Music means none stop exploration; and exploration and challenge myself are my favorite things to do.") is that he seems to keeping up with vocal coaches and the newer vocal techniques. Which is a relief and nice to get confirmation of. (Unless he's bluffing. )
And this is not really Adam-related, and kind of a restatement of the last paragraph in my previous post - how effective would a vocal coach be using a remote teaching method like skype rather than being physically present with the student? (for vocal technique rather than song interpretation) cassie, you said that they cannot see the mechanisms occurring for the techniques, but does it sometimes help for the teacher to be physically there to, I dunno, POKE at the right muscle to relax or something? :DI actually think that teaching voice by Skype might work well. I don't remember my voice teacher actually touching me or having me touch her to demonstrate a technique. She would demonstrate something and have me feel my own abdomen or throat or whatever to feel the appropriate movement or vibration. Mostly it was demonstration of a singing technique coupled with an explanation (I studied anatomy and physiology of the speech mechanisms in college, so we could talk using that as reference) and an analogy or imagery. (i.e. "You are reaching up to that note which is causing you to push. Instead, imagine that you are gently floating on top of the note.") Then, I would try it with the teacher listening and observing my body, and she would comment (i.e. "you are raising your shoulders which is producing tension and blocking your breathing." Or "that's the tone you want. Did you feel the vibration on the front of your hard palate?"). All of that would work via video conferencing. Most of the really good singers continue to work with vocal coaches. I guess it is like working with a personal trainer in fitness. They monitor your production for any flaws or bad habits that might develop, give you exercises and techniques if you are having a problem with certain parts of your vocal delivery, and teach you new techniques and approaches to expand and refine what you are doing. I am not suprised that Adam consults with coaches, but I am glad that he does. |
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Holst
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Post by Holst on Mar 1, 2013 8:47:35 GMT -5
Music lessons can work a bit using Skype. With the instruments that use breathing (including voice) a teacher really needs to see what is happening physically, looking for tension or relaxation, etc. However, there is much that these teachers cannot see that goes on inside the mouth and upper body. With string instruments, which I teach, much more of the technique is visible. I can touch and the fingers, wrist, and other body parts involved with playing.
However, tone quality cannot be evaluated very well using Skype. And that is a BIG deal.
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ayleim
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Post by ayleim on Mar 1, 2013 10:52:24 GMT -5
Thanks cassie and holst, for your insights..... It's fascinating reading about your experiences in teaching/being taught! Not that I'm looking to take lessons, but I was curious. Did take some piano and violin lessons before, and I was finding it hard to imagine using a remote method. I guess a lot depends on the transmission quality (both audio and video) on whether it's a viable method - to see signs of tension and to evaluate tone production. Yeah, don't have to worry about manhandling fingers and elbows for voice lessons. |
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Post by butterknife on Mar 6, 2013 21:47:05 GMT -5
The Show Must Go On by Erik Gronwall on Idol 2009 (I guess it was the Swedish idol)
I think he did a pretty pretty good job. His voice type is not my cuppa but his high notes in mix sound kinda cool to me.
What do you think?
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Post by cassie on Mar 6, 2013 22:59:14 GMT -5
The Show Must Go On by Erik Gronwall on Idol 2009 (I guess it was the Swedish idol) I think he did a pretty pretty good job. His voice type is not my cuppa but his high notes in mix sound kinda cool to me. What do you think? Okay, that was surprisingly good. Of course I am spoiled by Adam's version, but, if I blot that out of my mind, he sang this with passion. He was on key. He has power. Nice job. Oh, hell. I can't help it. Adam's voice has more richness to it. More depth. More substance. His lyrical lines are longer and smoother. He adds shape to the notes with vibrato. His is more mature and this guy's is more raw. So, this guy is good. Adam is awesome. |
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Post by bridgeymah on Mar 6, 2013 23:19:21 GMT -5
The Show Must Go On by Erik Gronwall on Idol 2009 (I guess it was the Swedish idol) I think he did a pretty pretty good job. His voice type is not my cuppa but his high notes in mix sound kinda cool to me. What do you think? Okay, that was surprisingly good. Of course I am spoiled by Adam's version, but, if I blot that out of my mind, he sang this with passion. He was on key. He has power. Nice job. Oh, hell. I can't help it. Adam's voice has more richness to it. More depth. More substance. His lyrical lines are longer and smoother. He adds shape to the notes with vibrato. His is more mature and this guy's is more raw. So, this guy is good. Adam is awesome. Another great illustration of singing in 2D (everyone else) and 3D Adam. This guy hits the notes but is sounds thin and kind of breathy. Substance is a perfect description. Adam's voice simply has more... |
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Post by lucynovember on Mar 6, 2013 23:28:22 GMT -5
The Show Must Go On by Erik Gronwall on Idol 2009 (I guess it was the Swedish idol) I think he did a pretty pretty good job. His voice type is not my cuppa but his high notes in mix sound kinda cool to me. What do you think? |
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Albiku
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Post by Albiku on Mar 7, 2013 17:35:24 GMT -5
The Show Must Go On by Erik Gronwall on Idol 2009 (I guess it was the Swedish idol) I think he did a pretty pretty good job. His voice type is not my cuppa but his high notes in mix sound kinda cool to me. What do you think? That was pretty good! He's singing passionately (although I don't think he's interpreting the meaning of the lyrics, or at least if he is his interpretation doesn't reach me that much) and he does it better than many others who have tried to sing this song. You guys know I don't know much about vocal technique, but somehow I don't think he's reaching some of the high notes with the proper technique. :-/ I hear too much strain in there. But, again, I could very well be mistaken. What do I know?  |
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Post by cassie on Mar 7, 2013 20:49:35 GMT -5
The Show Must Go On by Erik Gronwall on Idol 2009 (I guess it was the Swedish idol) I think he did a pretty pretty good job. His voice type is not my cuppa but his high notes in mix sound kinda cool to me. What do you think? That was pretty good! He's singing passionately (although I don't think he's interpreting the meaning of the lyrics, or at least if he is his interpretation doesn't reach me that much) and he does it better than many others who have tried to sing this song. You guys know I don't know much about vocal technique, but somehow I don't think he's reaching some of the high notes with the proper technique. :-/ I hear too much strain in there. But, again, I could very well be mistaken. What do I know? Frankly those high notes reminded me a little of James Durbin. Very piercing and brittle without fullness. Show without substance. And, yes, strain. As to singing with passion..... I agree with you. He seems highly emotional, but I don't get the intent of the song from his interpretation. It all has much the same intensity. There doesn't seem to be thought about the individual lyrics. I had attributed it to perhaps he was singing in a foreign language for him and doing it phonetically? |
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