Sane Singing

A Guide to Vocal Progress

D. Brian Lee

• Publisher: Better Baggage Publishing
• Year: 2018
• ISBN:
  9780999777404
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Music

If you are a singer or voice teacher looking for training options, you will soon discover that there are multitudes of people, products, and ideas out there claiming to be able to help you. How do you sort it out? How can you advocate for yourself in an increasingly crowded and confusing marketplace? How can you determine whether the training you are getting is upping your game?

Sane Singing will help you to:

• evaluate voice training options
• select a qualified teacher
• build a team to support you
• measure your own vocal progress
• ask better questions
• identify priorities in your vocal development
• take care of your vocal, mental, and physical health

Sane Singing is here to help you apply calm, rational principles to the process of becoming a better singer. The way to your vocal potential is as unique as you are. Now is the time to go deeper into learning more about your path.

Sane Singing includes downloadable content and access to online media files that will help you to track your progress and take control of your vocal education.

1. First Things

The Motive

The industry built around training and advising singers is a massive mound of discombobulation. There are hundreds of “methods” and “programs” and thousands of teachers, schools, courses, and seminars—some good, some bad, and some too weird for classification. How can we make sense of it? Where do we start?

Voice instruction is largely done as one-to-one tutoring, hidden from public view. It is often called “private lessons” for this reason. With no true licensure for voice teachers and huge variation in teaching styles and methods, it can be very difficult to find the training you need. A singer may study with the same teacher for years and not know whether their training is anything like anyone else’s, or even whether it’s any good. This creates challenges for the student, who can lose valuable time in the wrong learning environment, with nothing to compare it to.

This book is about self-advocacy—taking control of the course of your vocal life. I share my discoveries along with plenty of opinions, warnings, and encouragement. It’s about figuring out what you need and how to get it!

Lace up your boots! It’s a long, winding, fascinating trail.

—D. Brian Lee

Modi Operandi

You are a singer if you sing. It doesn’t matter how well or badly, whether you get paid for it, which genre you sing, or for whom you sing. In this book, all singers are equal.

I am a clumsy dancer around the peculiarities of English pronouns. Therefore, I will sometimes use the plural forms “they” and “their” even when referring to one person.

I use the Oxford comma and commas outside of quotation marks with a clear conscience. I have learned that this is considered “British style”.

I use the terms “exercise” and “vocalise” interchangeably for vocal patterns that are designed for practicing.

If something seems bizarre or stupid, it either is, or it needs to be restated better. If I’ve written something that doesn’t make sense, and I’m still alive, feel free to ask me for clarification.

This book was organized with a logical sequence but, being a collection of essays, should be readable or skippable in any order.

My Peculiar Path

Most future voice teachers receive encouragement for their singing at a young age. They take voice lessons through their teen years, sing lead roles in the school musicals, apply to college or conservatory voice programs, and graduate with either a vocal performance or music education degree. They take courses in diction in several languages, sing in choirs and opera scenes, and get frequent coaching from pianists and music directors who help them learn their music. Many go on for a master’s degree in voice.

Not me! My musical and educational path went to a lot of unusual places. I have studied and performed professionally as a singer and on the piano, flute, double bass, saxophone, and viola. I have taught all of those instruments, plus a few more, both privately and in faculty positions. I constantly take deep dives into old books and recordings, leading to delightful discoveries. The results of my sleuthing have led to hundreds of blog posts and countless lively discussions.

My broad experience with performing and teaching, plus a burning curiosity for independent scholarship, probably would not have blossomed if I had gone through the usual academic track of getting a voice degree. Clearly, I don’t fit well in boxes, and I have never wanted to. All of this has made me a better teacher.

I grew up in a tiny town called Churdan (pronounced “sure DAN”) in the state of Iowa, in the United States. In high school, I was into all things musical, which included bands and choirs every day, musicals (as chorus member, lighting director, orchestra pit pianist), and plays. During my school years, I had lessons on trumpet, French horn, piano, and oboe, and taught myself flute, alto saxophone, tuba, clarinet, and euphonium. I yearned to pick up the double bass, but that didn’t happen until 11 years after high school.

In my last year of high school, I had the opportunity to take about a dozen private voice lessons from Mr. Robert Reck, the high school choral director in nearby Scranton. He was kind and sensible, kept things simple and did no harm, and I improved. I enjoyed voice lessons—for all too short a time.

