31 July 2003

Voice Interest Group

I (Leanne) am involved in a Voice Interest Group with ties to the Australian Voice Association (AVA).

The group meets quarterly on a Tuesday morning to discuss voice issues for the development and interest of those who work in voice related professions.

The group mostly consists of Speech Pathologists and I have found they have a lot to offer the singing teacher. They have made me feel welcome as a representative from another discipline.

At the last meeting I presented case studies on 2 anonymous students who have had vocal problems or experienced inefficient singing for various reasons.

The feedback from the Speech Pathologists was beneficial for my personal professional development.

If you are a singing teacher and find this interesting, (particularly learning about the science, mechanics and problems of the voice), you are welcome to attend.

The next Voice Interest Group Meeting is on Tuesday, 12 August, 9-11am in the RAH Speech Pathology department. 

A guest Psychologist will discuss aspects of
hysterical aphonia, in addition to case discussions.

One of the co-ordinators of the group, Speech pathologist Heather Baron explains what is hysterical aphonia:

For more information please contact the Studio on ph. 8364 0773 or email Heather Baron

30 July 2003

Children's Voice Changes

Did you know that both male and female voices change as part of the growing up process?

A male's voice drops an 'octave' (about eight notes) in pitch when it 'breaks.' At the same time the larynx (voice box) tilts, hence the new formed 'adam's apple.'

A female's voice changes as well but it is not as obvious because we can not hear the distinctive 'change of voice' obvious in the male voice.

How does this affect the singing voice?

The larynx physically changes along with the rest of the body, between the age of 9 - 16 years. The 'vocal folds', which are a part of the larynx, also develop and change shape during this time until they are at their 'adult' shape and size.

During these growing years people hearing the child's changing voice may hear various unusual sounds not normally associated with the child's voice such as a breathy tone (sound) and breaks in the tone. The quality of the tone may also change and the range the singer is used to singing will also change throughout this period.

How to approach the changing voice?

The singing teacher or listener of a 'growing' person can expect an inconsistency in range, tone and ability from the voice. Once they are aware of this, they and the student should expect that the voice won't be as good as they know it would otherwise be, and not push it to achieve more.

Once the larynx is fully developed, the voice will have its own new unique quality, tone and range which has become the new 'adult' voice.

Dr Jean Callaghan

Sydney-based Dr Jean Callaghan is a singer, teacher of singing and singing performance, researcher and writer. She has advanced degrees in singing, a PhD and a second postgraduate research degree in music and language theory. Her book, Singing and Voice Science, explores modern voice science and scientific findings in the context of the musical concerns of the singer. See review of book.

Click here to download flyer with Registration Form

21 July 2003

LHSS Showcase 2003 Concert details

Held at the end of every year, our Showcase concerts are the highlight of the Studio's year. They give students a great opportunity to perform in a full production setting.

Showcase 2003 Where: Top Room The Arkaba Hotel 150 Glen Osmond Road Fullarton www.arkabahotel.com.au When: Sunday 14 December, 2003 Time: 3.00pm

Technical Rehearsal Where: Top Room The Arkaba Hotel When: Sunday 14 December Time: 11.00am - 2.30pm

Dress Rehearsal Where: Kensington Gardens Uniting Church Hall, 29 Brigalow Avenue, Kensington Gardens When: Saturday 6 December Time: 2.30 - 6.00pm

20 July 2003

Performers Concert No. 2

Our second Performers Concert was held last Friday night at the Studio.

It is unique in that it gives the beginner singers the opportunity to start performing and gain the skills associated with it.

Other singers took part in the 1st Performance Concert last term, and built on the confidence they gained there by singing again.

The final group who sung are entering the Balaklava Eisteddfod on August 2nd. It was a chance for them to practice and perform their competition songs.

 Mary-Anne Foster with guitarist Alexei and backing vocalist Allison Bourke at LHSS Performers Concert No.2

click image above for full size photo

click here for more Performers Concert No.2 photos

LHSS Vocal Warm Up Article update

The LHSS Vocal Warm Up article has been revised and updated. Visit the updated article via the Singing Tips & Articles page at our Resource Centre.

18 July 2003

Search For A Star & Battle Of The Bands update...

for full details

Congratulations to the 4 singers and the band who made it through to the semi-finals by winning last night's 2nd heat of Search For A Star & Battle of the Bands.

As judges, when choosing the winners, we looked for an attractive sounding voice which was supported with good technique. Presentation, and how the performer sold the song or item were also taken into the judge's consideration.

Fellini's put on a delicious 3 course meal and Elvis kick-started the evening with a bracket of 'his' favourites. He said "I thought the food was great, it is a nice break from McDonalds"

Radio personality, John Dean, had us entertained as compere.

I (Leanne Hoad) hope to see you there next week as a performer or onlooker.

