Building the FoundationScott McCoy

Scott McCoy

VOICE PEDAGOGYScott McCoy, Associate Editor

September/October 2010 43

Journal of Singing, September/October 2010Volume 67, No. 1, pp. 43–46Copyright © 2010National Association of Teachers of Singing

SEPTEMBER MARKS THE BEGINNING of the school year and the unoffi-cial opening of audition season. Depending on their age and abilitylevels, our students are working toward casting calls, college admis-sions, young artist programs, competitions, professional engagements,

and a plethora of other activities on the journey through a life that includessinging, almost all of which begin with an audition. Ranging from sixteenbars to a full recital program, these auditions are expected to reveal thestrengths and weaknesses of the candidates under consideration. Clearly,there can be a lot at stake.

Between my teaching position and professional affiliations, I listen tothe auditions of several hundred singers each year. With a scale of expec-tations that varies according to the situation, I evaluate these singers onthe basis of their current state of vocalism, diction and enunciation, expres-sive musicality, intonation and musical accuracy, stage presence and dra-matic presentation, and potential for future growth (which is very difficultto predict accurately). I hear a lot of good singing. I also hear a great dealof singing that falls short in critical areas. Some of these deficits clearlyreveal the native abilities of the singer; others, however, can be traceddirectly to teaching.

One of our most important jobs as singing teachers is to habilitate appro-priate vocal technique in our students. There is an ancient proverb that speaksto this issue: “Give a man a fish, you feed him for a day; teach him to fish andyou feed him for a lifetime.” At its core, this proverb addresses the differencebetween product and process, a dichotomy that often is faced by singingteachers as we help our students prepare for auditions. Do we simply tellthem what to do, or do we invest the time and energy to facilitate their acqui-sition of the skills needed to be independent singers and musicians? Based onwhat I hear and see all too often in aspiring singers at all levels, as a com-munity, we teachers of singing need to do a better job at the latter. The moreproactive we can be in instilling good vocal habits (habilitation), the less wewill need to correct bad habits (rehabilitation). In short, we must help ourstudents build a firm technical foundation that enables them to achieve theirpersonal vocal goals.

The remainder of this article focuses on elements that serve as the foun-dation of all good singing. While my remarks are geared primarily tobuilding this foundation in beginning singers who are pursuing classicaltraining, they may be applicable to singers in every stage of developmentand aspiration.

043-052_JOS_SeptOct10_depts_B 7/30/10 2:13 PM Page 43

POSTURE AND BREATHING

I began piano lessons at age four, trumpet lessons ateleven, organ lessons at fifteen, and violin lessons whenI was eighteen. In each case early study focused on thebasics, starting with how to hold the instrument. Keyboardstudy persisted until my early twenties when I gradu-ated with a degree in piano performance. During thatentire period, my physical approach to the keyboard—my posture—was addressed in some overt manner inalmost every lesson. The same held true for my muchbriefer encounters with the trumpet and violin. (I stillthink that anyone who begins violin study as an adultmust be part contortionist—my wrist and arm wouldnever bend to the correct position.) My voice studiesdid not begin until I was nineteen. Other than the occa-sional admonition to keep my chest up, posture wasnever explicitly addressed. As a pianist, I was taught theimportance of breathing before phrases began. As asinger, I also was told to breathe; that instruction, how-ever, was limited to inhalation (my belly was supposedto go out and my back was supposed to expand). I stud-ied for three years before anyone tried to explain whatI should do when I exhaled.

My first voice teachers were gifted singers, but theyspent their time teaching me what to sing, not how tosing. Based on my observations of the singers who audi-tion at our university, my own experiences in learning pos-ture and breath management are far from atypical.

Is it really that difficult to master the skills of postureand breathing for singing? I think not. Persistence, how-ever, is required. It is not sufficient to address the topicin the first few lessons, abandoning it in favor of moreexciting aspects of repertoire and interpretation. WhileI don’t expect an eighteen year old to show mastery of pos-ture and breathing, I do look for evidence that thesebasic skills are being addressed.

I look for posture that is conducive to good breath-ing and phonation. We can take good cues from our col-leagues who specialize in Alexander Technique and Yogain that regard. Posture is upright with a sense of gentleelongation through the spine and neck. The chest is comfortably open and elevated, the shoulders relaxed,the head balanced on the occipital joint, the knees areunlocked, and weight is distributed evenly over the feet.Many people like to imagine a continuous line running

from the ear canals through the shoulders, hips, and outthrough the arches of the feet. This posture is radicallydifferent from the casual slouch currently favored by thefashion industry and many of our younger students. Assuch, it might feel foreign or unnatural. Nonetheless, itmust become habitual over time. Good posture alonecannot guarantee good singing; poor posture, however,will almost certainly impede vocal progress. We musttherefore remain vigilant, offering consistent reminders—both verbal and physical—toward improvement. A gen-tle touch to an elevated shoulder often is more meaningfulthan a verbal essay.

