You can sing. Here's why

Posted by Norman Bailey on Monday, July 7, 2014 Under: Voice Works



When I say 'I'm a singing teacher' many people reply, “I can't sing!” 

Now I'd have thought that would have been my perfect in.  But no.  For so many people their sheer terror at the thought of using their voice effectively, joyfully and confidently is something they'd rather not contemplate. 

I've been out and about promoting The Love singing method recently, so I've had the opportunity to talk face-to-face with people who haven't fully embraced the joys of singing.  What's even sadder was finding out how many people out there had been put off from singing at a very early age.  Which meant that for some people I met, many in their forties and fifties, past negative singing experiences had robbed them of them benefits of singing.  

I knew about this problem. I was just taken aback by the scale of it.   I used to say to new pupils that I should carry around a sealed envelope with the words, “When I was young someone I trusted told me I couldn't sing".  This was because for a great percentage of the people I've taught this is the case.  Somewhere along the line a teacher, a parent or a friend told them the sounds they were making didn't make the grade.

If you feel this applies to you, please think about the sealed envelope, realise that you are not alone, and maybe you should get out there and do something about it. You will be amazed the difference it will make to your life. 

 

In my post Why Singing Is Good For You I gave a quick rundown on how singing — just singing not performing — can change your life.   Amongst the things you'll gain are:

  • A happier healthier you

  • Longer life

  • the best free stress buster going

Seriously it's true.  I grew up in a culture steeped in Gospel music, so I was singing all the time.  And when we got together to party singing along to the latest hits was compulsory. And fun! Nobody ever told me told or anyone else to stop singing.  Not because we all had a great voices but because using your voices in an expressive manner was expected. And although many cultures do the same I was shocked to find out that many do not. 

I've found time and time again that people who are convinced they have bad voices actually have great voices but have been put off using them.  It's regrettable that you may have been put off by someone else's careless words.  What they said may or may not have been malicious.  An under pressure choir master, charged with putting together an ensemble in a short period of time may not have had the time to develop rough hued voice and would pick those ready to go. A stressed out parent may have been unaware of the damage being done by telling a child to be quiet.  

Everyone can sing

The main reason people say they can't sing is because they sing out of tune but singing out of tune doesn't mean you can't sing.

I'm always going to stick to that assertion though many will disagree.   The only people who can't sing, in the conventional sense, are those with something to their oral apparatus.  It used to be that I would also say that you be in the same boat if you had something wrong with your hearing as well but I've recently started working with a young man, 10 years old, who was born deaf and has cochlea implants in both ears and he's showing remarkable promise.

I will always take issue with people who will tell a child they can't sing and insist that that's the end of it.  There are a great many things a child of five can't do doesn't mean they will never be able to do it.   Driving a bus, solving algebraic equations, and tying shoelaces are things on a long list of things a five year old can't do.  But, of course, It doesn't mean they' won't be able to do them.  But just like singing for them to become proficient at it they have to be taught it well.  

People will often say great singers are born that way.  It's certainly true that for some the ability to hold a tune and make sounds pleasing to others comes easier than others.  But for them to become fully proficient at it they will need many years of study and hours of practice.   And as much as we like to laud praise on the 'gifted' we do them a disservice by thinking that there talents come easy.   

So sing and enjoy it for its own sake and enjoy the benefits it brings.

In : Voice Works 



Storybookers

National Theatre Wins Court Battle

storybookersblog:

Being a theatre director I will be following, with interest, the recent developments on the National Theatre’s London production of War Horse.

Five musicians have failed to win a High Court order against the National Theatre (NT) after being made redundant from the West End production and replaced by a prerecorded soundtrack.

The NT said the decision to cut live music from the show was made for artistic and financial reasons.  Very interesting!  War Horse is one of the National’s most successful productions in recent years, having been seen by more than 2.5 million people worldwide.  But could it be feeling the pinch at a time when many other West End productions are experiencing a boom in ticket sales?  

On the Artistic front they believe that as War Horse is a play with music rather than a musical production it doesn’t warrant a real orchestra. 

So should musicians be worried about this latest development?  

Until these sackings the London production of War Horse, Currently running at The New London Theatre, was the only version worldwide to make use of real musicians.   This latest move puts War Horse London in line with other ‘play with music’ productions that have opted for backing tracks.  However, This might be one of the first to decide, after a 5 year run, that it’s better off without live music.

