As mentioned in yesterday's quick update, teaching now dominates my life, and the thoughts below have been percolating for a while (and, in fact, are why I resurrected the blog!). I often hear new teachers asking questions about choosing repertoire for younger or developing singers, which prompted me to jot down a few notes that guide my own thinking as I choose pieces for my students at all ages and stages of development.
Teachers and students I'd love to hear your thoughts or questions in the comments!
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While my studio and needs are classical, I think these underlying principles can apply to any genre and sensibility - there is a wealth of choices out there for every voice type and taste!
- What are you trying to teach or showcase?
- Scales
- Intervals
- Breath phrasing
- Specific range/extension of range
- Specific mood/expressive quality/character
- What mood/character does the student enjoy or, conversely, need to explore?
- What languages does the student already know, and which do they need to work on?
- How able is the student to hold the part against the accompaniment? Choose accordingly – plenty of music doubles or is harmonically more supportive, and can help a student feel more confident. Many developing singers are not comfortable or seure with independent/contrapuntal/complex accompaniments.
- What skills does the student struggle with that a song selection might help address?
- Ascending passages? Descending passages? Large jumps? Holding a part? Dissonance? Non-literal repeats ie phrases that are almost-but-not-quite-the-same? (This can often be challenging for those who either don't read well, or don't retain music well.)
- Intonation issues?
- Extended range
A song that touches on pitches that the student may not yet be comfortable sustaining yet can help build confidence for future repertoire - Legato
Something melismatic can help awareness and practice the skill. This doesn’t have to mean a big coloratura aria, just something that isn’t syllabic - Tempo relationships
Does the student drag? Pick something that moves a bit.
Does the student rush? Pick something that is more sustained. - Is it an assignment for learning, or something for competition, audition, or other performance?
- One can assign something more challenging/less likely to reach fruition as a "work in progress" piece for the studio; it might incorporate more of the things the student finds hard, and be less about the student's current strengths.
- For auditions and competitions, always play to solid, reliable strengths of technique, range, character, and diction proficiency. And preparation!!
- Is there something historical/musical the student can learn from the piece (particularly more advanced singers who might be rounding out a recital or audition package)?
- Pieces by composers from under-represented groups
- Pieces selected from outside the 18th/19th/20th century standard repertoire
- Pieces which challenge emotionally
- Is it age appropriate in vocal, musical, and thematic demands? I'll come right out and say it: children shouldn't be singing operatic blockbusters, particularly (in)famous vengeance arias.....
- Miscellaneous thoughts for students:
- If a climactic high note isn’t as good as the rest of the piece don’t showcase the high note in the performance, even if it’s something being worked on in the studio.
- A simple piece beautifully and musically sung is, to me, more impressive than fireworks which aren’t really solid yet. Practice the big stuff but perform the things which can be succesful NOW.
- Respect that language is part of the music rather than a separate thing we call “diction”; go beyond pronunciation.
- Passion, dramatic gifts, and and musical energy can mask some technical deficiencies, but not all of them! (Ooff, do I feel this one personally – it was my own tendency and nemesis as a young singer!)
Next time: how and where to find appropriate repertoire, particularly for developing singers. There is a lot of fabulous music out there that goes beyond "the Yellow Book"!
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