I started college as an oboe major with a performance scholarship. I also auditioned for a university choir. The director warmed me up through a three octave G scale and said, “You have talent; you should take voice lessons!” The department assigned me to the studio of the faculty soprano. Unfortunately, my singing abilities took a tumble—I became self-conscious, tight, and inhibited. I sang “Amarilli”, a famous baroque Italian aria, on my first and last singing exam in front of all the faculty, and it did not go well. Humiliated, I quit singing, judging that I had a bad voice and no talent for it. I did not sing again for an audience for 20 years.

Fortunately, I was having success as a woodwinds player and pianist. I won a concerto competition as an oboist during my freshman year, and won two more concerto competitions as a flutist by age 21. I paid my way through college as a pianist for singers, instrumentalists, and ballet classes, and learned a lot of art song and opera repertoire that way, while keeping my ashamed singing mouth shut. During my second year of college, I switched from oboe to flute as my major instrument—a significant change of direction, but far from the last.

Even after two degrees in flute performance, it didn’t occur to me that perhaps some teachers could actually be bad. When studying flute, oboe, and piano, I felt like every teacher had helped me grow in some way. One almost never hears of a flutist being “ruined” by a bad teacher, but you hear that statement rather often with singers. I wouldn’t say that I was ruined vocally, but I was definitely stunted by poor teaching.

Beginning in my undergraduate days, I taught private lessons on woodwinds and helped singers learn their music from the piano (“repertoire coaching”). I enjoyed giving lessons and coaching very much, and my clients improved, so I was doing more right than wrong, most of the time. After getting my flute degree, I took summer classes in the Suzuki Method for flute, violin, and double bass. The Suzuki Method, also called Talent Education, has a lot of good things to teach all teachers of young people, regardless of the subject. The “one point lesson”, “ear before eye”, the “learning triangle” of teacher, child, and parent, and how to work with people of all ages, were all hugely helpful in my teaching, including working with singers.

Right after my bachelor’s degree, I took a six-month course in tuning and repairing pianos. Piano tuning helped hugely with listening skills in the voice studio, including intonation, hearing specific harmonics, and how pitch and timbre are perceived. After piano tech school, I took four years off from coursework before going for a graduate degree, unless you count a mixology course, which has been quite useful in nonmusical ways.

Between degrees, I studied with two superb and famous flute teachers, Thomas Nyfenger and Bernard Goldberg, who prepared me well for grad school. Mr. Nyfenger’s words and touching, unique flute playing still ring in my head at times. I remember him saying at a master class in Maine, “You all have a place in music.” It was a rare and welcome word of encouragement. I felt that he was right, but I also was coming to realize that playing in a flute section in an orchestra might not be the right career goal for me.

Earning my bachelor’s degree in flute at the University of Iowa had been a difficult and stressful experience. At Iowa, I learned a lot about politics, egos, nepotism, and grit. The flute faculty there were not encouraging, perhaps because I had switched from oboe to flute, which annoyed them. Yet outside of school, I was winning competitions and playing concerts. While struggling with my fluting, I continued to gain valuable experience (and dollars) as a pianist for voice studios and ballet classes, and as a collaborator in recitals.

Seven years after my bachelor’s degree, I received a master’s degree in flute performance at Bowling Green State University. I had a teaching assistantship and performed four recitals, although only one was required. The two years at BGSU felt like a proper completion of my basic flute training, which previously had been so spotty and unfulfilling. Judith Bentley, my flute professor and advisor, was a gifted and creative teacher. The experience of intense study and performing many challenging works as the flutist for the New Music Ensemble was good for my musical soul. I also came to understand that although I definitely had a talent for teaching, going for a tenure-track professorship was no longer a glamorous goal.

Soon after my master’s degree, I attended the University of Maryland to add a public school teaching certificate to my qualifications. My justification was that a public school teaching job would be a way to have a stable career in music. I tried voice lessons again, to be better prepared in case I had to lead a school chorus, and this time, the lessons were not a disaster, but they seemed to reaffirm my lack of vocal talent. However, I was starting to understand some of the issues that make teaching singing such a tricky business compared to instruments. During those Maryland years, I dated a member of the graduate opera program and got a closer look at the strange and sometimes neurotic world of the pre-professional singer.