Theatre - a tough old business

As a theatre director myself I know tough decisions have to be made.  The Last play I put on, Where’s Norman Beaton Gone?, was also a play with music.  On that occasion I used prerecorded music.  This was the first run of a new play by a new writer.  So finding musicians who would play Ska, Reggae and Soca music on the budget we had was going to be a stretch.  Plus, one of the Off-West End venues it played, the Lion and Unicorn Theatre, wouldn’t have been big enough of house a band and the 10-strong cast.  Strangely it was a potential backer who suggested that taking it forward we should use live music - they’re usually looking to the pennies and keeping the costs down. 

The play I’m currently working on is also a 'with music’ production.  It’s set in the1950s against the backdrop of the New York, Jazz and Blues scene.  The question is; Will producers out there think, as the National do, that retaining artists is an unnecessary expense? Only time will tell.

The War Horse Musicians Fight on

The musicians, in the case of War Horse, took legal action last week following the theatre’s decision to call an end their contribution. 

Neyire Ashworth, Andrew Callard, Jonathan Eddie, David Holt and Colin Rae - who had been with the hit show since it’s opening in 2009 - had their roles cut back in March 2013 to just a few minutes per performance. Their contracts were terminated last month when live orchestrated music was cut from the production. The five had continued to show up for nightly performances but were turned away.

David Reade QC said the theatre was entitled to terminate their contracts as there was no longer an orchestra in the production, saying War Horse was a play that featured music - rather than a musical production.  He added, “The orchestra was not an integral part of the play”. The Theatre is said to be delighted with the High Court’s decision.

The NT felt it necessary to emphasise that War Horse has always been, and will continue to be, a play in which music plays an integral part, with a recorded orchestral under-score and central roles for folk musicians who perform live folk songs and choral numbers.

The musicians’ Union,  which is providing legal support to the five performers said it was “disappointed”  by the outcome.  Horace Trubridge, MU assistant general secretary, said “The fight was far from over” and added, “Had we won the interim injunction, we would have established a new legal precedent and this was possibly our best chance of ensuring our members’ contracts were honoured.“

Is This The End of The West End Feel good Era?

Surprisingly West End Shows have been having a right old time thanks to the economic downturn.  People in search of some relief in this time of woe have been seeking solace in live theatre.  And West End Theatres have seen their coffers swelling.  According to Society of London Theatres figures (SOLT) gross box office returns rose to more than £585 million, up 11% on 2012.  Attendances also increased, by 4%, up to 14.6 million. Could it be that that War Horse is feeling the pinch when other West End production are benefitting from a boom?

Maybe the musicians’ £1,200 - £1,500 a week salary was taking too big a bite out of War Horse’s £1 million budget.  Well, they seem to think so and I couldn’t possibly comment.  However, less understandable are the artistic reason’s.  An NT spokesperson, states that the producers and directors of War Horse did not believe that the musicians could contribute positively to the play and that it was "better off without them”.  They’ve obviously had a big change of heart since they first mounted the production, which originally sported a full orchestra 

They added: “The National Theatre’s artistic judgement, made by those with the expertise to assess such matters, is that a live band does not provide the same quality and impact of performance as can be produced through the use of recorded music and professional actors.”

What’s The Future For Live Music In Theatre?

The question is, will the NT and others continue to use live music or take to the current trend of using backing tracks?

I’ve seen a few productions recently that have featured live music.  A couple were at the National.  One being Elmina’s Kitchen, directed by artistic director Nicholas Hytner and, more recently, the James Baldwin Classic The Amen Corner directed by his soon to be successor Rufus Norriss.  In the case of The Amen Corner, which has often been mistakenly categorised as a musical,  the live music was a key element of the piece.  But as I sit and think about it now, I’m sure that had the production transferred the same financial and artistic dilemmas would have reared their heads.

For me, it’s sad that, in the performing arts, performing artist are always the ones who suffer in these matters.  Jobs in the industry are hard to come by so anything that cuts down on the possibility of a creative individual earning a crush will always hit hard. 

Before I go - I thoroughly enjoyed War Horse when I saw it a few months ago.  If you haven’t seen it yet I’d encourage you to get along to see it before they decide they don’t need puppets or actors.

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