How to Participate Effectively in a Master Class
PREP:
Songs:
Prepare 2 songs, songs you would sing for a very important audition, that show off your range not just vocally but emotionally, intellectually, intuitively. You should love these songs so much that you are less self-conscious singing them because of it.
One should be more classic theatre, (that means a melody, PLEASE, and a good lyric that either tells a story, is character driven, and/or reveals something about you so I know you better when you are done singing it. This song should suit your age range.
The second song is just for you. It can be from anywhere, but it’s the song you want to sing for me. I may not understand it or why you want to sing it, but hopefully, because of all the songs in the world it’s the one you choose, hopefully I will.
Our Dialogue:
Might be good if you know a little bit about me and my background so we have a more appropriate dialog. You can explore here on this website, and a lot of you tubes (some i like, some will demonstrate what i DON’T want you to do :)
Give a well-planned, committed performance - then be prepared to change everything. Be willing to try any suggestion I offer with the same 100% commitment you offered on the first run. You’ll never know if my ideas work for you unless you make this level of commitment, so be putty in my hands in the class….you’ll be safe, promise …. I'm very kind. Bottom line - when you leave class, you are back in your own reality. You walk out the door and take with you what worked and discard the rest. PLEASE feel free to ask questions if you need clarification but don’t contradict or debate, we just don’t have the time.
The success of the class depends upon our ability to quickly establish a trusting partnership, so anything you do to stay open and receptive will work wonders. Expect to have a wonderful time making music and exploring new territory together.
Observation:
The class starts with the very first singer whether it’s you or not. Pay close attention to the work done by every performer in order to get familiar with my approach. If I make some suggestions that are relevant to your own work, try to apply them to your performance so that you can help make my point and will perhaps allow me to focus on something further & more individual to you when it is your turn to sing.
THE CLASS:
The ideal would be to have 2 days. The first day would allow us to explore body work w/a little more depth. A day to enter a different reality, get comfortable with each other, a day to explore your expression unselfconsciously (a real luxury, wouldn’t it be great!) Everyone would be introduced to concepts below and have time to digest them, and those singing would be able to apply them in preparation for performances the next day, or perhaps for a few who wanted to dive in by end of day, depending on the number of participants.
If I only have one day for masterclass, we would divide the day into 2 sessions.
There will only be time to work with about 10 people, as each participant should be given at least 15-20 minutes. Class could last anywhere from 3 to 5 hours leaving me time for exercises and to speak and maybe sing myself (depending on the class size & time).
Everyone will arrive w/a mat and 2 tennis balls. I may bring a medium size exercise ball to help open the back for air support. Participants should have had a light meal, their body should not feel heavy or uncomfortable w/food. Those participating will sit in sturdy chairs w/backs as we will use the back of the chair for an exercise.
Relaxation/Hookup -
My intention is not to talk too much. I want this to be experiential, felt in the body more than the mind. After introduction & brief outline of class, we start w/relaxation - Hookup!
Participants lie on their mats on the floor (or stage).
Exercises - The Vessel -
BreathWork -
The Hara - breathe into and soften inside the abdomen, below the belly button. This area is usually tight and holds a lot of unexpressed feelings, it is also the source of your energy. You need this area open to get proper air to make & support your true sound. I talk about feelings being housed in the body, getting in touch w/them; how you can direct your breath & send it to release energy blocks (tensions) to create more energy; the importance of this energy for concentration & performance. We continue with the jaw (using tennis ball), behind the eyes, softening all the joints w/breath. Releasing pent up energy (tension) through top of head, bottoms of feet, palms of the hands, with inhalation breath rooted in the hara.
Short mirror meditation, fully envisioning performance fears, then smashing them to bits!!! and envisioning performance flowing.
ChairWork - simple bending over the back of a chair can further open the hara. I do it before all performances. These exercises help create:
Connection -
These simple breath exercises help loosen hardened habits as the body softens. They can bring up a lot of feelings that can be connected & channeled to performance making performance more authentic and personal. Participants are often surprised that they are holding onto so much and that this tension can be fuel for expression when properly connected, channeled, and released. It’s actually kind of empowering and encouraging to feel how much ‘stuff’, ‘juice’ you’ve got inside once you allow yourself to feel your self……for some it’s a little disconcerting because they have never gone that deep, surrendered that much…..but it’s the only way to go……get used to it!!!!
Expression -
Now we sing. I will help singers remember the openness they experienced in the exercises. Most performances are compromised by tension to different extents…hopefully we’ve released enough for them to feel the difference and they appreciate this new openness & release more on their own. True charisma is energy moving effortlessly through the vessel. For those already ‘hooked-up’ we’ll work differently, on phrasing or more breath support. No matter how connected the performance, we can always go deeper.
To Be Incorporated:
Vocal Straw Exercise - YouTube
Stretch and unpress vocal cords (folds) often by vocalizing thru a thin straw from 2-5min.
Pitch glide from as low as you can to as high as you can 1-2 min
Accents - make progressively larger hills w/pitch and loudness (sounds like revving a motor)
Pick a favorite song and vocalize through the straw
-Let no air escape between you lips or through your nose (pinch nose if you have to)
-Use abdominal support
-Sound will sound small, but effort is for typical sound….use the belly, not the throat
-You may feel the high placement after doing this. The sound is lighter and buzzier as if coming from your eyes….try to relate to that feeling and maintain it. You will become aware of pressure on the voice more often and can re-set w/these exercises.
Toolkit -
Yoga
Reflexology
Tapping
Body Balls, Footsie Roller, Crystal