Click here for details of competition

click image above for full size photo

17 July 2003

Male singer wanted

Local Adelaide cover band 24Seven are looking for a male vocalist/lead singer/front person aged between 20 & 30 years. They mostly do popular chart music and have regular work. Their current lead singer is leaving in October 2003 and he will need to be replaced.

The singer will need to be well presented and will require to be able to sing in his upper range.

They usually like to audition the following songs:
Allstar - Smashmouth
Summer of '69 - Bryan Adams
How You Remind Me - Nickelback

Click here for the bands rep-list, upcoming dates and website.

For further info and to organise an audition call Paul Iannella ph. 0407 844 670.

Good luck to our singers...

who are performing at our 2nd Performers Concert at the Studio tomorrow night.

It is unique in that it gives the beginner singers the opportunity to start performing and gain the skills associated with it. It will be a first for many of the performers because it is the first time they have sung in front of an audience.

Other singers took part in the 1st Performance Concert last term, and will build on the confidence they gained there.

The final group performing will be entering in the Balaklava Eisteddfod on August 2nd. It will be a chance for them to practice and perform their competition songs.

15 July 2003

Search For A Star & Battle Of The Bands

for update

LHSS is one of the proud sponsors of this long-running Adelaide competition to be held at Fellini's Cafe, 102 O'Connell Street, North Adelaide every Thursday night from July 10th.

The night kicks off with a 3 course meal at 7pm.

A series of 12 heats will be judged by 6 professionals from the industry including myself (Leanne Hoad), or Katie Packer if I'm unavailable.

Anyone is welcome to enter the heats including bands, instrumentalists, dancers, actors, and of course solo or a group of singers.

The song or item is of your choice—simply take your backing track along.
NOTE: be aware that if you get through to the semi-finals, you will be required to perform a different song or item.

$20,000 worth of prizes to be won! and all proceeds go to the Make-A-Wish foundation.

For more information contact Penny or Tony Rocca on (08) 8239 2235.

click thumbnail image above to download full size image

14 July 2003

ANATS Internship: Day 4

Day 3  Day 2  Day 1  Internship Intro

The final day yesterday, similar to the day before, involved the Interns and about 40 others, the majority of whom were singing teachers, at the Winter Workshop.

The first session of the morning was taken by David Hall. Based in Sydney, he is a practitioner of both the Alexander Technique and the Feldenkrais Method. We did a series of hands-on exercises which left us feeling extremely relaxed.

I then had a final one-on-one session with masterteacher, Diana Hunter.

To get the most out of this session we both agreed to cancel the scheduled masterclass. We felt we would get more value out of a tutorial-style discussion on areas of specific interest to me and our teaching at the LHSS.

I mentioned a few topics about which I would like more understanding and Di offered me her insights.

One subject covered was that of the 'belting, 'belt' or 'belt voice' quality in singing.

There has been little research done in the area of 'belt.' Diana's views reinforced my thoughts on this subject in that:

• there are different types of belt depending on the song and desired effect.
• The singer's voice type, and their ability, determines the amount and type of belt attainable.
• every voice is different and not everyone can belt. Singers with 'big' strong voices are more likely to produce the belting quality as we know it.

We briefly covered the sound called 'glottal fry.' It is the gravel-like sound heard mostly in rock music. It is used as an embellishment and expected in this genre of singing. It can also be damaging to the voice.

Jean Callaghan concluded the morning with a session on how to teach singers. We looked at different teaching methods, feedback options and intelligence types among other areas.

She outlined two broad extremes of singing teachers:

It was not a surprise to hear that one or the other is not recommended; a balance of both is healthy and necessary, depending on the gender and personality of each student.

Upon reflection I gained a lot of knowledge that will improve our Studio's teaching. I also met, networked with and learned from many amazing people, most of whom are the best in the field of singing pedagogy in Australia.

click image above for full size photo

click image above for full size photo

click image above for full size photo

Delta Goodrem diagnosed with cancer

Australian actress, singer and songwriter Delta Goodrem was diagnosed with Hodgkin's Lymphoma disease while I was in Sydney last week.

Following the public announcement of Delta's illness,
I discussed the news with my 'Masterteacher' Diana Hunter. Diana was Delta's singing teacher from age 10 - 17 years.

Fortunately it is curable and we are led to believe that Delta's prognosis is good.

The LHSS wishes Delta a speedy recovery in the next few months of treatment.

For more information click here.

To visit Delta's website click here.

12 July 2003

ANATS Internship: Day 3

Day 4  Day 2  Day 1  Internship Intro

Today, the interns joined around 40 other ANATS members and delegates for the first of two days of the Winter Workshop.

Morning sessions included a masterclass by Adrian Barnes and his wife Pat Wilson. Originally from Adelaide, both now reside and work in Sydney. Pat specialises in preparing singers for professional music theatre auditions, and Adrian has worked and lectured professionally as an actor and dancer.

