The relationship between a singer and their coach(es) is
important, and one that will last throughout your career. It is therefore crucial to learn early on how to make the most of these sessions, and establish
the best possible working relationship. Young singers don’t always know the
difference between a voice lesson and a coaching, so here are some ideas to
consider before you walk into your next coaching:
COME EQUIPPED
- Bring two copies of
your score:
Your own working copy, and one for the coach. Don’t assume
that you will simply look over your coach’s shoulder; your coach’s copy should
be “user friendly”: no lose sheets, clean, with nothing cut off (I’ve become
really good at improvising bass lines that have been cut off the bottom of the
page, but still), double sided, and preferably in a binder; you have to be able
to take notes and mark your own working copy easily, the same one that you take
to your voice lessons. Over time, these scores become real treasure troves of
information, and you will enjoy going back to them years later.
- Bring pencils:
It seems obvious, but you wouldn’t believe the amount of
coachings I’ve had where the singer didn’t bring a pencil. I even recommend having a few different colors, in case a particular point needs to be emphasized,
or highlighted in order to better grab your attention.
- Bring a recording
device: It is so easy nowadays to record a coaching on a phone or a digital
recorder, yet a lot of singers don’t do it systematically, probably assuming
that they will remember things. That simply won’t be the case, and it is always
useful to hear yourself back, in order to reinforce the points that you worked
on in a given session.
COME PREPARED
- Please warm up:
You should be warmed up for a coaching, the same way you
would be a for a voice lesson. The reason is simple: you want to be able to
sing well, and not spend time solving vocal difficulties that are really only
the result of not being warmed up.
- Work on your text
ahead of time:
Translate every word of the text; Depending on your level of
proficiency with a language, this should be done directly on the copy of the
music you are using. Memorizing the translation is crucial to a good performance:
how is an audience to believe you, if you don’t understand what you are singing
AT ALL TIMES? Additionally, a coaching will be more efficient, and interesting
if you can discuss meaning with your coach, without having to constantly refer to
a written translation. This takes a lot of time, and practice, but the more you
sing in a given language, the easier this will come. Think about how it feels
to sing in your own language: each sound you make, each syllable you sing
carries meaning, and is part of a broader dramatic purpose. It should be the
same in a foreign language that you don’t speak.
- Work on diction
ahead of time:
A major focus of any coaching is the acquisition and
delivery of proper diction. Most coaches are trained in lyric diction, and can help the singers to navigate through the sounds, the inflections and the flavor of a
foreign language. That is not to say that you should rely solely on your coach
for this work, and you can take a number of proactive steps to ensure that the
coaching is dedicated to fine-tuning and refining:
·
Make an IPA transcription
·
If you are not familiar enough with the language,
get a transcription online (www.dictionpolice.com)
·
Listen to native speakers speak your text, and
listen to singers in their native language
- Be prepared
musically:
Coaches are happy to “be your ears”, but we shouldn’t also
be your brain. Learn rhythms and pitches accurately. We don't mind "plunking out" pitches occasionally, but really, all the preparation work you can do on your own should be done before the coaching.
- Do your research:
This is very important for a coaching, and a prerequisite to
any discussion of interpretation and character.
·
If you are working on an art song: research both
composer and poet; know where the song fits in the cycle, if it is part of a
cycle (Schumann’s Im wunderschönen Monat
Mai takes on a different meaning, when you know what happens in the rest of
Dichterliebe). Establish a character:
who is singing? to whom? what “happens” during the piano prelude and postlude?
etc...
·
If you are working on aria:
It’s a great excuse to watch the
whole opera. (Most common repertoire is available online, either on Youtube, or
through services like the Metplayer. Your school library might even have a
subscription).
If you are working from an
anthology, go get the entire opera score, so that you can see what happens
right before your aria, and what prompts your character to sing is, and what
happens after, so you can know what your character achieved in that moment.
COACHING ETIQUETTE
- The coach/voice teacher relationship:
We are your team, and we work toward the same goal: making
you the greatest singer you can be. Sometimes, it might feel like you are getting
conflicting information from us. Most of the time, we are expressing a similar
idea in different ways, and it is your job to figure out how to reconcile both.
But sometimes, we have different ideas about a particular point, and that is
not the end of the world. Rather, try to understand what approach works for
you, and build your own informed opinion on the matter.
- Repertoire:
Coaches know a lot of repertoire, but if you are planning
on working on something unusual, please let us know, and maybe give us the
music ahead of time. We will still be able to work with you on something we don’t
know, but the more we know the piece, the best we can help you achieve your
vision.
If you have any other tricks, strategies, ideas on how to
make your coaching as efficient as possible, please share them in the
comments... In the meantime, happy coachings!
--François
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