Technical

Technical

Unpublished work (c) 2005 Lisa Page Weil
All rights reserved.


Discuss—warm-up:

Vocalize mid range 1/2hour to 45 minutes—to 1 hour—by 45 minutes—add high end practice.  Don’t determinedly focus your low-end practice, as you may growl and carry it back up and out into performance.  If don’t prefer figurations—can repertoire by number &&practice demands of pieces sequentially.

Experience hours with hearing results of practice—stand between 21/2-4 feet from acoustic barriers—or deflect vocal endeavors with barrier hand held materials—to learn application and effect through range and numbers.  With proficiency, stand 6 to 10 feet from acoustic barriers for practice distance, and note the transference places for applications in performance.

Apply yourself to copying those whose talent you admire–and to finding the parameters of their application and your ideas.

If you feel your phrases—find where the lyric leads you, and find what parts of your pieces demand your concentration.

If you find your phrases, try to hear where you fall on the notes, and what direction they have tone/undertone resonance in—try not to underestimate whether the notes are chosen tones or habit-found affirmations.

Decide whether you can hear your enunciation and pronunciation, and compensate if there’s a subjective discrepancy question.  Note the sound of exaggeration, before you undertake to apply advice.  Note the alterations of intent and familiarity and the end result as an estimate.

Remember to have your feet under you.  Try not to have tense muscles through your frame or voice region.  If you are not standing, you don’t have the effort of upholding your frame, and you can sing easily.  Remember that correct posture for singing is not perfect posture, except when your voice teacher and colleagues are staring at you to evaluate it.

Choose material that is complimentary to your technique and aesthetic strengths and individuality as a performer and artist.



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Lisa Weil, a voice student in high school and college, is a soprano with a 5 ½ octave range from high E to low G.  This essay contains advice towards practice for that voice type and effect.