They took 2 acting students and gave them a musical theatre piece which they learnt in a few days. Both young ladies very courageously sang the songs and Adrian and Pat showed them techniques, mostly derived from the acting genre, to improve the interpretation of the song.

An interesting point I picked up this weekend was the notion that there are 2 aspects to a song; the technical and the interpretation. From my experience they can take as long as each other to master, but both are crucial when performing in public.

I believe that singers can use acting techniques, to develop the 'character' when interpreting a song. I find the "Stanislavskian Method" very helpful as a source to access a character and improve the interpretation.

A prescribed 'method' taught effectively in a systematic manner can be easier for the student to understand and, as I have found, produce a quicker, more effective outcome with less frustration for the singer.

I found what Pat and Adrian had to say in terms of applying acting techniques to achieve the 'interpretive' outcome very enlightening.

The morning concluded with a session on 'The Child's Voice" by Elizabeth Willis. I always enjoy listening to Beth speak because her insight into the child's voice is  well researched and she presents her material with such clarity.

I attended my first session with Beth in Sydney in 2000 and she revolutionised my way of approaching children. Among other things, she has given me an understanding of the physiological changes involved with the growing child' s voice- very important to know as a singing teacher.

Beth was joined by contemporary singing teacher Lisa Gardener who added further insights into the contemporary repertoire for children.

She gave us a list of songs, ranging from easy to hard, for the child who wishes to sing contemporary songs.

I like her suggestions for easier songs including 'Eternal Flame', 'Runaway' by The Corrs, 'Beautiful in my Eyes' by Joshua Kadison, and 'Colours of the Wind' from Pocahontas.

Some advanced songs were 'Vision of Love' by Mariah Carey, 'Chains' by Tina Arena, 'I'm Outta Love' by Anastasia and 'Stop' by Sam Brown.

The afternoon was filled with master classes given by Diana Hunter (contemporary singing).

The half a dozen singers who performed should have been applauded for their courage in singing in front of a bunch of singing teachers, professors and doctors in the field. They showed promise and, as is common with most singers during their training, they were given tips from Di to take away with them.

I noticed that 'physicality' (including correct breathing and 'torso support') were the techniques that needed attention from most of the singers. This reinforced to me the importance of these fundamentals in singing; in both classical and contemporary genres.

In the evening, the interns, NSW ANATS Committee members, and lecturers were invited to Pat Howes' place for dinner. This time overlooking the lights of Sydney.

I enjoyed chatting to Pat Wilson regarding developing the business side of our Studios including the advantages of a website. We were truly spoilt with the superb food, most generous hosts and the company of all attending.

After a couple of days together, everyone is a little mores relaxed now and it's great getting to know them more and understanding how what we do at LHSS fits in with the wider community of singing teachers.

There's also lots of useful feedback being generated in terms of how these internships can be developed and improved for future interns.

I'll post further insights after I get back to Adelaide tomorrow.

11 July 2003

ANATS Internship: Day 2

Day 4  Day 3  Day 1  Internship Intro

This morning's lectures covered phonation (making of a sound by means of vocal fold vibration) as it applies to the singing voice. Dr Callaghan explained this process in detail and concluded with a video showing the vocal folds (and larynx) in motion while making various sounds. It was interesting to note what the vocal folds were doing when a tight or 'pressed' (constricted) sound was being made.

Rowena Cowley then covered the subject of Resonance and Articulation. An interesting observation was made: how we hear ourselves is different to how everyone else hears us. We hear ourselves with our inner & middle ear (the sound is heard from inside our head).

When listening to ourselves from a cassette or video tape, or through a loudspeaker when using a microphone, we are hearing the sound via our 'outer' ear. The unfamiliarity (to us) of the sound, compared to what we're accustomed to hearing from our own voice, seems to explain why we find it strange listening to ourselves.

The afternoon was another session of interns giving classes to students and getting feedback from lecturers (Professor Janet Delpratt for me today).

I had a lovely young man, Lee. He is an actor who is also learning to sing. He sang a song from the musical "Company."  We covered the posture position to give him more 'presence' and a sense of domineering the stage, which I thought he needed for his choice of song.

We lifted the soft palate (by applying a 'genuine' smile) to help with the singing of the higher pitches.  Back bracing or "torso support" gave him the 'physicality' to produce a stronger sound and also equipped him for the high notes.

Lastly, we looked at the 'interpretation' of the song with the need to establish a character. I borrowed the principle from the method of acting used by actors-the "Stanislavskian theory" to achieve this. As an actor, I assumed Lee would be familiar with this method, and be able to apply these principles to the character he was singing.