Since singing was still not happening for me, I decided to take double bass lessons in order to boost my resume for the orchestral side of public school music teaching. Being tall with strong hands, I was well-suited to it and I enjoyed it a lot. I advanced quickly and was able to get jobs in union orchestras and play sonatas and concerti in recitals after about three years of study. I still sometimes miss the bass; it was a relatively fun chapter in my classical career.

My public school teaching career lasted five years, and it was hard! I was often exhausted and had little energy for my own music. I also moved from Maryland to Florida during that time, eventually settling in St. Petersburg. One year in a middle school in Florida was the horrendous finish to my public school teaching career. I have incredible respect for the hardy souls who make a career running school music programs. It was definitely not for me.

On the bright side, one of my school districts paid for the bulk of a second master’s degree which I did part-time while teaching. By the time I quit public schools, the degree count was four:

• Bachelor of Music, flute performance
• Master of Music, flute performance and pedagogy
• Bachelor of Science, music education
• Master of Arts, instructional design

That may have been two degrees too many, but I learned something with each of them.

After leaving the schools, I began working in the information technology field, which became a good financial basis while continuing to figure out music (and everything else) in my life. Living and working in St. Petersburg was pleasant, but I was restless. I had sold my bass for much-needed cash. I returned to the flute for a while and played in orchestral and chamber music groups but wasn’t feeling the musical love. At least I was still enjoying teaching private lessons on various instruments.

In my continuing attempt to try to get more musical merriment back into my life, I started viola lessons. I even commissioned a beautiful hand-made viola. This led to some juicy experiences playing orchestral masterpieces such as Respighi’s The Pines of Rome and the Sibelius Violin Concerto. There is an amazing auditory sensuality about being inside a large orchestra, playing magnificent music. However, there is also the issue of being a soldier in an army under the strict command of a conductor, with little opportunity for personal expression. One day, while playing my viola in the pit orchestra for a run of Peter Pan, I looked up at the stage, then down at my fellow musicians honking and sawing away, and said to myself, “I’d rather be up there!”

My search for a voice teacher who could help me with my musical theatre experiment led me to the marvelous and bubbly Mary Walkley. Her main clientele consisted of performers in professional musical theatre and popular music. She taught with clear sequences of exercises that had explicit purposes, and I improved! I had not experienced such organization and results with my two previous teachers.

Mary’s emphasis was on getting “the mix”, ...

Table of contents

• Title Page
• Copyright
• Acknowledgements
• Contents
• 1. First Things
• The Motive
• Modi Operandi
• My Peculiar Path
• The Two Big Questions
• 2. Training
• Why Bother?
• Your Team
• Teacher or Coach?
• Finding a Qualified Teacher
• Dealing with a Bad Fit
• Cults
• Teacher, Not Therapist
• Authenticity and Uniqueness
• Talent Shmalent
• Corporate Singing
• Schools
• Not Schools
• Roll Your Own?
• A Degree in Something
• Video Instruction
• Distance Learning
• Trademarked Methods Aplenty
• How Long?
• 3. The Confusions
• Paradoxes
• Eclecticism or a Hot Mess?
• Breathing
• Support!
• The Sad Lesson
• Squabbling Teachers
• The Black Box
• Is the Voice an Instrument?
• New Teacher, New Concepts
• Melting Mysteries
• Something to Hang on to
• Imagery and Mirages
• Mechanistic Directives: of the Devil?
• Sensation and Sound
• Fighting Words
• Verbs and Bad Teaching
• You Can’t Cover Everybody
• Health versus Your Sound
• Voice Science, Academic Religion
• 4. Where Am I?
• Self-Assessment Is Crucial
• Contents of the SAPS
• Daily Technical Check-In
• The Advice of Other Humans
• Feedback from the Arena
• 5. The Singer’s Life
• Practicing Better
• A New Voice Every Day
• When to Cancel
• Consistency
• Pre-Performance Performance
• Age
• Health
• Retooling
• Money
• Midlife and the Artist’s Soul
• Action > Attitude
• Big Questions Again
• Openness
• Remember Fun?
• Love Yourself, Love Your Voice
• References
• Appendix
• Potential in Every Note
• Lamperti and the Evolution of Appoggio (Support!)
• Authors Who Pushed Me
• Downloads
• Recommended Reading and Media
• About the Author