Progress should be evident toward a breathing tech-nique that is consistent and appropriate to the kind ofsinging that is pursued. As we all are aware, singers andteachers employ a variety of breathing strategies, mak-ing it virtually impossible to say there is one correct wayto breathe. That said, there are common features amongmost successful methods of breath support. On inhala-tion, the upper chest, shoulders, neck, and head remainfree from excess tension. Immediately prior to takingthe breath, muscles must release to permit the descentof the diaphragm and the subsequent filling of the lungswith air (just where that release occurs varies accordingto technique and might include the lower thoracic, epi-gastric, hypogastric, or lumbar regions). On exhalation,there should be a gentle relationship between inspira-tory and expiratory gestures. Many singers err in thisregard, aggressively contracting the abdominal wall in aneffort to maximize breath pressure. We must alwaysremember that support means supplying only the breathpressure and air flow that is required for the task at hand.Too much pressure—caused by excess muscularity or ahigh clavicular breath—distorts phonation, leading alter-nately to pressed or breathy tone with poor intonation(usually sharp). Insufficient breath power leads to ananemic sound and other intonation difficulties (usuallyflat). Well balanced breathing supports the tone andenables the free production of sound.

As with posture, breathing is not something we canteach and forget. Gentle persistence is in order. Manyteachers see breathing as the solution for every vocalproblem; I think it is more accurate to say that it is thesource of many, if not most vocal problems, rangingfrom laryngeal elevation to excess tongue and jaw ten-sion. Unfortunately, once a compensatory gesture devel-

44 Journal of Singing

Scott McCoy

043-052_JOS_SeptOct10_depts_B 7/30/10 2:13 PM Page 44

ops in response to poor breath support, it rarely resolvesautomatically with proper breathing. It is therefore vitalthat we instill and maintain the best possible breathinghabits from the onset of voice study.

PHONATION, ARTICULATION, AND RESONANCE

Singing at a high standard is an acquired skill. Thethrilling high notes of an opera tenor are as unnatural asthe grand jetés of a ballet dancer; neither is spontaneouslyaccomplished by a novice. Nonetheless, we must createthe illusion that singing is completely natural and easy.

The foundation of good phonation must include acleanly produced tone. In young singers, my expectationis for reasonable clarity that is consistent throughoutthe vocal range, with little breathiness and no raspiness.The neck should remain relaxed and the larynx shouldbe allowed to float in its natural resting position, avoid-ing extreme elevation or depression. There should beno sense of struggle to reach the highest and lowestpitches in the repertoire. Tones should begin and endcleanly, with limited use of glottal stops and aspirateonsets. Vibrato should neither be inhibited nor exag-gerated, but allowed to be a free component of an eas-ily produced tone. A wide, slow vibrato is usually anindication of vocal technique that is out of balance andcan be a warning sign of trouble that lies ahead if notappropriately addressed. Intonation must be accurate.Singers should not push their voices to produce moresound than is healthy for their individual instruments.

Articulation of the tongue and jaw should come froma state of muscular release. Both structures are mobile andmust assume specific positions to create the phonemesof speech and singing, but must never be held rigidly inposition. Because of the interconnections of the jaw,tongue, and larynx, improper tension in one area is eas-ily transferred to another. For example, the jaw is droppedby contraction of muscles that pull from the hyoid bone,which is also the upper attachment point of the larynx.If excessive jaw opening is encouraged in a singer whohas not yet mastered the art of relaxing the strong jawclosing muscles, the unintended side effect likely will belaryngeal elevation.

Resonance should be balanced and consistent withall vowels having the same basic vocal timbre. Balanced

resonance facilitates singing through register transitions(passaggi) and helps to create a uniform vocal scale fromtop to bottom. Singing loudly is not the same as singingwith optimal resonance. As you know from my previ-ous articles, I am not a fan of overt nasality, which oftenis used a substitute for forward placement and as a quickfix for passaggio problems in male singers.

REALISTIC REPERTOIRE

I am reminded of a scene that played out in my studio anumber of years ago. An eighteen year old soprano beganher studies with me as a voice performance major fol-lowing graduation from a prominent arts-centered highschool and private voice instruction from the age oftwelve. Given that background, her casual disregard forsinging fundamentals—posture, breathing, language,expression, musical accuracy—was unexpected. Majorrehabilitation would be required before new habits couldbe instilled. After a few weeks spent concentrating onbasic technique, supported by developmentally appro-priate repertoire, she asked me to recommend an ariafrom one of the Wagner operas in the Ring Cycle thatshe could begin to work on. (I am not making this up!)I tactfully explained that this repertoire was more suitedto a select group of mature singers with secure vocaltechnique and a special kind of vocal and physical prowess.I likened assigning her Brünnhilde to her class pianoinstructor asking her to learn a Rachmaninoff pianoconcerto. She responded: “But I already know how tosing!” Clearly, we had a difference of opinion.

In my imagined pedagogic dictatorship, nearly all studyof postbaroque operatic arias would be banned for singersunder eighteen years of age. (I might allow exemptionsfor things like Barbarina’s “Cavatina” from Le nozze diFigaro that actually were written for preadult voices.)The extremes of tessitura, dynamic range, and emotionaldemands of the vast majority of operatic repertoire aresimply not compatible with vocal technique that is stillunder development. The huge repository of song reper-toire provides ample support for the developmentalneeds of younger singers. When assigning new reper-toire, especially when it will be used for auditions, sim-pler is often better. I will be much more impressed by apotential freshman who sings “Caro mio ben” with beautyand elegance than someone who struggles through “Vissi

Voice Pedagogy

September/October 2010 45

043-052_JOS_SeptOct10_depts_B 7/30/10 2:13 PM Page 45

d’arte.” Unlike figure skating or gymnastics, extra pointsare not awarded for difficulty.

When selecting repertoire, we need to look beyondwhether or not the student is able to sing all the notes.Tessitura—where the average pitch lies—is much moreimportant than absolute range. Look for the relation-ship between vowels and pitch; women will likely havedifficulty if closed vowels are set on higher pitches, whilemen often have difficulty with open vowels in their upperrange. Remember to look at the relationship betweenthe accompaniment and the vocal line; developing singersmight not have sufficient musical maturity to tackle apiece with an independent accompaniment (think ofBritten’s setting of “The Ash Grove”).

MUSICAL LITERACY

The principal violinist enters the hall, oversees the tun-ing of the orchestra, and takes his seat in preparationfor the first rehearsal of a new symphony. He addressesthe conductor: “Maestro, I don’t read music, but I havea good ear and can pick things up really quickly. I can-celed my appointment with my violin coach yesterday tomeet with my personal trainer, so will you please playmy part a couple of times so I can learn it? ”

Of course, the above scenario is patently absurd. Butsubstitute a singer for the violinist and it suddenly becomesplausible. The stereotype of “singer” versus “musician”is not entirely undeserved.

We singing teachers might be the only musical men-tors who routinely absolve ourselves of responsibilityfor our students’ musical literacy. Lesson one with mypiano teacher began with posture (arm, wrist, hand, andfinger position); lesson two began with “every good boydoes fine.” None of my other applied music teachersaddressed music reading skills: they didn’t need to becauseI was already literate. By contrast, I would estimate thatat least seventy-five percent of the potential voice majorswe audition each year are functionally illiterate when itcomes to fundamental musicianship skills. Anecdotalevidence suggests things were different for those of usin older age brackets. Pianos were a fixture in most house-holds and children routinely were taught to play. Musicclasses in the public schools taught notation and read-ing skills—we didn’t just sing along with recordings.

Things are different now. Fewer and fewer childrenare raised in homes with a piano. In troubled financialtimes, the arts usually are the first casualties in elemen-tary and secondary curricula. As a result, many, if notmost young people have had little or no exposure to oreducation in fundamental musicianship. I’ve been a cru-sader for the cause of musical literacy in singers for manyyears and am heartened when I meet others who sharemy fervor, taking time in each voice lesson to educatethe entire musician. Ten minutes per lesson is all it takes,especially when augmented by self-study through oneof the excellent web-based music theory sites. Remember,the time we take during the early stages of study to fos-ter musical literacy will be returned many times over asour students become independent musicians, capableof mastering a new works on their own. Nonetheless,there are too many of us who shirk this responsibility,making use of recordings, accompaniment CDs, MIDItracks, and YouTube videos to teach the music to ourcharges. We owe them more.

Scott McCoy is Professor Voice and Director of the Presser Music Cen-ter Voice laboratory at Westminster College of the Arts in Princeton, NewJersey. He is the immediate Past President of NATS and has served theAssociation as President, Vice President for Workshops, Program Chairof the Minneapolis and Nashville national conferences, and master teacherfor the 2005 and 2009 Intern Programs. In addition to his multimediavoice science and pedagogy textbook Your Voice: An Inside View, he hasauthored numerous articles related to singing and pedagogy for journalsin the United States and abroad. He is a member of the distinguishedAmerican Academy of Teachers of Singing.

46 Journal of Singing

Scott McCoy

Where are the songs of Spring? Ay, where are they?Think not of them, thou hast thy music, too,—

While barred clouds bloom the soft-dying day,And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mournAmong the river sallows, borne aloft

Or sinking as the light wind lives or dies;And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble softThe red-breast whistles from a garden-croft;

And gathering swallows twitter in the skies.John Keats, from “To Autumn”

043-052_JOS_SeptOct10_depts_B 7/30/10 2:13 PM Page 46