The highlight of my evening was seeing the hit musical Mamma Mia which was showing at Star City Casino. I thought the Sydney cast were superb. I also saw it in Melbourne during it's Australian debut season and this show was even more fresh, energetic and exhilarating. A must-see, especially if you were singing to "Dancing Queen" and "Fernando" as I did as a kid pretending I was Agnetha (she was blonde-so was I).

10 July 2003

ANATS Internship: Day 1

Day 4  Day 3  Day 2  Internship Intro

Last night's get together was in the apartment of ANATS NSW Chapter President Dr. Rowena Cowley. We had a glorious view of the Opera House. It was drinks and nibbles and lots of chatting with interns and lecturers.

There are 6 interns in total: 2 from SA, 2 from NSW, 1 from WA and 1 from Tasmania. They're a friendly bunch and it was settling to know that I was not the only one to be slightly nervous with the concept of having our teaching viewed and constructively criticised. I am reminded yet again how difficult it is for beginner singers to sing in front of us (their teachers) for the first time!

This morning was spent in lectures on posture and breathing with Dr. Jean Callaghan. She addressed the correct way to breathe, in terms of what happens physiologically. Also covered were the pros and cons of the "belly out' and "belly in" methods teachers use. My understanding is that these 2 methods have derived from empirical approaches. Some of these approaches were mostly handed down from teacher to student and consequently taught to their students. Empirical methods, if incorrect, can have their disadvantages.

I really appreciated how Jean was solid with her teachings due to thorough research and scientific findings where possible into all her subjects. Consequently she was able to give an educated opinion on everything she taught.

Rowena Cowley followed this session with the subject of Performance Preparation. These included the most effective ways to learn words/text and rehearse for memory retaining. Apparently, it takes 7 repetitions to learn something and 21 to undo!

In the afternoon, each intern gave a lesson to a volunteer student while the lecturers (in my case, Diana Hunter) watched and gave feedback.

My 'student' was 23 year old Lin Chen. She had a beautiful, classically-trained voice. She also enjoyed singing music theatre and was currently trying her hand at jazz. She sang "In His Eyes" from the musical "Jekyll & Hyde."

Although I saw this musical in New York a few years ago, I could not remember the style it required. Therefore I showed her how to apply techniques to create a contemporary sound, giving her various options to sing it in future. These included not dropping the jaw as much or 'opening-up' or enlargening the pharynx so the physical factors associated with the 'speech-like' quality could kick in. This 'speech-like quality', a term coined by Singing teacher and educator Jo Estill, is used in all contemporary music.

It's been very helpful and informative.

I must say that I'm impressed with the architecture of the Sydney Conservatorium of Music (our venue). It oozes grandeur and style. I'll post some photos when I get back.

Tonight will be an early night. I need some sleep to kick off a cold/cough that is lingering! I'll take in some Sydney Musical Theatre tomorrow night.

I'll post another update tomorrow.

9 July 2003

Leanne is currently attending an ANATS Internship in New South Wales

Day 4  Day 3  Day 2  Day 1

I am currently in Sydney attending the first ANATS Internship being held at the Sydney Conservatorium of Music.

Needless to say, the venue and its location is fantastic and I'm looking forward to four days of master classes, learning from world-renowned experts and mixing with fellow singing teachers from around Australia.

Tonight is a get-to-know-you drinks and nibbles night for everyone involved. The first formal session is tomorrow (Thu) morning; the whole event runs through to Sun night.

I'll post updates as the sessions progress.

A big hello to my teachers who are busy running the Studio back in Adelaide.

4 July 2003

AMCOS Licencing & Copyright Update

The following information has been verified by AMCOS.

AMCOS Article    APRA Article  Intro Article 

Since writing the article: Copyright & Licencing for Singing Teachers: AMCOS (refer AMCOS link above) the Australasian Mechanical Copyright Owners Society (AMCOS) have reviewed our licence.

Background
There is some concern among singing teachers regarding copyright issues during the taping of students' lessons. I thought the following may be of some interest:

Many teachers, including our Studio, record students' lessons on cassette tape so the students have a record of a) the teacher's explanation of a given technique, b) the exercises to practice, and c) a copy of the song(s) covered in the lesson. All recording is with the view of practicing at home.

The concern has been with playing copyright material e.g. CD's and backing music, and capturing the backing music on tape during the recording of lessons.

Our AMCOS licence has changed from a track-by-track Audio Manufacturing Licence to an Annual Blanket Licence and now allows us to make a certain number of recordings per year which include copyrighted backing music captured on tape.

Another aspect of the new licence allows us to make compilation CD audio recordings, from commercial CD's purchased by us, for public performance at concerts arranged by us, for lesson purposes and for use at Eisteddfods.

We consider the annual fee to be reasonable. It gives us peace of mind knowing that we are operating legally and allows us greater flexibility within lessons.

We recommend that you contact AMCOS to establish exactly what licence (if any) you may require: